I defend an understanding of Kant's theory of Geschmacksurteil as detailing an operation of the faculties that does not violate the cognitive structure laid out in the first Critique, even though one would not easily anticipate it from the standpoint of that work, nor would one initially expect aesthetic judgment to be of transcendental interest to Kant. My orientation is primarily epistemological, elaborating the determinations that govern the activity of pure aesthetic judging so as to specify it as a bestimmte type of judgment without transforming it into einem bestimmenden Urteil. I focus on identifying how the logical functions from the table of judgments operate in the pure aesthetic judgment of taste to reveal “the moments to which this power of judgment attends in its reflection” (Critique of the Power of Judgment, §1, 5:203). In the course of doing so, a picture emerges of how the world is not just cognizable in a Kantian framework but also charged with human feeling, acquiring the inexhaustible, inchoate meaningfulness that incites “much thinking” (Critique of the Power of Judgment, §49, 5:315). The universal communicability of aesthetic pleasure serves as the foundation that grounds robust intersubjective relations, enabling genuine connection to others through a shared a priori feeling. / McAnulty College and Graduate School of Liberal Arts; / Philosophy / PhD; / Dissertation;

My thesis aims to delve into Immanuel Kant&rsquo / s formulation of the faculty of imagination in his Critique of Pure Reason and Critique of the Power of Judgment. In relation to the First Critique, it specifically concerns the relation of the &ldquo / mysterious&rdquo / function of imagination to the object and its representation as one of the fundamental steps of the emergence or production of theoretical knowledge. As regards the Third Critique, it scrutinizes the relation of imagination to reflective, as opposed to determinative, judgment and seeks to specify its role in aesthetic appreciation and artistic creativity. The thesis first provides us with a background to Kant&rsquo / s philosophy, delineating the specific issues at hand and briefly introducing important Kantian fundaments, along with imagination, by making use of secondary literature. It then views imagination as has been theorized throughout the history of philosophy up until the age of Enlightenment and examines Kant&rsquo / s two Critiques with a focus on imagination. Thirdly, it evaluates the aspects of Kantian imagination through the works of scholars whose differing interpretations are compared and disputed. Taking mainly the discussions of the previous chapter into account, the conclusion chapter constitutes my own interpretation of the disputes and possible solutions related to the imagination within the broader frame of Kantian philosophy.

This thesis explores what an aesthetic judgment would be if we take existence to be non-duallyinterconnected. Interconnectedness and aesthetic judgment does not seem to be compatible becauseaesthetic judgment seems to depend on, at least, the dualism of the beautiful and the ugly and that ofsubject and object. In contrast, interconnectedness can not accept these dualisms.Zen philosopher Dōgen provides a non-dually interconnected framework that allows for aestheticjudgments in an interconnected view of existence. Zen philosophy concludes that we can both havedualism and non-dualism and that the ideas do not cancel each other out but deal with differentaspects of existence. Dualism with a centric view where existence is viewed from a standpoint andthus is restricted by a perspective, and enlightenment, where existence is perceived non-duallyinterconnected, can coexist. Because Aesthetic judgments are dependent on dualism, they must takeplace on the centric plane of existence. However, because, in enlightenment, everything is seen asBeautiful, it can not reveal much about an object’s beauty. Instead, the aesthetic judgment revealssomething about the standpoint taken in judgment. In light of this reformulation of the meaning ofaesthetic judgments, aesthetics will become phenomenological no matter if you deal with howcentric or enlightened ways of existence reveal themselves. Whether your focus is on aestheticjudgments, appreciation, or artistic practice, you will always deal with aesthetic experiences.

