Thèse--Université de Paris. / Without thesis note. "Bibliographie": p. [467]-475.

Note:

Orientador: Wilma Patricia Marzari Dinardo Maas / Co-orientador: Rolf-Peter Janz / Banca: Karin Volobuef / Banca: José Pedro Antunes / Banca: Georg Otte / Banca: Magali dos Santos Moura / Resumo: A tese investiga as afinidades de ideias entre a Crítica da Faculdade do Juízo de Kant, e o pensamento estético de Goethe, abordando os elementos presentes nos textos que o escritor produziu sobretudo a partir de 1786, ano em que realiza a famosa viagem à Itália e espécie de marco zero na construção de sua "estética". Pelo conceito kantiano de finalidade sem fim [Zweckmässigkeit ohne Zweck], um dos termos decisivos de sua Terceira Crítica, pretende-se apreciar a concepção segundo a qual a obra de arte não seria redutível a uma explicação ou dedução em uma ciência do Belo, detentora que é de valor intrínseco, avessa a qualquer finalidade que não seja ela própria. Por "finalidade sem fim", entende-se, pois, a independência de julgamento do objeto de bela arte face a outras instâncias, sejam elas morais, históricas ou filosóficas, não cabendo instrumentalizá-la no sentido de qualquer finalidade que seja exterior a ela, uma vez que nenhum discurso exterior é capaz de traduzir a verdade do texto poético. Nesse sentido, a formulação representa uma ruptura com a tradição estética predominante em séculos anteriores. A arte, para Goethe como para Kant, constitui, no limite, um campo inexprimível. Em Goethe, a arte produz seu próprio mundo, suas próprias verdades, e por isso mesmo não deve ser julgada senão a partir de suas leis intrínsecas, conceito que abriga também, ainda que com traje específico, a ideia de sua intraduzibilidade. Desde os anos 1990, essa ideia vem adquirindo especial importância para os estudos de Goethe, valendo salientar que mesmo o Goethe maduro recorre a Kant e, em especial, à ideia da autonomia da arte. Na última parte deste trabalho, tendo em consideração os pressupostos teóricos acima arrolados, procede-se à análise crítica de seu último romance, As afinidades eletivas [Die Wahlverwandtschaften], com uma metodologia que se mostra apropriada para a obra em apreço ... / Abstract: This thesis investigates the affinities between the ideas of Kant's Critique of Judgment and Goethe's aesthetic thought, by dealing with aspects in Goethe's texts from 1786 on, when Goethe made his renowned journey to Italy, a landmark in the construction of his aesthetics. Through the concept of purposiveness without a purpose [Zweckmässigkeit ohne Zweck], one of the key terms of Kant's Third Critique, it is intended to explore the aesthetic concept, which states that the artwork ist not reducible to an explanation or deduction in a science of beauty. The value of art should lie in itself; the art has an intrinsic value, not projected for any purpose than itselt. Through the notion of "purposiveness without a purpose" one should undestand the independency of the judgment of an art object in regard to other spheres, whether moral, historical or philosophical, not instrumentalizing thereby the literary text to any outside purposes, since no external speech is able to translate the truth of the poetic text. In this sense, the term relates the moment of rupture with the normative aesthetic tradition prevalent in previous centuries, as the sphere of art is to both, Goethe and Kant, an area that remains inexpressible. For Goethe, art is also a domain that creates its own world, its own truths, and in this sense should be judged only from its intrinsic rules. The idea of the untranslatability of the art manifests, though in his own way, also in Goethe. From the 90's on, this idea reaches considerable importance to the poet and even the mature Goethe appeals to Kant and specially to the idea of the autonomy of art. Here, the last Goethe's novel Die Wahlverwandtschaften is analyzed according to the theoretical premises discussed in the first part of this thesis: the novel's critical analysis intends thereby to incorporate the concept of the art as an untranslatable domain. We argue that this way of critical analysis is suitable for the ... / Doutor

Chow Tin-ping, Balance. / Typescript (photocopy) / Bibliography: leaves [324]-336 / Thesis (M.Ph.)--Chinese University of Hong Kong, 1983

