Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo principal deste trabalho será investigar algumas das teses de Arthur Danto, que reconhece nas práticas artísticas contemporâneas um ponto de inflexão a partir do qual um novo paradigma artístico, ainda hoje em plena vigência, teria se imposto. Abordaremos a obra de Danto a partir do ponto de vista de Gilles Deleuze e Felix Guattari, que em O que é a Filosofia? Afirmam ser a filosofia uma criação que consistiria de três elementos fundamentais, quais sejam: o plano de imanência, os conceitos e os personagens conceituais. Assim, utilizaremos esta perspectiva para definir o plano de imanência de Danto, bem como seus conceitos e personagens, aproveitando para refletir sobre a relevância e validade filosófica de associar escolas filosóficas antagônicas, tais como a filosofia americana e a filosofia francesa. / The main objective of this work is to investigate some of the thesis of Arthur Danto, who recognizes in the contemporary artistic practices an inflection that establishes a new artistic paradigma, which validity persists until today. Our intention is to approach Dantos ouvre through Gilles Deleuze and Felix Guattaris philosophy, wich says, in What philosophy is?, that philosophy is a creation consisting of three fundamental elements, namely: the immanency plan, the concepts, and the conceptual characters. Thus, we will be using this theoretical perspective to define Dantos immanency plan, as well as his concepts and characters, using the opportunity to consider the philosophical relevance of associating antagonical philosophycal schools, such as american and french philosophy.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo principal deste trabalho será investigar algumas das teses de Arthur Danto, que reconhece nas práticas artísticas contemporâneas um ponto de inflexão a partir do qual um novo paradigma artístico, ainda hoje em plena vigência, teria se imposto. Abordaremos a obra de Danto a partir do ponto de vista de Gilles Deleuze e Felix Guattari, que em O que é a Filosofia? Afirmam ser a filosofia uma criação que consistiria de três elementos fundamentais, quais sejam: o plano de imanência, os conceitos e os personagens conceituais. Assim, utilizaremos esta perspectiva para definir o plano de imanência de Danto, bem como seus conceitos e personagens, aproveitando para refletir sobre a relevância e validade filosófica de associar escolas filosóficas antagônicas, tais como a filosofia americana e a filosofia francesa. / The main objective of this work is to investigate some of the thesis of Arthur Danto, who recognizes in the contemporary artistic practices an inflection that establishes a new artistic paradigma, which validity persists until today. Our intention is to approach Dantos ouvre through Gilles Deleuze and Felix Guattaris philosophy, wich says, in What philosophy is?, that philosophy is a creation consisting of three fundamental elements, namely: the immanency plan, the concepts, and the conceptual characters. Thus, we will be using this theoretical perspective to define Dantos immanency plan, as well as his concepts and characters, using the opportunity to consider the philosophical relevance of associating antagonical philosophycal schools, such as american and french philosophy.

Cet essai fut écrit sur le mode de la promenade, d’une promenade accompagnée par les voix, des voix. Parmi elles, celle de Colette, de certains de ses personnages, celles contenues en moi. L’écriture a été libre, a tenté de l’être au moins, en se séparant de l’idée qu’un but précis, qu’une destination finale devait être atteinte. Il s’agissait de me laisser guider par l’errance des mots, par le rythme que prend la plume quand elle pense. De Colette, je ne dis rien, ou presque. Mon but étant de l’entendre, c’est en tant que lectrice que j’ai pris place dans cette réflexion, lectrice amoureuse, c’est-à-dire, guidée par l’En-Amour, conçu comme personnage conceptuel. C’est donc de ce point de vue que les textes ont été abordés, afin de laisser place à la vie, à la mouvance, à ce qui grouille dans l’œuvre colettienne. De cette manière, il me semblait possible d’entrer réellement en relation avec les personnages, mais aussi avec la représentation que je me faisais de l’auteure. Il me fallait garder la poésie de l’écriture de Colette, y entrelacer la mienne et tenter ainsi de donner des mots à une sorte de silencieuse oralité. Et le chemin s’est poursuivi, jusqu’à une vérité relative, vérité de l’En-Amour, donnée et mise en forme par les récits colettiens et leurs sous-entendus. De cette façon, je voyais la possibilité de redonner foi et valeur au(x) discours amoureux comme potentiel(s) de vérité. / This essay was written in the manner of a stroll, a stroll in the company of voices. Among them: Colette’s, certain of her characters’ and my very own inner voices. The writing process was a free-form one, tried to be so at least, separating itself from the idea of a precise goal or final destination to be reached. It was to be guided by the roaming of the words themselves instead, by the rhythm animating the pen when it is thinking. Of Colette, I say nothing, or barely. My objective being to hear her, it’s as a reader that I positioned myself thinking, as a loving reader guided by l’En-Amour, conceived as a conceptual character. The texts have thus been addressed from such a particular point of view, to let life, movement and all that sprouts in the colettian oeuvre its space to bloom. In such manner, it appeared possible to truly relate to both the characters and my own representation of the author. I had to keep alive the poetry of Colette’s writing, intertwining mine along with it, in an attempt to word a kind of unspoken oral form. And the path continued further along, up to a relative truth, the truth of l’En-Amour, given and shaped by the colettian narratives and their understated meanings. This way, I saw the possibility of valuing and renewing faith in a (the) discourse(s) of love as potential truth.