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Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-06-28T17:46:12Z No. of bitstreams: 1 AnaJaciraOliveira.pdf: 1541747 bytes, checksum: f55c1e62400b40f4ab2554ffce162c92 (MD5) / Made available in DSpace on 2017-06-28T17:46:12Z (GMT). No. of bitstreams: 1 AnaJaciraOliveira.pdf: 1541747 bytes, checksum: f55c1e62400b40f4ab2554ffce162c92 (MD5) Previous issue date: 2017-01-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / The expressions of the contemporary art provoke, today, a large discussion about topics not considered in the tradition of the art as institution. In this context, the ability to establish relationships between people presents itself as an opening that involves the artistic and political universe. Highlighting the space-time elements that constitute this relationship, the objective was to analyze how they are based on the aesthetic phenomenon of contemporary visual art, a potential public own of political action. This analysis is based on the political conceptions of Hannah Arendt, which involves the conditioning activities of human life on Earth, the objective nature of art, the activities of the spirit, and the author's appropriation of the Kantian judgment of taste. The context analyzed assumes importance when establishing a link between aesthetics and politics, because the taste refers to an extended thought about what appears. The analysis of the political potential of taste refers to the context in which the public space falls apart and in which an aesthetized society emerges. Considering the performance of artists who broke with the notion of beautiful and artistic object, we find in the poetic proposals of Banksy, collective woodcut Map and Beth Moysés, elements that makes up the manifestations that express the search for a relationship with the public based on the re-signification Of space and time, and that is given by the reflection about the way the places are constituted in the urban space. The notion of place was thought here, from the conceptions of the geographer Yi-Fu Tuan. Besides, the search searched sought the theoretical contribution of Anne Cauquelin, Vera Pallamin and Nicolas Bourriaud, authors who think about the proposals of contemporary art. Also, the philosopher Gilles Deleuze's reflections about the time, which dialogue with the tradition of thought concerning to the theme - especially Henri Bergson - contextualize the role it exercises in the relations occasioned by art between man and space, and which point to the Possibility of a re-signification of values from the perception of spaces and times lived. The phenomena of contemporary visual art inhabit in time and re-signify the urban space, constituting possible places of speech of the individual, as well as of the collective. / As expressões da Arte Contemporânea provocam hoje ampla discussão sobre temas que foram desconsiderados na tradição da arte enquanto instituição. Neste contexto, a capacidade de estabelecer relações entre pessoas apresenta-se como uma abertura que envolve o universo artístico e o político. Destacando os elementos espaço-temporais que constituem esta relação, objetivou-se analisar como eles fundamentam nos fenômenos estéticos da arte visual contemporânea, um potencial público próprio da ação política. Esta análise parte das concepções políticas da pensadora Hannah Arendt, que envolve as atividades condicionantes da vida humana na Terra, a natureza objetiva da arte, as atividades do espírito e a apropriação que a autora faz do juízo de gosto kantiano. O contexto analisado assume importância ao estabelecer um elo entre estética e política, pois o gosto remete a um pensamento alargado acerca daquilo que aparece. A análise do potencial político do gosto remete ao contexto em que o espaço público se desfaz e no qual a noção de sociedade emerge. Considerando a atuação de artistas que romperam com a noção de belo e de objeto artístico, encontramos, nas propostas poéticas de Banksy, coletivo Mapa Xilográfico e Beth Moysés, elementos que compõem as manifestações que expressam a busca de uma relação com o público, baseada na ressignificação do espaço e do tempo, e que se dá pela reflexão acerca da forma como os lugares se constituem no espaço urbano. A noção de lugar foi pensada, aqui, a partir das concepções do geógrafo Yi-Fu Tuan. Além disso, a pesquisa buscou o aporte teórico de Anne Cauquelin, Vera Pallamin e Nicolas Bourriaud, autores que pensam sobre as propostas da Arte Contemporânea. Também, as reflexões do filósofo Gilles Deleuze acerca do tempo, que dialogam com a tradição do pensamento relativas ao tema - com destaque para Henri Bergson -, contextualizam o papel que este exerce nas relações ocasionadas pela arte entre homem e espaço e que apontam para a possibilidade de uma ressignificação de valores a partir da percepção de espaços e tempos vividos. Os fenômenos da arte visual contemporânea habitam no tempo e ressignificam o espaço urbano, constituindo possíveis lugares de fala do indivíduo, bem como do coletivo.