This dissertation is broadly concerned with the role of codices, or bound manuscript books, in the imagination of late medieval English authors. I am interested in exploring how the visual and physical features of medieval books inform the aesthetic vocabulary of reading and inspire a hermeneutic rooted in the sensory experience of reading. Reading a book in the fourteenth and fifteenth centuries—the time of Geoffrey Chaucer and his contemporaries—demands that readers digest an array of information besides the written word: are the words placed in the center, in the margins, in a single column or in double columns? What colors of ink are used? How do illustrations and decoration—initials and borders in particular—guide the organization of the written word and engage readers in analyzing the contents? I use the term “codicology” to refer to such features as layout, page design, ink color, decoration, illustration, and the ordering of texts. Writers such as Geoffrey Chaucer, John Gower, and Thomas Hoccleve each draw attention to the physical and material properties of medieval books as part of their narratives, and all three writers acknowledge the bound codex as an operative concept by utilizing the networks of visual and semantic relationships orchestrated by the manuscript page to deepen the reader’s engagement with their respective works. Therefore, these visual and physical features generate what I call a “codicological aesthetic,” a device that uses the sensory experience of reading medieval books to frame and characterize encounters with literary texts. By situating reading practices within narratives, the codicological aesthetic gives readers greater purchase on texts, and it allows them to reflect on the nature and the consequences of the reading that they perform.

Orientador: Kelly Cristiane Henschel Pobbe de Carvalho / Banca: Ricardo Magalhães Bulhões / Banca: Eliane Aparecida Galvão Ribeiro Ferreira / Resumo: O presente estudo se propõe refletir sobre como a escola, por meio do ensino da Literatura, poderia intervir no sentido de contribuir com a formação estética e sensível de seus alunos. Nesse sentido, consideramos o princípio da estética da sensibilidade, presente nos documentos normativos das atuais Diretrizes Curriculares Nacionais para a Educação Básica, um importante elemento norteador da prática docente. Como alternativa para a efetivação de tal objetivo, apresentamos uma possível sintaxe de construção da estética da sensibilidade propondo um projeto de trabalho para os anos finais do Ensino Fundamental sob o enfoque do letramento literário e da concepção de experiência, segundo Larrosa (2002). O trabalho terá como aportes teóricos os principais documentos oficiais da educação e as reflexões de autores como Jauss (1979), Candido (1995), Cosson (2006a, 2006b), Duarte Júnior (2012), Chartier (1996), Petit (2008), Silva (1988), Antunes (2015), Arena (2003), Eco (1988), Todorov (2012), entre outros. Acreditamos que a relação estabelecida entre o aluno e seu objeto de conhecimento, neste caso, o texto literário, possa ser ressignificada. A partir dessa proposta, esperamos privilegiar e propiciar experiências estéticas que se afastem de modelos didáticos tradicionais de ensino da Literatura, e que possibilitem aos jovens vivenciar situações práticas de aprendizagem, contextualizadas, interdisciplinares e, de fato, significativas para suas vidas. Nessa perspectiva, a literatura... (Resumo completo, clicar acesso eletrônico abaixo) / Mestre

Not available / text

Thesis (B.A.)--Bi-College (Haverford and Bryn Mawr Colleges) Dept. of East Asian Studies, 2009. / Includes bibliographical references.

Orientador: Andressa Cristina de Oliveira / Banca: Renata Soares Junqueira / Banca: Flávia Nascimento Falleiros / Resumo: A retomada do mito bíblico de Salomé, retratado primeiramente nos evangelhos de S. Marcos e S. Mateus, fez escola no movimento simbolista francês. Salomé, que até então havia sido apresentada como mero apêndice de sua mãe, Herodíade, aparece, no final do século XIX, como a grande personificação da anima perversa, assumindo o papel que outrora pertencera a Cleópatra e Helena. O mito trata da história de Salomé, princesa da Judeia, que, sob a influência de sua mãe, realiza a dança dos sete véus para seu padrasto e, como prêmio pelo espetáculo voluptuoso, recebe a cabeça do profeta João Batista. Retratada pelos artistas de diversas vertentes da arte, essa Salomé remodelada vem representar a essência própria do movimento simbolista - a transgressão da linguagem, da temática e da atitude do poeta com relação à produção artística -, bem como a de seus poetas (e artistas) malditos, que se vêem marginalizados por uma sociedade opressora e utilitarista, e que, fazendo justiça à princesa, fazem justiça à própria classe. Assim, com a princesa-odalisca Salomé, o simbolismo afirma sua postura combativa, de luta pela libertação da poesia e da arte. Neste trabalho, pretende-se analisar e comparar as obras Salomé (1891), drama de Oscar Wilde (1854 - 1900), e Hérodiade (1864 - 1898), poema de Stéphane Mallarmé (1842 - 1898), com a finalidade de verificar se existem e quais seriam as confluências - e mesmo influências - entre as duas produções, visto que ambas foram idealizadas na mesma época ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The resumption of the biblical myth of Salome, first portrayed in the Gospels of St. Mark and St. Matthew, became a school in the French symbolist movement. Salome, who has been presented as a mere appendage of his mother, Herodias, appears, at the end of the nineteenth century, as a great personification of perverse anima, assuming the role that once belonged to Cleopatra and Helen. The myth deals with the story of Salome, Princess of Judea, who, under the influence of her mother, performs a dance of the seven veils for her stepfather, and, as a reward for the voluptuous spectacle, receives the head of the prophet John the Baptist. Portrayed by artists of all segments of art, this remodeled Salome represents the essence of the symbolist movement itself - with the transgression of the poetic language, theme and attitude of the contemporary artistic productions - as well as his maudits poets (and artists). They are marginalized by an oppressive and utilitarian society, and that, by doing justice to the princess, they do justice to their own class. Thus, with a Princess-Odalisque Salome, symbolism affirms its combative stance, of struggle for the liberation of poetry and art. In this work, we intend to analyze and compare the works Salomé, drama in one act by Oscar Wilde, and Hérodiade, dramatic poem by Stéphane Mallarmé, in order to verify if there are and which would be the confluences - and even influences - between the two productions, whereas they were both idealized at ... (Complete abstract click electronic access below) / Mestre

