This phenomenology begins with an observation of a musical instrument, the piano. The piano is surrounded by an aura of lifelessness, for its sound world is dominated by tone-decay and a calcified intonation system. Therefore, a physically seamless legato rendering of melody is impossible for pianists, and the inflexible symmetry of given intervallic relations enforces a loss of tonal centre when a composer ventures into the intrinsically asymmetrical domain of chromaticism. However, the melodic interval - the element lying between the acoustically sounding pitches - is in essence always inaudible, whatever the instrument. Through the development of listening capacities directed specifically toward unveiling the non-positive musical element in its origin, namely, within human consciousness, it is possible to overcome external instrumental limitations. Human being’s intrinsic musicality is revealed through phenomenological observation of consciousness in its qualitatively differentiated, ordinarily related, temporally unfolding nature. External limitations can have no hold over living melodic expression when the essence of the melodic interval is discovered self-sufficiently within the non-positive dimension of human onticity, that is, within a consciousness in which the potential for clear spiritual cognition lies dormant. ‘Tonicness’ is discovered ultimately to be an inner awareness of self-voicefulness, independent from instrumental and linguistic contingencies; and the piano reveals an historical mission to awaken - from ‘death’ - new cognitive listening faculties. This research employs the spiritual-scientific method of Rudolf Steiner’s anthroposophy, or wisdom of the human being, which involves meditation and the cultivation of sense-independent logic as well as of lucid feeling (as distinct from blinding emotion).

Submitted by Maike Costa (maiksebas@gmail.com) on 2017-01-23T12:08:22Z No. of bitstreams: 1 arquivo total.pdf: 7922256 bytes, checksum: c1103fe971240d28dd8d3712ee0f07a8 (MD5) / Made available in DSpace on 2017-01-23T12:08:22Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 7922256 bytes, checksum: c1103fe971240d28dd8d3712ee0f07a8 (MD5) Previous issue date: 2016-06-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims at a symbolic analysis of the Geheime Figuren der Rosenkreuzer work aus dem 16 has und 17 has Jahrhundert coming public in two books, originally in 1785 and 1788, being held in a facsimile in 1919, the latter is originating all its modern editions. The compilation of the Geheime Figuren der Rosenkreuzer is an equally proportional relevance publication of the Rosicrucian Manifestos in the 17th century; the same is arranged within a second wave of what can be understood as Rosicrucian movement or Rosicrucianism. This second stage of the Rosicrucian establishes a framework that greatly influence the lead or following names. As methodological tools, follow the propositions developed by thinkers of the Imaginarium Gilbert Durand, Jean-Jacques Wunenburger, Paul Ricoeur and Henry Corbin, using a symbolic hermeneutics and applying the phenomenology of the image, we will trace structuralism figurative present in the work focus of our study so that we envisaged and mediated by the concept of hierohistóry developed by Corbin, to understand the esotericism of the Rosicrucian movement of the 18th century in the construction and / or compilation of Geheime Figuren der Rosenkreuzer aus dem 16 has und 17 has Jahrhundert, using the symbolic emerged in the two previous century. Theosophical constituents, hermetic, alchemical and kabbalistic swarming in the work study will serve as guiding the relations established between the work and the imagery of the 18th century, that – according to the established methodology for the study of Western esotericism as bringing of Antoine Faivre and Wouter Hanegraaff – we can do the necessary similarities and differences with the Rosicrucian movement of the 17th and 18th, with a greater focus in the 18th century, which is structured the compilation of Geheime Figuren der Rosenkreuzer. / O presente trabalho visa uma análise simbólica da obra Geheime Figuren der Rosenkreuzer aus dem 16 tem und 17 tem jahrhundert, vinda a público em dois livros, originalmente em 1785 e 1788, sendo reunida em um fac-símile em 1919, deste último originando-se todas as suas edições modernas. A compilação do Geheime Figuren der Rosenkreuzer é de uma relevância igualmente proporcional à publicação dos Manifestos Rosacruzes no século XVII; a mesma é organizada dentro de uma segunda onda do que pode ser entendido como movimento rosacruz ou rosacrucianismo. Este segundo momento do rosacrucianismo estabelece uma estrutura que influenciará sobremaneira as derivações ou denominações seguintes. Como ferramentas metodológicas, seguiremos as proposituras desenvolvidas pelos pensadores do Imaginário Gilbert Durand, Jean-Jacques Wunenburger, Paul Ricouer e Henry Corbin, utilizando-se de uma hermenêutica simbólica e aplicando a fenomenologia da imagem, traçaremos o estruturalismo figurativo presente na obra foco de nosso estudo, para que possamos perspectivados e mediados pelo conceito de hierohistória desenvolvido por Corbin entendermos o esoterismo do movimento rosacruz do século XVIII na construção e/ou compilação do Geheime Figuren der Rosenkreuzer aus dem 16 tem und 17 tem jahrhundert, utilizando-se da simbólica surgida nos dois séculos anteriores. As constituintes teosóficas, herméticas, alquímicas e cabalistas que pululam na obra que estudamos servirão de norteadoras das relações estabelecidas entre a obra e a imagética do século XVIII, para que – de acordo com a metodologia estabelecida para o estudo do esoterismo ocidental, conforme propositura de Antoine Faivre e Wouter Hanegraaff – possamos fazer as devidas aproximações e distanciamentos com o movimento rosacruz dos séculos XVII e do XVIII, com um enfoque maior no século XVIII, onde se estrutura a compilação do Geheime Figuren der Rosenkreuzer.