A dissertação Sobre as verdades da ficção propõe um debate a respeito da relação entre os conceitos de ficção e real. Busca-se a defesa da hipótese de que a reavaliação desses termos contemporaneamente permite fortalecer a arte enquanto importante elemento formador da cultura. Para isso, constrói-se um caminho teórico que garante a base para uma análise crítica das dinâmicas da literatura brasileira contemporânea, fundada em regras que possibilitem a verificação de sua validade mas não em conceitos que limitem os horizontes de sua recepção. O caminho percorrido começa na análise do sujeito como conceito teórico fundamental para se pensar a linguagem e a construção de conhecimento. A literatura envolve diversas possibilidades de manifestação subjetiva, dentre as quais a construção da linguagem e do conhecimento que determinam a forma como lidamos com o mundo e como o construímos a partir das leituras que fazemos dele. Ao determinar-se o sujeito, se desenvolverá a importância e a evolução do conceito de ficção na construção literária e como a análise dos atos que a envolvem permite associá-la ao conceito de verdade e situá-la num quadro de valores que possibilita o livre movimento da criatividade mas mantém o objeto de arte inserido contextualmente. São analisadas três obras literárias brasileiras contemporâneas relevantes para o desenvolvimento teórico que se pretende: o romance Budapeste, de Chico Buarque; e o romance-teatro A tragédia brasileira e o conto O Monstro, ambos de Sérgio SantAnna. Cada uma das narrativas possibilita o desdobramento teórico das relações entre ficção e real através da análise das subjetividades presentes no texto, enquanto discurso, e no contexto de sua enunciação / The dissertation About fictions truths proposes a discussion about the relation between fiction and real theoretical concepts. The defense of the hypotheses that contemporary revaluation of those terms allows to strength the art as an important culture foundation element is aimed. For this, a theoretical path is built to guarantee the bases for a critical analyses of the contemporary Brazilian literature, based on rules that aloud its own validity verification system instead of on concepts that limits its reception horizon. The path begins on subject analyses as a fundamental theoretical concept for the study of the language and the knowledge construction. Literature aloud many possibilities of subjective manifestation, as the construction of languages and knowledge that imposes the way as we deal with the world and how we build it following the interpretation that we do about it. As the subject is constructed, the importance and the evolution of fictions concept in the literary construction is developed, and once that the analyses of its acts, aloud to associate it to the truth concept and insert it into a valuations frame system that allows the free creativitys movement but maintain the art object inside a context. Three relevant Brazilian contemporary literary works are analyzed in the dissertations ending: the romance Budapeste, by Chico Buarque; e o romance-theater A tragédia brasileira and the narrative O Monstro, both by Sérgio SantAnna. Each one of the stories allows to deep the complexity of relations between fiction and real beyond the text subjectivities analyses

A dissertação Sobre as verdades da ficção propõe um debate a respeito da relação entre os conceitos de ficção e real. Busca-se a defesa da hipótese de que a reavaliação desses termos contemporaneamente permite fortalecer a arte enquanto importante elemento formador da cultura. Para isso, constrói-se um caminho teórico que garante a base para uma análise crítica das dinâmicas da literatura brasileira contemporânea, fundada em regras que possibilitem a verificação de sua validade mas não em conceitos que limitem os horizontes de sua recepção. O caminho percorrido começa na análise do sujeito como conceito teórico fundamental para se pensar a linguagem e a construção de conhecimento. A literatura envolve diversas possibilidades de manifestação subjetiva, dentre as quais a construção da linguagem e do conhecimento que determinam a forma como lidamos com o mundo e como o construímos a partir das leituras que fazemos dele. Ao determinar-se o sujeito, se desenvolverá a importância e a evolução do conceito de ficção na construção literária e como a análise dos atos que a envolvem permite associá-la ao conceito de verdade e situá-la num quadro de valores que possibilita o livre movimento da criatividade mas mantém o objeto de arte inserido contextualmente. São analisadas três obras literárias brasileiras contemporâneas relevantes para o desenvolvimento teórico que se pretende: o romance Budapeste, de Chico Buarque; e o romance-teatro A tragédia brasileira e o conto O Monstro, ambos de Sérgio SantAnna. Cada uma das narrativas possibilita o desdobramento teórico das relações entre ficção e real através da análise das subjetividades presentes no texto, enquanto discurso, e no contexto de sua enunciação / The dissertation About fictions truths proposes a discussion about the relation between fiction and real theoretical concepts. The defense of the hypotheses that contemporary revaluation of those terms allows to strength the art as an important culture foundation element is aimed. For this, a theoretical path is built to guarantee the bases for a critical analyses of the contemporary Brazilian literature, based on rules that aloud its own validity verification