'The Work of Art in Postwar Fiction 1945-2001' explores the responses of postwar novelists to visual art by focusing on the work of Samuel Beckett, William Gaddis, John Berger and W.G. Sebald. In doing so, it opens up a new approach to understanding the relationship between fiction and art in the postwar period as a whole, for what distinguishes these writers is that they use an engagement with visual art in order to historicize their own work as distinctly 'postwar' fiction. This thesis shows that in the writings of these novelists, long running aesthetic issues in the study of the relationship between text and image are reformulated and transformed: medium specificity; ekphrasis; and visual representation as a model for literary realism. Drawing throughout on original archival research, The Work of Art in Postwar Fiction 1945-2001 traces what T.J. Clark terms the 'processes of conversion and relation' between art, its contexts and its commentators, and it is by studying these mediations that the literary consequences of the work of art for these writers are shown. With a historicizing approach throughout, and an interest in the ways in which postwar novelists mediate their engagement with art through history, this thesis contributes to a new understanding of the literature and art of the postwar era, or what Amy Hungerford has called 'the period formerly known as contemporary'. This thesis offers a revisionary account of a relationship previously subsumed under the dominant logic of postmodernism, which according to Fredric Jameson was defined by a 'waning of historicity'. In returning historicity as method and theme to the study of the relationship between literature and art since 1945, The Work of Art in Postwar Fiction 1945-2001 shows the diverse ways in which postwar writers historicized their writing, and reflected on their techniques, in dialogue with visual art. Concerning itself with the distinct challenges posed by focusing on what Hannah Ardent called the 'most recent' past, this thesis also develops new ways of thinking more broadly about the relationships between literature, art and history. Chapter 1, 'Reviewing Postwar Fiction', situates this thesis within recent debates in literary studies surrounding what Mark McGurl has termed a discipline-wide 'hegemony of history'. Chapter 2, on Samuel Beckett, argues that Beckett's postwar art criticism responds to a specific strand of Marxist humanist aesthetics developed after the war, and it studies Beckett's manuscripts to show the relationship between this criticism and the composition of The Unnamable. Chapter 3 discusses William Gaddis's 1955 novel The Recognitions, arguing that the novel pivots around some of the central cruxes of postwar American aesthetic debate: Clement Greenberg's theory of abstraction, and Michael Fried's identification of the problem of 'art and objecthood'. Chapter 4 discusses the work of the British art critic and novelist, John Berger. It shows that Berger's critical account of Cubism shaped the narrative forms of his novels A Painter of Our Time and G., and that these narrative innovations were central to his theory of the artistic and revolutionary 'moment'. Chapter 5 focuses on the relationship between photography, painting and aesthetics in the work of W. G. Sebald. It argues that aesthetic concepts such as 'the readymade' and 'objective chance' offer a better account of Sebald's engagement with art than accounts which draw on trauma theory. The thesis concludes with a short discussion of how the writers studied in this thesis have influenced the contemporary fiction of Jonathan Franzen, Teju Cole, and Tom McCarthy.