Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2008 / Bibliografia: p.130-135 / Esta dissertação tem por objetivo investigar como Schiller recebe o conceito de sublime kantiano e como ele desenvolve para fundamentar esteticamente a compreensão que tem a respeito do teatro. Inicialmente, o conceito de sublime schilleriano é construído / The purpose dissertation is to research the way Schiller understands the concept of the Kantian sublime and how it develops it to aesthetically base his own comprehension about teatre. Initially, Schiller's concept is based on Kant's one, However as the

Made available in DSpace on 2015-08-20T17:10:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-03-20. Added 1 bitstream(s) on 2015-08-20T17:25:56Z : No. of bitstreams: 1 000841172.pdf: 1126715 bytes, checksum: 74d1263162a94bdea5f2edde140e168b (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente estudo tem como objetivo discutir as teorias de Friedrich Schiller (1759-1805) e Heinrich von Kleist (1777-1811) sobre a graça, a dignidade, o belo e o sublime, comparando-as, a fim de mostrar as divergências e as confluências dessas concepções estéticas, que foram desenvolvidas nos períodos clássico (com Schiller) e romântico (com Kleist). Tendo como referencial principal para a análise dessas categorias os ensaios Sobre graça e dignidade (Über Anmut und Würde), de Schiller, e Sobre o teatro de marionetes (Über das Marionettentheater), de Kleist, procuramos mostrar na dissertação como as teorias estéticas dos dois autores refletem as tensões existentes entre Classicismo e Romantismo na Alemanha, e como essas tensões estabelecem diferenças entre a ideia de forma em Schiller e Kleist, tendo em vista que a harmonia clássica e a desarticulação dessa harmonia são temas frequentes. Schiller preza pela manutenção da harmonia e busca na arte o caminho para que o homem alcance o equilíbrio; Kleist, pela via da desconstrução do modelo clássico, joga com a forma, de maneira a desarticulá-la, transformando-a em palco para o advento do ritual dionisíaco; não mais a serenidade e harmonia de Apolo que imperam, mas sim o frenesi de Dionísio, que domina e se expande de maneira extraordinária. Dessa maneira, as categorias do belo, da graça e do sublime ganham em Schiller e Kleist dimensões díspares e afins, abrindo espaço para a comparação de suas obras. Aproveitando-nos dos apontamentos feitos por Friedrich Schiller sobre a tragédia como instância que proporciona ao homem o entretenimento e a liberdade através de meios morais, utilizamos as peças Die Jungfrau von Orleans (Friedrich Schiller, 1801) e Penthesilea (Heinrich von Kleist, 1808) como via de exemplificação prática de como estes autores usaram as concepções estéticas apontadas acima para a construção da ação de suas heroínas... / This study has the objective to discuss the theories of Friedrich Schiller (1759-1805) and Heinrich von Kleist (1777-1811) about grace, dignity, beauty and sublime, comparing them in order to show the differences and the confluences of these aesthetic concepts that were developed in the classical period (with Schiller) and romantic (with Kleist).Using as a basis for the analysis of these categories the essays On Grace and Dignity (Über Anmut und Würde), by Schiller and On the Marionette Theatre (Über das Marionettentheater), by Kleist, we are showing as the aesthetic theories of the two authors reflect the tensions between Classicism and Romanticism in Germany, and how these tensions establish differences between the idea of form in Schiller and Kleist, considering that classical harmony and the dismantling of this harmony are common themes. Schiller values the maintenance of harmony and search in the art a way for men to achieve balance; Kleist, through the deconstruction of the classical model, play with form, dismantling it, turning it into a stage for the advent of the Dionysian ritual; no more serenity and harmony of Apollo that reign, but the frenzy of Dionysus, which dominates and expands in an extraordinary way. Therefore, the categories of beauty, grace and sublime acquire in Schiller and Kleist different and similar dimensions, making possible the comparison of their works. Utilizing the notes made by Friedrich Schiller about the tragedy as an instance that provides entertainment to man and freedom through moral means, we are using the plays Die Jungfrau von Orleans (Friedrich Schiller, 1801) and Penthesilea (Heinrich von Kleist, 1808) as a form of practical exemplification of how these authors used the aesthetic conceptions mentioned above for the construction of the action of his heroines, characterizing them to attend these aesthetic assumptions