Cette thèse entend analyser la figure de l’androgyne du mouvement symboliste à l’avant-garde abstraite. La relecture de la modernité au passage du XXe siècle en France permet de comprendre de quelle manière le symbolisme a exploré le trouble de la sexualité dans un contexte sociopolitique de crise de la masculinité. L’étude visuelle et anthropologique des normes sexuelles révèle une angoisse de l’entre-deux androgyne, associée aux théories psychopathologiques de l’homosexualité. Cette thèse démontre de quelle manière l’androgynie correspond à ce que nous intitulons « le troisième genre » artistique, défini par le rejet des assignations de genre et par de nouveaux modèles de représentation et d’intersubjectivité, issus de l’immersion du féminin dans le masculin. Dans la première partie, l’étude des sources néo-classiques et spirituelles de l’androgyne révèle la recherche d’un idéal politique et artistique permettant la régénération de l’unité des sexes. La deuxième partie envisage la résurgence de cet idéal dans les pratiques symbolistes fin-de-siècle, à travers différents modèles androgynes comme la figure de l’ange, celles d’Orphée et du troisième sexe primitif. Face au trouble des identités sexuelles, la réception de l’idéalisme est analysée à partir de la rhétorique de la dégénérescence associant androgynie, efféminement du masculin et homosexualité. La quatrième partie examine la poursuite de l’idéal androgyne dans les sources de l’abstraction. Le troisième genre abstrait alimente l’utopie avant-gardiste d’un art qui s’auto-génère, dépourvu de caractère sexué et créé par un artiste moderne, célibataire et androgyne. / This thesis aims to analyze the figure of androgyny from the movements of Symbolism to the abstract avant-garde. This reinterpretation of modernity at the turn of the 20th century in France allows an understanding of how Symbolism explored the trouble of sexuality within a social and political context entrenched by the crisis of masculinity. The visual and anthropological study of sexual norms reveals a fear of the androgynous in-between associated with psychopathological theories of homosexuality. This thesis demonstrates how androgyny is tied to what I call the artistic “third gender,” defined by the refusal of gender assignation and new models of representation and intersubjectivity, following the feminine immersion within the masculine. In the first part, the study of the Neoclassical and spiritual sources of androgyny demonstrates the search for the political and artistic ideal, allowing for the regeneration of the unity of sex. The second part reveals the resurgence of this ideal in the fin-de-siècle Symbolist's practices through different androgynous models such as the figure of the angel, the ones of Orpheus and the primitive third sex. Toward the trouble of sexual identities, the reception of idealism is analyzed through the rhetoric of degeneration associating androgyny, masculine effeminacy and homosexuality. The last part examines the pursuit of the androgynous ideal in the sources of abstraction. The abstract third sex nourishes the avant-gardist utopia of an art that is self-perpetuating, devoid of sexual characteristic and led by a modern artist, single and androgynous.

This thesis is based on several chapters, which, after introducing the basic information, go deeper into the topic and develop it further. In the introduction, I am interested in the genesis of terms used in the work. I analyze their different etymology and geographical use and understanding. Here is a section dealing with the background of rosicrucianism, which freely translates into prominent figures and central writings. The work concludes with introducing the orders and their current activities on the territory of the Czech Republic.