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Thesis (M.C.A.-Res.)--University of Wollongong, 2008. / Typescript. Includes bibliographical references: leaf 34-35.

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Made available in DSpace on 2014-06-11T19:26:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-21Bitstream added on 2014-06-13T20:15:09Z : No. of bitstreams: 1 siveira_jen_me_mar.pdf: 759974 bytes, checksum: c919df57e4df77215d9b28794f080f9a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O presente texto trata da relação estabelecida entre o jovem filósofo Friedrich Nietzsche e o experiente compositor e ensaísta Richard Wagner. Concentrando nossa análise no período da amizade existente entre Nietzsche e Wagner, período este que coincide com a produção filosófica do jovem Nietzsche, a saber, de 1869 a 1876, o objetivo de nossa análise é buscar elementos presentes no pensamento de ambos que possibilitaram a aproximação e o desenvolvimento de amizade entre eles. Neste sentido, a crítica à cultura moderna, o elogio ao mundo grego, a influência do romantismo e a filosofia de Schopenhauer aparecem como pontos de apoio que alicerçaram a construção desta amizade / The present text treats the relationship between the young Friedrich Nietzsche and the expert composer and essayist Richard Wagner. Concentrate our analyze on the period of the friendship that was there between Nietzsche and Wagner, period that coincide with the philosophic production of the young Nietzsche, to know, from 1869 until 1876, the target of our analyze is to found elements presents in the thought of both that made possible the approach and development of the friendship between them. In this way, the critique to modern culture, the praise to the greek world, the influence of the romanticism and the philosophy of Schopenhauer appears like points of support that build foundation to this friendship

Com a finalidade de propor uma abordagem filosófica em torno de diversos problemas atuais da estética musical, em especial buscando identificar e situar uma crise existente na sua elaboração disciplinar, serão lançados nesta tese estudos sobre a problemática relação da estética com outros campos do conhecimento, tanto aqueles vinculados às ciências empírico-matemáticas quanto às ciências humanas. Questões centrais sobre a relação entre as artes e a filosofia, sobre o papel e a situação do esteta moderno, e sobre as tendências da composição musical contemporânea também serão abordadas, sempre no intuito de apresentar possibilidades epistemológicas para uma nova estética musical que sejam consubstanciais aos problemas das artes e da música contemporânea, bem como elementos para definições de arte e da música que sejam alternativas à histórica pregnância na modernidade do pensamento de vanguarda. Para tanto, esta tese se divide em quatro grandes ensaios, pretendendo-se que possam ser tomados, para além de sua unidade temática e estrutural, também isoladamente. / In this dissertation, studies about the problematic relationship of aesthetics with other fields of knowledge, as those bound to empirical-mathematical sciences as well to human sciences, will be launched with the goal of proposing a philosophical approach around various current musical aesthetics problems, specially aiming to identify and to situate an existent crisis in its disciplinary elaboration. Main questions about the relation among arts and philosophy, about the role and situation of the modern aesthete, and about trends of contemporary musical composition will be broached as well, always intending to present epistemológical possibilities to a new musical aesthetics that are consubstantial to the problems of arts and contemporary music, as well as elements for definitions of art and music which may be alternative to historical impression of modernity on avant-garde thinking. Therefore, this dissertation is divided in four great essays, with the intention that they may be taken, over and above its thematic and structural unit, also separately.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-26T17:49:46Z No. of bitstreams: 1 pedroataribeiropinto.pdf: 2255947 bytes, checksum: 2cf31a876b204a5b0d0bfa114a1cc486 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-27T11:31:03Z (GMT) No. of bitstreams: 1 pedroataribeiropinto.pdf: 2255947 bytes, checksum: 2cf31a876b204a5b0d0bfa114a1cc486 (MD5) / Made available in DSpace on 2016-07-27T11:31:03Z (GMT). No. of bitstreams: 1 pedroataribeiropinto.pdf: 2255947 bytes, checksum: 2cf31a876b204a5b0d0bfa114a1cc486 (MD5) Previous issue date: 2016-04-04 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho sugere uma estrutura teórica para uma Estética Cognitiva pragmaticamente orientada, baseada na Filosofia de Processos e Semiótica Cognitiva de Charles S. Peirce. Esta abordagem pouco explorada é capaz de fornecer novos métodos e premissas para a investigação da relação complexa entre obras de arte, significado, ambiente e artefatos, paradigmas