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Schillers Ausbildung ist von der zeitgenössischen Popularphilosophie, besonders der Anthropologie geprägt. Er entwickelt Denkfiguren, die er ein Leben lang beibehält und die sein Schreiben in jeder Hinsicht prägen. Das wirkt sich auch in seinem Umgang mit der bildenden Kunst aus, der deutlich komplexer ist als gemeinhin angenommen. Schillers Zugriff auf die bildende Kunst ist für den deutschen Klassizismus einzigartig, wie sich bereits in seiner frühesten Schrift zeigt, die sich mit ihr befasst, dem Brief eines reisenden Dänen. Damit er sich mit der Kunst befassen kann, muss sie als Kunstwerk depotenziert werden und zur Verfügungsmasse im argumentativen Zusammenhang werden. Besonders im Brief zeigt sich, dass Schiller keineswegs ein Winckelmannepigone ist, sondern sehr exakt das Sprachmaterial aufnimmt, das Winckelmann in seiner Geschichte der Kunst des Altertums vorgibt, und ein einer Weise frei damit umgeht, wie es der angeblich Nachgeahmte nicht intendiert hatte. Damit aber verwandelt sich Schiller auf seine eigene Weise die ›Kunstwerke‹ an, wie sie nur von ihm so gesehen werden konnten. Darüber hinaus lässt sich dieser Schillersche Eigensinn in der Behandlung bildender Kunst ebenfalls in den ästhetischen Schriften der 1790er Jahre verfolgen. Es handelt sich dabei nicht mehr um Werke, in deren Zentrum die Kunst steht; aber an entscheidenden Stellen kommt Schiller immer wieder auf Werke der bildenden Kunst zu sprechen. Dabei ist es in der Ästhetischen Erziehung auffälligerweise ein Frauenporträt, welches zum Signum der Argumentation wird. – Daraus ergibt sich eine Parallele zu Goethes Unterhaltungen deutscher Ausgewanderten, worin ebenfalls das Weibliche zum bestimmenden Prinzip wird. – Es ist aber vor allem Schillers jahrelange Beschäftigung mit dem Erhabenen und Laokoon, die seine Phase der ästhetischen Schriften durchziehen. Es hierbei der besondere Zugriff Schillers auf die Kunst, die signifikant ist, da er stets anders über Laokoon schreibt, als es die anderen Klassizisten der Zeit tun. Auf diese Weise zeigt sich, dass Schiller einen eigenen anthropologisch-philosophischen Zugang zur bildenden Kunst hat und nicht einfach vorgegebene Schriften über sie rezipiert und dass dieser Zugang vergleichbar seinem Denken über alles Schreiben hinweg, seien es Gedichte, Dramen oder historische Schriften, den Mensch und seine Doppelnatur in den Mittelpunkt stellt. / Schiller’s education is informed by contemporary popular philosophy, especially the anthropology. He develops figures of thinking which he maintains for his entire life and which influences his writing in every step. This has an effect on his dealings with visual arts, too, that is more complex than supposed to. Schiller’s access to visual arts is unique to the German classicism, shown first in his early work that approaches it, the Brief eines reisenden Dänen. For dealing with visual arts it is necessary to disempower the masterpiece and to provide it as term at disposal for his patterns of argument. Especially in the Brief you can see Schiller is not an epigone of Winckelmann, but he very exactly assimilates the words by Winckelmann in his Geschichte der Kunst des Altertums and freely handles in such way, Winckelmann had never aimed at. So Schiller adopts the masterpieces in his own way, and they could only seen this way by him. Furthermore Schiller’s pertinacity in dealing with visual arts you can persue in his aesthetic works during the 1790ies. In this works centers no longer the masterpieces, but at critical passages Schiller writes regularly about works of art. In the Ästhetische Erziehung it is noticeably a portrait of a woman which is the signum of argumentation. – And there is a parallel to Goethe’s Unterhaltungen deutscher Ausgewanderten, in which the womenkind is the defining concept. – It is especially Schiller’s occupation with the sublime and Laocoon, that permeates his aesthetic writing. It is Schiller’s extraordinary dealing with visual arts and masterpieces, because he writes about Laocoon in different manner than the other contemporary classicists. So you can see his own anthropological-philosophical access to visual arts and that he not only adapts encountered works. This access is similar to his life-long thinking in all writings, poems, tragedies or historical works, which centers man and his double nature. / Bekanntlich erhält Friedrich Schiller während seiner Zeit in der Hohen Karlsschule eine grundlegende philosophisch-anthropologische Ausbildung. In dieser steht der Mensch in seiner Doppelnatur als physisches und geistig-seelisches Wesen im Zentrum. Das Denken in diesen oppositionellen Kategorien wird Schiller ein Leben lang beibehalten, es organisiert selbst sein Schreiben. Also auch dasjenige über die bildende Kunst, welches hierdurch ein eigenes Gewicht bekommt sowie eine Gestalt, die spezifisch für ihn ist: Es ist die Kunst, die am Übergang von Versinnlichung und Versprachlichung eines Arguments zu finden ist und damit zu einem Signum der ästhetischen Schriften der 1790er Jahre wird.

Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2017-2018 / La pensée créative est au coeur de la pratique de la philosophie en communauté de recherche. Pratiquement absente de la littérature entourant cette pratique, il est nécessaire de rappeler son importance et surtout, de révéler ce qui favorise son développement. C'est ce dernier objectif qui est au centre de notre mémoire. Pour l'atteindre, nous examinons d'abord ce en quoi consistent la Philosophie pour les enfants et la pensée créative. Puis, nous faisons appel aux réflexions de Friedrich Schiller sur la créativité pour découvrir ce qui, à ses yeux, en permet le développement : l'équilibre entre la rationalité et la sensibilité. Enfin, nous montrons comment il serait possible d'encourager les enfants à penser de manière créative en retrouvant, dans les romans écrits par Matthew Lipman, la complémentarité de la rationalité et de la sensibilité.

Made available in DSpace on 2015-04-14T13:54:58Z (GMT). No. of bitstreams: 1 411013.pdf: 564182 bytes, checksum: c4b1a24a95bad17c417660dc3fd51af8 (MD5) Previous issue date: 2008-11-15 / Neste trabalho abordamos, na obra de F. Schiller, a reflex?o est?tica da arte e do belo. Saber e conhecer, sentimento e princ?pios, mat?ria e forma, sentir e pensar, s?o constituintes do homem em igualdade e medida, segundo Schiller, e constituem aqui o foco principal de nosso interesse. A arte e o belo relacionam-se intimamente no homem f?sico e moral. O impulso sens?vel e formal equilibram-se em unidade no impulso da beleza, l?dico e arte. A beleza por si s? seria suficiente para tir?-lo do estado natural e do estado passivo, ao que o belo leva-o a frui??o e ao jogo. Afian?a Schiller que, nele, o jogo suporta o fundamento da sua reflex?o filos?fica. No impulso est?tico, os impulsos vitais implicam-se e fundam-se a um s? tempo no ?nimo e no pensamento, na forma livre das coa??es externas. N?o obstante a vontade, querer e fazer implicam-se na reciprocidade est?tica, na conquista da autonomia e da liberdade do fazer-se humano e suas lides

Inaug.-diss.--Leipzig. / Lebenslauf.

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The author's Habilitationsschrift--Freiburg, 1977. / Includes text in French and Swedish. Includes bibliographical references (p. 363-381) and index.

Submitted by Maurílio Figueiredo (maurilioafigueiredo@yahoo.com.br) on 2013-02-28T19:45:15Z No. of bitstreams: 1 DISSERTAÇÃO_TarefaInfinitaSchiller.pdf: 599569 bytes, checksum: 221dd18ddf5d3a0102aff91d78c59657 (MD5) / Approved for entry into archive by Neide Nativa (neide@sisbin.ufop.br) on 2013-03-04T18:41:07Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_TarefaInfinitaSchiller.pdf: 599569 bytes, checksum: 221dd18ddf5d3a0102aff91d78c59657 (MD5) / Made available in DSpace on 2013-03-04T18:41:07Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_TarefaInfinitaSchiller.pdf: 599569 bytes, checksum: 221dd18ddf5d3a0102aff91d78c59657 (MD5) Previous issue date: 2009 / Este trabalho pretende investigar em que medida e de que maneira Friedrich Schiller desenvolveu uma teoria da escrita filosófica. Para tanto, recorremos às suas influências filosóficas diretas, sobretudo suas leituras de Kant, assim como nos dispusemos a procurar em outros escritos, como os textos sobre o teatro e suas obras dramáticas, as referências que pudessem contribuir para a execução desta empreitada. As reflexões de Schiller sobre o tema nos surpreenderam positivamente, o que nos levou, inclusive, a buscar na filosofia contemporânea os desdobramentos das suas ideias sobre a disputa entre a filosofia, a ciência e a arte pelo papel preponderante na formação cultural da humanidade (Bildung). Afinal, este fora o contexto político e histórico de suas investigações, que ele jamais deixou de lado em seu pensamento. _______________________________________________________________________________________________________________________________________ ABSTRACT: This work intends to investigate how far and in what manner Friedrich Schiller has developed a theory of philosophical writing. For that, reason, we have invoked his direct philosophical influences, especially his readings of Kant. We have also looked upon some of his writings, to say, his texts about drama and some plays, in order to find references that could lead us to such a conclusion. Schiller‟s thoughts about writing have positively surprised us, what lead up to a deeper search of the consequences, in contemporary philosophy, of his ideas on a possible dispute among philosophy, science and art for a principal and historical context of his investigations, which has never been diminished in this thought.