system instead of on concepts that limits its reception horizon. The path begins on subject analyses as a fundamental theoretical concept for the study of the language and the knowledge construction. Literature aloud many possibilities of subjective manifestation, as the construction of languages and knowledge that imposes the way as we deal with the world and how we build it following the interpretation that we do about it. As the subject is constructed, the importance and the evolution of fictions concept in the literary construction is developed, and once that the analyses of its acts, aloud to associate it to the truth concept and insert it into a valuations frame system that allows the free creativitys movement but maintain the art object inside a context. Three relevant Brazilian contemporary literary works are analyzed in the dissertations ending: the romance Budapeste, by Chico Buarque; e o romance-theater A tragédia brasileira and the narrative O Monstro, both by Sérgio SantAnna. Each one of the stories allows to deep the complexity of relations between fiction and real beyond the text subjectivities analyses

Cette thèse étudie, dans le cadre de la théorie de l’action conjointe, l’évolution de l’épistémologie pratique d’un enseignant d’EPS non spécialiste en danse, en lien avec des stages de formation continue qu’il a suivis pendant trois ans. L’analyse longitudinale effectuée sur une durée de six ans a été menée selon une approche multidimensionnelle de données d’observation de séances. Un premier niveau s’intéresse au système de didactique-formation mis en œuvre dans chacun des trois stages. Un deuxième étudie les pratiques d’enseignement de la danse en classes de sixième selon deux échelles d’analyse. La première, macro-didactique, s’attache à décrire les pratiques et les savoirs mobilisés par l’enseignant au fil des années et à faire émerger des "jeux d’apprentissage" en lien avec les œuvres chorégraphiques. La deuxième échelle, micro-didactique, étudie plus spécifiquement, à partir de quatre jeux d’apprentissage, l’évolution du rapport aux œuvres chorégraphiques de ce professeur. Les résultats montrent que les savoirs mis à l’étude et les expériences réalisées pendant les stages de formation sont (re)convoqués et remaniés de façon singulière par l’enseignant au cours de l’action conjointe avec les élèves, contribuant à faire évoluer son épistémologie pratique. / This doctoral thesis studies within the joint action theory in didactics the evolution of a teacher’s practical epistemology that has no expertise in dance. The analysis is in relation with teacher continuing professional learning sessions he followed during three years. A longitudinal six years analysis was conducted using a multi-dimensional approach of observational data lessons. At a first step the didactical system of professional learning sessions was studied. The second step concerns the observation of teacher’s practice in a middle school during physical education classes (students: 11 to 12 years). Two scales were used: the first macro-didactic scale describes the practices and the knowledge enacted by the teacher all over the years and contributes to define “learning games” which are in relation with choreographic artworks. The second micro-didactic scale examines in details the teacher’s relationships to choreographic artworks during four learning games. The findings show that the knowledge to be taught and learned as proposed during the professional learning sessions is remodeled and mobilized in singular ways during the joint action with students. All of this contributing to teacher’s practical epistemology moves.

A fruição estética envolve um processo ativo de percepção visual e interpretação de informação capaz de evocar sensações, emoções, e sentimentos. A estética experimental busca entender como artistas utilizam elementos visuais em suas obras e como esses elementos são processados à nível consciente no indivíduo. Diversos experimentos psicológicos e pesquisas recentes em neuroestética permitiram acesso quantitativo sobre julgamento estético. O presente trabalho realizou dois experimentos psicofísicos que permitiram medir julgamento emocional em obras de arte abstrata. Experimento 1. Objetivo: realizar uma tarefa de ordenamento de obras de arte para adjetivos de emoção. 55 participantes (55% sexo feminino, idade média: 31; SD: 11). Foram calculadas as correlações entre as emoções, podendo compará-las com o modelo circular afetivo, e os resultados se mostraram satisfatórios. Experimento 2. Objetivo: desenvolver uma escala psicofísica utilizando o caso V da lei do julgamento comparativo a fim de estabelecer as distâncias subjetivas dos julgamentos emocionais para obras de arte abstrata. 39 participantes (52% sexo feminino, idade média: 28; SD: 10). A formulação psicofísica feita idealmente para julgamento discriminatório de estímulos físicos simples pôde ser aplicada em julgamento discriminatório subjetivo e de bastante complexidade. O uso do escalonamento psicofísico permitiu um eficiente acesso quantitativo das distâncias dos julgamentos das emoções em cada obra de arte. 10 Espera-se que o trabalho proposto permita, através de uma reconciliação interdisciplinar entre neurociência e psicologia, novas abordagens e métodos livres de vieses subjetivos para o estudo de julgamento estético / Aesthetic appreciation involves a process of visual perception and interpretation capable of evoking sensations, emotions and feelings. Experimental aesthetics seeks to understand how artists use elements in their works and how these elements are processed in the individual in a conscientious level. Several psychological experiments and recent researches in neuroesthetics allowed quantitative access on aesthetic judgment. The present work carried out two psychophysical experiments that allow measuring emotional judgment in works of abstract art. Experiment 1. Objective: to carry out a task of ordering works of art for adjectives of emotion. 