artísticos, e criatividade. Nós oferecemos: (i) uma noção de criatividade artística relacionada as dinâmicas de construção de nicho cognitivo; (ii) um modelo da relação entre significado, criatividade, artefatos e nichos cognitivos; (iii) um modelo de construção de nicho cognitivo através de semiose icônica. As contribuições desta dissertação à Semiótica Cognitiva e Filosofia da Arte incluem, principalmente: a aproximação interdisciplinar entre conceitos e ferramentas teóricas oriundas da Filosofia de Processos, Semiótica, Solução Situada de Problemas, e Biologia Evolutiva; o fornecimento de uma série de análise de exemplos incluindo dança, literatura, música e tarefas de solução de problemas; a sugestação de uma estrutura conceitual para abordar fenômenos estéticos cognitivos. / This work suggests a framework for a pragmatist oriented Cognitive Aesthetics based on Peirce's Process Philosophy of Signs and Cognitive Semiotics. This little explored approach is capable of providing new methods and premises for investigating the complex relationship between artworks, meaning, environment, artistic paradigms, and creativity. We provide: (i) a notion of artistic creativity as related to cognitive niche construction dynamics; (ii) a model of the relationship between meaning, creativity, artifacts and cognitive niches; (iii) a model of cognitive niche construction through iconic semiosis. The contributions of this thesis to Cognitive Semiotics and Philosophy of Art include, mainly: the interdisciplinary approximation between concepts and theoretical tools from Process Philosophy, Semiotics, Situated Problem Solving and Evolutionary Biology; the provision of a series of example analysis in dance, literature, music and in problem solving tasks; the suggestion of a conceptual framework to approach cognitive aesthetic phenomena.

Cette thèse porte sur l'esthétique au sein de la phénoménologie, et plus particulièrement sur le problème de l'unité de l'esthétique, sur la question de la continuité entre sensibilité et art telle qu'elle est posée dans les philosophies d'Erwin Straus, de Maurice Merleau-Ponty et d'Henri Maldiney. Nous montrons d'abord comment la phénoménologie, en devenant phénoménologie de l'art, reprend et accomplit la philosophie de l'art traditionnelle, retrouvant par-là même ses difficultés et impasses : la subordination de l'art à la philosophie, le primat théorique de l’œuvre d'art sur l'artiste, l'assimilation de l'artiste au génie, la promotion de la peinture et de la littérature et l'exclusion de la danse, l'identification du spectateur à un incréateur. Nous mettons ensuite en évidence le fait que la phénoménologie est irréductible à une philosophie de l'art, qu'elle est aussi une esthétique capable de dépasser les problèmes de la phénoménologie de l'art autant que de l'esthétique classique, intellectualiste et empiriste. Seulement l'esthétique phénoménologique rejoue plutôt qu'elle ne déjoue ces problèmes : l'art et l'artiste demeurent mystérieux, l'esthétique phénoménologique est encore une religion de l'art. C'est pourquoi, enfin, une nouvelle esthétique s'impose – une esthétique cosmologique –, nourrie de la double déconstruction de la phénoménologie de l'art et de l'esthétiquephénoménologique, et dirigée vers l'impératif d'éconduire le mysticisme résurgent des doctrines sur l'art. En somme, ce travail vise à rendre compte philosophiquement, sans mythologie interposée, du phénomène artistique. / This doctoral dissertation focuses on aesthetics within the phenomenological movement, especially on the problem of the unity of aesthetics, on the question of continuity between sensibility and art as it is formulated in the philosophies of Erwin Straus, Maurice Merleau-Ponty and Henri Maldiney. We start by showing how phenomenology, by becoming a phenomenology of art”, recovers and completes the traditional philosophy of art, thereby rediscovering its impasses and difficulties: the subordination of art to philosophy, the theoretical priority of the work of art over the artist, the assimilation of the artist to a genius, the promotion of painting and literature and theexclusion of dance, the identification of the spectator with an uncreator. We then highlight the fact that phenomenology is irreducible to a philosophy of art, that it is also an aesthetics able to surpass the problems of the phenomenology of art as much as those of classical – intellectualist and empiricist – aesthetics. Nevertheless, “phenomenological aesthetics” updates these problems: art and artist remainmysterious, phenomenological aesthetics is still a religion of art. For this reason, finally, a new aesthetics is necessary – a “cosmological aesthetics” –, nourished by the double deconstruction of the phenomenology of art and phenomenological aesthetics, and directed towards the imperative to erase the resurgent mysticism of doctrines on art. In short, our study intends to explain – philosophically, without mythology – the artistic phenomenon.

