O objetivo principal desta dissertação consiste na apresentação da contribuição filosófica de Noël Carroll, pensador contemporâneo norte-americano, ao debate sobre o conceito de arte. Seu trabalho principal dentro do tema é duplo. De um lado, Carroll elabora um empreendimento crítico às teorias estéticas da arte que são para ele uma tradição filosófica capaz de fornecer as condições de possibilidade para o surgimento de uma definição estética da arte. E, de outro lado, Carroll elabora um empreendimento propositivo a partir do qual sua posição no debate definicional sobre o termo ‘arte’ pode ser evidenciada. Em sua etapa crítica, o pensamento de Carroll: (1) desenvolve uma genealogia das teorias estéticas, apresentando assim o arcabouço histórico para elas; (2) indica o que é comum a elas, a saber, a definição estética da arte; (3) procede a uma análise lógica dessa definição, apresentando as suas implicações e justificando o seu descredenciamento. Já em sua etapa propositiva, o pensamento de Carroll: (1) realiza um balanço das contribuições filosóficas ao debate definicional, apresentando pensadores importantes como Weitz, Dickie e Danto; (2) desenvolve um método de identificação de arte que dispensa a via definicional, chamado de narrativas identificadoras; (3) apresenta uma série de respostas às objeções desenvolvidas por outros autores ao seu método. / The main purpose of this work consists in an exposition of Noël Carroll’s philosophical contribution. Carroll is a contemporary North American philosopher whose work focuses on the debate concerning the concept of art. Our view is that his work consists in a twofold undertaking. On one side, Carroll elaborates a critical enterprise to the aesthetic theories of art that, for him, can foster the conditions and the possibilities to the outbreak of an aesthetic definition of art. On the other side, Carroll elaborates a purposeful enterprise through which his position on the definitional debate of the term ‘art’ can be easily understood. On his critical stage, Carroll: (1) makes a genealogy of aesthetic theories, giving them a historical outline; (2) indicates their common core, namely, the aesthetic definition; (3) proceeds analyzing this definition, showing its implications and justifying its disenfranchisement. In addition, on his purposeful stage, Carroll: (1) analyses relevant philosophical contributions to the definitional debate, presenting authors like Weitz, Dickie and Danto; (2) develops a method for art identification that exonerates the traditional definitional approach, called identifying narratives; (3) presents a series of replies to objections to his method made by others philosophers.

O objetivo principal desta dissertação consiste na apresentação da contribuição filosófica de Noël Carroll, pensador contemporâneo norte-americano, ao debate sobre o conceito de arte. Seu trabalho principal dentro do tema é duplo. De um lado, Carroll elabora um empreendimento crítico às teorias estéticas da arte que são para ele uma tradição filosófica capaz de fornecer as condições de possibilidade para o surgimento de uma definição estética da arte. E, de outro lado, Carroll elabora um empreendimento propositivo a partir do qual sua posição no debate definicional sobre o termo ‘arte’ pode ser evidenciada. Em sua etapa crítica, o pensamento de Carroll: (1) desenvolve uma genealogia das teorias estéticas, apresentando assim o arcabouço histórico para elas; (2) indica o que é comum a elas, a saber, a definição estética da arte; (3) procede a uma análise lógica dessa definição, apresentando as suas implicações e justificando o seu descredenciamento. Já em sua etapa propositiva, o pensamento de Carroll: (1) realiza um balanço das contribuições filosóficas ao debate definicional, apresentando pensadores importantes como Weitz, Dickie e Danto; (2) desenvolve um método de identificação de arte que dispensa a via definicional, chamado de narrativas identificadoras; (3) apresenta uma série de respostas às objeções desenvolvidas por outros autores ao seu método. / The main purpose of this work consists in an exposition of Noël Carroll’s philosophical contribution. Carroll is a contemporary North American philosopher whose work focuses on the debate concerning the concept of art. Our view is that his work consists in a twofold undertaking. On one side, Carroll elaborates a critical enterprise to the aesthetic theories of art that, for him, can foster the conditions and the possibilities to the outbreak of an aesthetic definition of art. On the other side, Carroll elaborates a purposeful enterprise through which his position on the definitional debate of the term ‘art’ can be easily understood. On his critical stage, Carroll: (1) makes a genealogy of aesthetic theories, giving them a historical outline; (2) indicates their common core, namely, the aesthetic definition; (3) proceeds analyzing this definition, showing its implications and justifying its disenfranchisement. In addition, on his purposeful stage, Carroll: (1) analyses relevant philosophical contributions to the definitional debate, presenting authors like Weitz, Dickie and Danto; (2) develops a method for art identification that exonerates the traditional definitional approach, called identifying narratives; (3) presents a series of replies to objections to his method made by others philosophers.

