In this paper I have shown the ways in which Schelling thinks through and posits a new conception of freedom. Freedom is reconsidered as the constitutive element of creation, rather than as a derivative property. His investigations into human freedom take into account both a pantheistic world-view and a reconsideration of the meaning of "identity". Specifically, I have shown that Schelling revitalizes these old doctrines in order to maintain their status as living. In this vein we are given over to a reconsideration of the Creation as it relates to freedom. In this paper I focus on Schelling's elaboration on the nature of human freedom and the meeting of necessity and freedom in the person. The "system" of freedom reaches a crucial point in the human being's capacity for good and evil, wherein freedom and necessity intertwine in the will of the individual.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

A presente tese procura expor as características gerais do papel assumido pela mitologia no interior do pensamento estético alemão da segunda metade do século XVIII, não apenas como articuladora de conteúdos artísticos, mas também como fundamento da própria possibilidade de estabelecimento da estética como disciplina autônoma. Partindo da obra de Herder, Moritz e Schelling, acompanhamos o modo específico segundo o qual cada um deles lidou com os diferentes aspectos e dificuldades desse programa de pensamento, mas buscando por uma linha de continuidade. A partir da pergunta pelo uso da mitologia na poesia moderna, Herder encontra no fenômeno mítico um paradigma crítico às poéticas normativas do neoclassicismo, além de um aprofundamento da proposta de Baumgarten de estabelecer a estética como uma ciência do conhecimento sensível. Sua radicalização na recondução de todo conhecimento à sua origem sensível revela uma nova dimensão ativa e produtiva na raiz sensível do ser humano e encontra na mitologia a melhor expressão para o traço criativo e poético do espírito. Uma atenção mais detida da estrutura interior da produção e dos produtos artísticos conduz ao empreendimento de Moritz, cuja compreensão da obra de arte como dotada de uma finalidade interna e autônoma complementa-se com uma investigação da produtividade natural e objetiva que opera no artista. Nesse quadro, a fantasia fornece o ponto de cruzamento dessas duas dimensões complementares, e o autor expõe na mitologia a lógica e linguagem próprias dessa faculdade. Por fim, a leitura dos anos de formação do pensamento do jovem Schelling, através dos vários deslocamentos de sua concepção de filosofia, permite elucidar as exigências que se colocaram à plena integração da arte e da mitologia no interior de um projeto sistemático de razão. Mediante um novo papel da imaginação produtiva, uma rearticulação entre o infinito e o finito e uma visão simbólica do real, a filosofia da arte se estabelece nesse autor como uma dedução especulativa da mitologia como substrato universal da arte. Desse modo, a confluência entre estética e mitologia oferece tanto uma chave de leitura para o pensamento dos autores tomados individualmente, bem como uma visão mais ampla do desenvolvimento intelectual do período, que levou a estética, como ciência da sensibilidade, a realizar-se finalmente como uma filosofia da arte em sentido especulativo e autônomo. / This thesis intends to render a general outline of the role played by mythology within German aesthetic thinking during the second half of the Eighteenth century, not only as an arrangement of artistic contents, but also as a basis for the very possibility of the establishment of aesthetics as an autonomous discipline. In the works of Herder, Moritz and Schelling, we examine the specific ways by which they sought to deal with the different aspects and difficulties of this project of thought, but also showing a continuity between them. Starting with the question of the use of mythology by modern poetry, Herder encounters in the mythical phenomenon a critical paradigm against normative poetics, as well as a deepening of Baumgartens understanding of aesthetics as a science of sensuous knowledge. Taking even further the foundation of sensibility as the source of all knowledge, he reveals an active and productive side of human sensibility and finds in mythology the best expression for the creative and poetic traits of the spirit. Paying a closer attention to the internal structure of art products and production, Moritz understands the work of art as an autonomous entity, sided by a natural and objective productivity of the artist. Here, phantasy is placed at the crossing of this two interdependent poles, and the author exposes mythology as the language and logic proper to this faculty. Finally, in Schellings first philosophy, and its many shifts, we explain in detail the conditions for a full integration of art and mythology within a systematic reason. Through a new role of productive imagination, a reconnection between the infinite and the finite and a symbolical glimpse of reality, the philosophy of art establishes itself in his works as a speculative deduction of mythology, giving art its universal foundation. Thus, the intersection between aesthetics and mythology offers both a key to the reading of the individual thinking of these authors and a broader view of the intellectual development of this periods, which led aesthetics, as a science of sensibility, to be finally established as a philosophy of art in a speculative and autonomous sense.

Dissertation--Fakultät für Philosophie und Geschichte--Universität Tübingen. / Bibliogr. p. 185-207.

Diss.--Philosophische Fakultät--Heidelberg--Ruprecht-Karls-Universität, 2005.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Habilitationsschrift--Tübingen--Katholisch-theologische Fakultät, 1964. Titre de soutenance : Philosophie und Theologie der Geschichte in der Spätphilosophie Schellings.

Tübingen, Universiẗat, Diss., 2004.

In what sense, if any, is time related to nature? In this dissertation, I argue that Aristotle's Treatise on Time (<italic>Physics</italic> iv 10-14) must be read in light of his foregoing discussion of nature (<italic>phusis</italic>) in Physics i-iv 9. Thus, Aristotle's definition of time (<italic>chronos</italic>) in Physics iv 11, that time is the number (<italic>arithmos</italic>) of motion (<italic>kinesis</italic>) with respect to before and after (219b1), is highly contextualized and as such must be understood as not only derivative of both Aristotle's definition of nature, as the inner capacity for motion and rest (192b13-22), and of his explanation of kinêsis, but also parallel to his analyses of the infinite (<italic>apeiron</italic>), place (<italic>tops</italic>), and void (<italic>kenos</italic>). What is more, I bring attention to the fact that Aristotle's understanding of nature is shaped fundamentally by the distinction he makes in the <italic>Physics</italic> and elsewhere (<italic>Metaphysics</italic> iv) between potentiality (<italic>dunamis</italic>) and actuality (<italic>entelecheia</italic>). With this in mind, I distinguish between the potential for time and actual time in Aristotle and conclude that the human being, along with actual motion, is both the necessary and sufficient condition for actual time on his account. Time, for Aristotle, then, results from an interaction between two or more parts of nature. It is not an a priori substance to be examined qua itself. My conclusions, therefore, offer a solution to those who read Aristotle's Treatise on Time as a confused inquiry, i.e. one that oscillates between a theory of knowledge and a theory of reality and combines what many believe to be Aristotle's characteristic realism with idealism. Finally, I use these conclusions to show a likeness between the account of time I attribute to Aristotle and what I suggest to be a return to thinking about time as derivative of a theory of nature in early Schellingian <italic>Naturphilosophie</italic>. / McAnulty College and Graduate School of Liberal Arts; / Philosophy / PhD; / Dissertation;

Texte remanié de: Thèse de doctorat--Lettres--Paris, [1932].