Abstract John Dewey has been widely accepted as a modern classic in educational philosophy. Dewey's general philosophy has gained new interest lately, as well. This interest reflects both a need to find alternatives for analytic and continental philosophies, as well as a need for a naturalistic critique of the modernist presuppositions of Cartesian and transcendental philosophies. Dewey's reconstructive philosophy has encouraged the approach of this study. The reconstructive approach combines the synchronic and diachronic analyses of philosophical concepts with a pragmatist critique that trusts in the power of philosophy to guide human practice. The possibility of such pragmatist critique explains the central role of pedagogy in Dewey's philosophy: Dewey saw pedagogy as a social laboratory where philosophical concepts are tested for their pragmatic potential in enhancing democratic cultural formation. The present study is guided by the central idea that the naturalistic outlook of Dewey's mature philosophy can serve as a thematic framework for contemporary philosophies of art and music. Recent readings of Dewey's work suggest important links between his pedagogy and aesthetics. If Dewey's later philosophy is examined systematically, it becomes clear that his concept of (a)esthetic experience has an important summative function; it unifies his ideas concerning epistemology, ontology, and moral theory in a "soft" naturalistic anthropologic-pedagogical perspective. Dewey finds the core of existence in the process of human growth where experience is continually transformed into culture through communicative practice. Ideally, human growth involves both an immediate, aesthetic dimension, as well as a mediated, instrumental dimension. An important function of art is to bring out the aesthetic moments of growth. With this thesis in mind, Dewey radically extends his concept of art to comprise all cultural practices that balance their means with their ends. Art educates as it is worked out in means-ends-praxis, that is, in social practice that aims both at mediate and immediate good. In the framework of Dewey's naturalistic pragmatism, art education has two crucial functions: (1) to work out the possibilities of aesthetic expression and perception in a pragmatic process of learning by doing; and 2) to point out the paradigmatic moments of meaning making in the best of art. To the philosophers of music education, Dewey's philosophy can open up a new critical horizon where both aesthetic and praxial outlooks can meet in the experimental terms of naturalistic pragmatism. / Tiivistelmä John Deweyn asema pedagogiikan klassikkona on tunnustettu jo vuosikymmeniä. Myös Deweyn laajempi filosofia on saanut osakseen uutta kiinnostusta. Tämä kiinnostus liittyy sekä vaihtoehtojen hakemiseen analyyttiselle ja mannermaiselle filosofialle että modernin filosofian kartesiolaisten ja transsendentaalisten lähtökohtien naturalistiseen kritiikkiin. Deweyn filosofialle ominainen rekonstruktiivinen lähestymistapa on innoittanut käsillä olevaa tutkimusta. Rekonstruktiivinen lähestymistapa edellyttää filosofisten käsitysten synkronisen ja diakronisen analyysin ohella pragmatistista kritiikkiä, johon liittyy luottamus filosofian voimaan ohjata inhimillisiä käytäntöjä. Pragmatistisen kritiikin mahdollisuus selittää pedagogiikan keskeisen aseman Deweyn filosofiassa. Deweylle kasvatus on laboratorio, joka tarjoaa mahdollisuuden koetella filosofisten käsitysten pragmatistista toimivuutta demokraattisen kulttuurin rakennusaineina. Tämän tutkimuksen temaattisena johtolankana toimii ajatus Deweyn myöhäiskauden naturalistisen pragmatismin soveltuvuudesta oman aikamme taide- ja musiikkikasvatusfilosofiseksi tarkastelutavaksi. Uudemmassa Dewey-tutkimuksessa onkin tuotu esiin Deweyn estetiikkaan ja pedagogiikan välisiä yhtymäkohtia. Tarkasteltaessa Deweyn myöhäiskauden filosofiaa kokonaisuutena, mikä on tämän työn tavoitteena, on lisäksi helppo huomata, että esteettisen kokemuksen käsitteellä on tärkeä asema hänen tiedonfilosofiansa, ontologiansa ja moraalifilosofiansa täydentäjänä. Deweylle inhimillisen eksistenssin ytimessä on kasvuprosessi, jossa kokemuksesta muovataan demokraattista kulttuuria kommunikatiivisessa toiminnassa. Tähän pragmatistiseen merkityksen tuoton prosessiin (ja siihen liittyvään pedagogiseen projektiin) liittyy parhaimmillaan esteettinen ulottuvuus. Kasvu sulkee sisäänsä sekä välineellisiä että välittömästi koettuja momentteja. Taiteen tärkeänä tehtävänä on tuoda esiin kasvuprosessiin liittyviä esteettisiä momentteja osana pragmaattista merkityksen tuottoa. Taide käsittääkin Deweylla kaiken kulttuurisen toiminnan, johon liittyy keinojen ja päämäärien välinen tasapaino. Kasvattavana toimintana taide on means-ends-praksista, keinonsa ja päämääränsä tasapainottavaa yhteiskunnallista käytäntöä, joka pyrkii samanaikaisesti sekä välilliseen että välittömään hyvään. Taidekasvatukselle jäsentyy Deweyn naturalistisessa pragmatismissa kaksi päätehtävää: (1) harjoituttaa esteettisen ilmaisun ja havainnon mahdollisuuksia pragmaattisessa tekemällä oppimisessa ja (2) osoittaa taiteissa kulminoituvia inhimillisen merkityksentuoton paradigmaattisia momentteja. Musiikkikasvatusfilosofeille Deweyn filosofia voi avata uuden kriittisen horisontin, jossa sekä perinteinen esteettinen näkökulma että uudempi praksiaalinen näkökulma voivat kohdata toisensa naturalistisen pragmatismin eksperimentaalisessa viitekehyksessä.