Orientador: Francisco Elinaldo Teixeira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:14:26Z (GMT). No. of bitstreams: 1 Bonotto_Andre_D.pdf: 1848375 bytes, checksum: 9e343d28c56e7da9003abd8e3b754128 (MD5) Previous issue date: 2014 / Resumo: Este trabalho analisa o pensamento do filósofo analítico Noël Carroll a respeito do cinema documentário. Sua abordagem sobre o documentário envolve os temas da objetividade, de intenções autorais, da indexação das obras e da dimensão do traço histórico das imagens. O ponto principal deste pensamento localiza-se em sua teoria do cinema da asserção pressuposta, o que constitui sua definição conceitual para este gênero fílmico. Apresentamos, de início, a formação filosófica e cinematográfica deste autor, ressaltando a posição que ele ocupa no campo dos estudos de cinema e as características do método da filosofia analítica, que ele adota. Examinamos, a seguir, os textos onde Carroll apresenta seu pensamento sobre o documentário, discutindo detalhadamente os elementos presentes em sua teorização. Após isso, problematizamos alguns pontos de sua teoria, como o conceito de asserção, a relação entre as posturas mentais ficcional versus assertiva, e o papel do significado. Apontamos, por fim, relações entre o projeto teórico de Noël Carroll e outras abordagens no campo de estudos do cinema documentário / Abstract: This thesis analyzes the thought of the analytic philosopher Noël Carroll on documentary film. His approach to documentary involves issues of objectivity, authorial intentions, indexing works, and of the historical trace of images. The core of this author's thought lies in the theory of films of presumptive assertion, that which constitutes his conceptual definition for this filmic genre. It is presented, at first, the philosophical and filmic training of this author, with consideration towards the position he occupies in the field of film studies, and towards the method of analytic philosophy he adopts. Works where Carroll presents his thoughts on documentary are, then, examined, with detailed discussion on the elements that compose his theorizing. After that, some points of his theory are problematized, as the concept of assertion, the relation between fictive and assertoric stances, and the role of meaning. Finally, some comments are made about Noël Carroll's theoretical enterprise in relation to the broader field of documentary film theory / Doutorado / Multimeios / Doutor em Multimeios

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M.S.

One purpose of this writing became that of portraying in an unprejudiced manner the cultural pattern of the Virginia southwest, into which has been woven so many and varied threads constituting the warp and the woof of a distinct heritage; in the belief that no people can be thoroughly understood apart from a knowledge of their peculiar ideologies. A second purpose for this writing was to help obviate the many misconceptions regarding the so-called hill-billy; to interpret him in terms of his own philosophy and inherent culture, as he breasts the tide of modern civilization overflowing into what were formerly frontier and sequestered settlements. Thus, Chapter II is intended to preserve for posterity, especially for children in the public elementary schools, some of the typical folk-tales indigenous to Virginia's mountains; Chapter III contains some of the folk songs; Chapter IV includes legends of places; Chapter V gives some of the superstitious sayings based on former beliefs of the mountaineers; while Chapter VI is devoted to folk ways. All are intended to give an awareness of some of the many converging, yet distinct, heritable strains to be found in the region studied. To do so was a well-nigh impossible task, since even neighbors in the mountains are different, each maintaining the customs of his own inheritance, even while such customs were being "doubled and twisted", blended, strained, and refined into a definite culture pattern peculiar to the hills and valleys of southwestern Virginia. Because this research was intended to facilitate the study of the history of this section, Chapter VII gives suggestions as to how a teacher may incorporate the materials presented into the curriculum of the elementary school. The final chapter is the record of an attempt to make generalizations regarding the significance and the worth of the folklore presented in this writing. / M.S.