55 participants (55% female, mean age: 31; SD: 11). They were calculated as correlations between emotions, being able to compare them with the affective circular model, and the results were satisfactory. Experiment 2. Objective: to develop a psychophysical scale using case V the law of comparative judgment in order to establish as subjective distances from emotional judgments to abstract works of art. 39 participants (52% female, mean age: 28; SD: 10). A psychophysical formulation ideally made for discriminatory judgment of simple physical stimuli was applied in subjective and complex discriminatory judgment. The use of psychophysical scaling allowed an efficient access to the distances of the judgments of the emotions in each work of art. It is expected that the proposed work will allow, through an interdisciplinary reconciliation between neuroscience and psychology, new approaches and methods free of bias for the study of aesthetic judgment.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-11-16T17:05:38Z No. of bitstreams: 1 Danton Guilherme Oestreich_.pdf: 658443 bytes, checksum: d5f5339cace57449e1ae2d5125e7c3d7 (MD5) / Made available in DSpace on 2016-11-16T17:05:38Z (GMT). No. of bitstreams: 1 Danton Guilherme Oestreich_.pdf: 658443 bytes, checksum: d5f5339cace57449e1ae2d5125e7c3d7 (MD5) Previous issue date: 2016-08-30 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Gadamer desenvolve sua ontologia da obra de arte recorrendo ao conceito de jogo para expressar o modo de ser obra da arte, salientando a importância de libertar o conceito do significado subjetivo que, desde a estética de Kant, prevaleceu para a abordagem da arte bela. A julgar pela natureza hermenêutica da sua investigação, ele parece ter em vista a intenção de contrapor a necessidade de uma mediação histórica do conteúdo da arte diante da noção estética que privilegia a simples distinção formal da arte. De fato, isto sugere um confronto com a noção de jogo livre das faculdades da imaginação e do entendimento de Kant que se refere ao estado ideal do ânimo quando este está inclinado a reconhecer algo como belo e que é autônomo de questões de conteúdo na perspectiva de uma distinção formal. Além disso, para Kant, no caso das obras de arte, a possibilidade de ajuizamento da beleza seria mediada pelo conceito de forma da arte em questão, onde a música acaba sendo definida como o “belo jogo das sensações do ouvido”. Cabe perceber, desta forma, que na música encontramos uma confluência das dimensões estética, hermenêutica e formal através do mesmo conceito de jogo, o que permite considerar a leitura gadameriana do juízo estético sob as peculiaridades da arte musical. Assim, o propósito deste estudo é averiguar a tensão existente entre uma consideração do belo musical enquanto dependente de uma autonomia estética ou enquanto dotado de questões de conteúdo para o qual a forma tem que ser referente. Esta situação problema será apresentada a partir da forma musical de um exemplo específico – a saber: o final da primeira sonata Royal Winter Music de Hans Werner Henze – para mostrar como aspectos da teoria kantiana e gadameriana podem ser significativos para a compreensão da experiência musical. / Gadamer develops its ontology of the artwork using the play concept to express the mode of being of the work of art, stressing the importance of freeing the concept from the subjective meaning that, since Kant's aesthetics, prevailed in the approach the beautiful art. Judging by the hermeneutic nature of his research, he seems to have in mind the intention of counteracting the need for a art content's historical mediation on the aesthetic notion that favors simple formal distinction of art. In fact, this suggests a confrontation with Kant's notion of free play of the faculties of imagination and understanding, referred to the ideal state of mind when it is inclined to recognize something as beautiful and autonomous from content issues in a perspective of formal distinction. Moreover, for Kant, in the case of works of art, the possibility of beauty judgment would be mediated by the concept of art form in question, where the music ends up being defined as the "beautiful play of ear sensations”. In this way, it should be noted that in music we find a confluence of aesthetic, hermeneutics and formal's dimensions through the same play concept, what allowing the consideration of Gadamer's reading of aesthetic judgment under the peculiarities of musical art. Thus, the purpose of this study is to ascertain the tension between a consideration of the musical beautiful as dependent on an aesthetic autonomy or as endowed with content issues for which the musical form has to be related. This problem situation is presented from the musical form of a specific example – namely: the end of the Hans Werner Henze's Royal Winter Music first sonata – to show how aspects of the theories of Kant and Gadamer can be significant for understanding the musical experience.