Cette thèse part d’une constatation troublante : une œuvre littéraire et sa traduction sont deux textes différents. Comment deux textes différents peuvent-ils s’annuler, être indiscernables en tant qu’œuvre ? Y a-t-il une œuvre, deux œuvres distinctes, ou plutôt, comme nous le proposerons provisoirement, une œuvre relationnelle, la traduction littéraire. Cette relation est en fait une dépendance que nous théorisons, avant de proposer une théorie procéduraliste institutionnelle de l’œuvre et de montrer que les traductions littéraires ne sont pas des œuvres, mais des compositions substitutives, « œuvre » étant un statut qui chapeaute toutes les compositions qui la font fonctionner. Nous montrons en outre qu’elles appartiennent aux pratiques artistiques, qui regroupent un certain nombre d’activités et d’artefacts essentiels au fonctionnement des œuvres d’art. « Œuvre » étant un statut, cela a comme conséquence qu’« auteur » en est un aussi. Nous tentons ensuite de déterminer si le traduire s’étend à toutes les activités de compréhension, ou s’il y a une spécificité du traduire interlinguistique littéraire. Par la suite, nous étudions les deux principales attitudes qui s’offrent au traducteur au moment de traduire : les approches sourciste et cibliste. Après quoi nous examinons qui est le lecteur d’une traduction littéraire et dans quelle mesure il se distingue du lecteur de la composition en langue première. Après un examen de la compréhension d’un point de vue empirique, nous en venons à la conclusion que le critère de réussite pour la lecture est la compréhension. Cela nous permet de proposer une étude du critère de fidélité en fonction de la compréhension, tout en précisant qu’une œuvre, étant un statut, n’est jamais traduite. Pour finir, après avoir appliqué notre théorie aux traductions de Shakespeare réalisée par Voltaire, nous montrons que la pensée de la traduction est travaillée par une méprise ontologique qui confond fidélité sémantique et fidélité ontologique. / This dissertation starts from a troubling observation: a literary work and its translation are two different texts. How can two different texts cancel each other out, be indiscernible? Is there one work, two distinct works, or rather, as we will provisionally propose, a relational work, the literary translation. This relation is in fact a dependence that we theorize, before proposing an institutional proceduralist theory of the work and showing that literary translations are not works, but substitute compositions, "work" being a status that encompasses all the compositions that make it work. We further show that literary translations belong to artistic practices, which bring together a number of activities and artefacts essential to the functioning of works of art. "Work" being a status, the consequence is that "author" is also one. We then attempt to determine whether translating extends to all the activities related to understanding, or whether there is a specificity to literary interlinguistic translating. Next, we study the two main attitudes available to the translator when translating: the sourceand target-oriented approaches. We then consider who the reader of a literary translation is and how he differs from the reader of the first-language composition. After studying understanding from an empirical point of view, we come to the conclusion that a successful reading is one through which the read work is understood. This allows us to unfold a study of faithfulness according to understanding, before concluding that a work, being a status, is never translated. Finally, having applied our theory to the Voltaire’s translations of Shakespeare, we show that the theory of translation is dominated by an ontological misunderstanding which confuses semantic and ontological faithfulness.