A close critical scrutiny of Anne Brontë’s The Tenant of Wildfell Hall, Thomas Hardy’s A Pair of Blue Eyes, and Lewis Carroll’s Through the Looking-Glass reveals that these texts are linked through their use of a chess metaphor, a device that symbolizes how the central female characters of these works become stalemated in their efforts to achieve autonomy. While the disparate but related paths these characters take can be likened to the predetermined progress of a pawn that travels the length of a chessboard to become a queen, what Brontë, Hardy, and Carroll all recognize is that this process of becoming is by no means a fulfilling one. Rather, it only serves to reveal how trapped Helen, Elfride, and Alice are within a game in which Victorian society designates them as players of only secondary importance. There is a general movement towards a more complex integration of the chess motif as we move from Brontë to Hardy and finally, to Carroll. Brontë’s incidental chess scene is reminiscent of Thomas Middleton’s use of a similar episode in Women Beware Women, and shows less sophistication than what Hardy or Carroll achieve because her moral realism lacks the creative touches found in either Hardy’s use of symbolic imagery or Carroll’s use of the fantastic and the unorthodox. However, Brontë juxtaposes her chess game with Helen’s discovery of Huntingdon’s infidelity to demonstrate how her heroine becomes trapped within a game that she is willingly coerced into playing. If Brontë suggests that relationships are like chess games played according to rules that seriously limit a woman’s ability to compete, Hardy goes to even greater lengths in using chess to show how his Wessex universe operates as its own evolving game environment, replete with obstacles and conflicts that prove catastrophic for a player as unprepared as Elfride. Indeed, Hardy’s allusion to Shakespeare’s The Tempest is critical in demonstrating how in matters of social game-playing, his heroine suffers from the unsatisfactory education she receives from her controlling father. Hardy shows greater sophistication than Brontë in using parallel chess episodes to comment on the progress of Elfride’s relationships, and he even refers to a specific opening system in chess, the Muzio Gambit, whose catalogue of moves prefigures Elfride’s romantic involvements with Stephen and Henry, as well as the unavoidable problems she encounters from the novel’s vengeful Black Queen, Mrs. Jethway. Unlike Brontë, Hardy recognizes that fate is not so careful about giving individuals what they deserve, and that a character like Elfride can pay a heavy price for her romantic misdemeanours. However, neither Brontë nor Hardy achieves what Carroll does in Through the Looking-Glass, a work that can be seen to follow in the tradition of Middleton’s A Game at Chess, and which not only incorporates the game but structures its plot on the solution to an unorthodox chess problem. If Brontë is to be celebrated for her honest portrayal of a woman who becomes trapped in a destructive marriage, and Hardy can be commended for showing how his heroine’s education in social game-playing undermines her relationships with men, Carroll’s genius rests in his ability to illustrate these kinds of experiences on a chess board through Alice’s dream of travelling across Looking-Glass land to become a queen. He does not simply give us the impression that a girl’s progress towards womanhood is like a pawn’s promotion in chess, but instead integrates these two concepts into a single experience. He also keeps the reader off guard by creating an unorthodox chess problem and a curious cast of characters, giving us a sense of being caught in a game of our own. The result of all of this is that we are drawn into Carroll’s games even as we view them as spectators, and the critical giddiness we experience in the process both helps us to share a sense of Alice’s predicament in her frustrated quest to find fulfilment, and allows us to appreciate the underlying thematic implications of the chess motif in the narrative. / Graduate

Excerpt: On July 21, 1956, Pasadena, California-based scholar Joseph Sargent Hall visited the Williams house in Haywood County, North Carolina’s Upper White Oak community, located just outside the Great Smoky Mountains National Park boundary, to make some documentary field recordings of local music.

Excerpt: In an interview published in the February 1992 issue of The Banjo Newsletter and conducted by bluegrass historian Neil Rosenberg and banjo player and instruction book author Tony Trischka, Carroll Best conveyed the depth of his connections to the instrument he had mastered: “When I was old enough to pick up a banjo I wanted to play.”

What does it sound like to fall down a rabbit hole? This was not a question that concerned Lewis Carroll when he wrote Alice’s Adventures in Wonderland, but it has challenged the many individuals who have adapted his story for film, ballet, video games, and other multimedia formats since its creation. In recent decades, the proliferation of adaptations across a variety of new media has offered scholars a renewed opportunity to more closely examine this and other critical issues raised when considering the relationships between adapted texts and their original sources. This dissertation argues for a greater critical emphasis on the aurality of adaptation by examining the narrative potential of sound in adaptations across a variety of media forms. Despite scholarship on adaptations and comparable studies contemplating sound in adapted texts, these two streams of scholarly inquiry have largely remained isolated within adaptation studies and musicology, respectively. Through this dissertation, I provide an examination of sound’s capacity to shape, nuance, or subvert the other parts of a multimedia adaptation, thus bridging these disciplinary discussions. This dissertation balances a broad survey of Alice adaptations with the highly focused examination of two case studies: Christopher Wheeldon’s ballet, Alice’s Adventures in Wonderland, and Tim Burton’s film, Alice in Wonderland. The survey demonstrates a model for analyzing the aurality of adaptation across media forms, while the case studies provide an in-depth examination of aural adaptation in relation to specific media forms. The analysis undertaken focuses on the intersection of narrative, sound, and adaptation, revealing complex and multifaceted relationships. In this work, I merge score analysis with visual and narrative analyses, using films or filmed versions of stage productions as the primary source materials. From this rigorous comparative analysis, trends in musical interpretation emerge, indicating some of the prevailing expectations concerning Alice and its aural adaptations.