Cet essai fut écrit sur le mode de la promenade, d’une promenade accompagnée par les voix, des voix. Parmi elles, celle de Colette, de certains de ses personnages, celles contenues en moi. L’écriture a été libre, a tenté de l’être au moins, en se séparant de l’idée qu’un but précis, qu’une destination finale devait être atteinte. Il s’agissait de me laisser guider par l’errance des mots, par le rythme que prend la plume quand elle pense. De Colette, je ne dis rien, ou presque. Mon but étant de l’entendre, c’est en tant que lectrice que j’ai pris place dans cette réflexion, lectrice amoureuse, c’est-à-dire, guidée par l’En-Amour, conçu comme personnage conceptuel. C’est donc de ce point de vue que les textes ont été abordés, afin de laisser place à la vie, à la mouvance, à ce qui grouille dans l’œuvre colettienne. De cette manière, il me semblait possible d’entrer réellement en relation avec les personnages, mais aussi avec la représentation que je me faisais de l’auteure. Il me fallait garder la poésie de l’écriture de Colette, y entrelacer la mienne et tenter ainsi de donner des mots à une sorte de silencieuse oralité. Et le chemin s’est poursuivi, jusqu’à une vérité relative, vérité de l’En-Amour, donnée et mise en forme par les récits colettiens et leurs sous-entendus. De cette façon, je voyais la possibilité de redonner foi et valeur au(x) discours amoureux comme potentiel(s) de vérité. / This essay was written in the manner of a stroll, a stroll in the company of voices. Among them: Colette’s, certain of her characters’ and my very own inner voices. The writing process was a free-form one, tried to be so at least, separating itself from the idea of a precise goal or final destination to be reached. It was to be guided by the roaming of the words themselves instead, by the rhythm animating the pen when it is thinking. Of Colette, I say nothing, or barely. My objective being to hear her, it’s as a reader that I positioned myself thinking, as a loving reader guided by l’En-Amour, conceived as a conceptual character. The texts have thus been addressed from such a particular point of view, to let life, movement and all that sprouts in the colettian oeuvre its space to bloom. In such manner, it appeared possible to truly relate to both the characters and my own representation of the author. I had to keep alive the poetry of Colette’s writing, intertwining mine along with it, in an attempt to word a kind of unspoken oral form. And the path continued further along, up to a relative truth, the truth of l’En-Amour, given and shaped by the colettian narratives and their understated meanings. This way, I saw the possibility of valuing and renewing faith in a (the) discourse(s) of love as potential truth.

Made available in DSpace on 2017-07-10T18:26:07Z (GMT). No. of bitstreams: 1 Douglas Meneghatti.pdf: 1037414 bytes, checksum: 6c34aede2731797a640b2396e89f86f6 (MD5) Previous issue date: 2014-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Nietzsche and Socrates are considered watershed thinkers and carried opposite ideas of allegedly secure and gloomy times, they both knew how to detect the gaps, or better, the historical and cultural illness that they belonged to, and which they lived, grew up and made of their lives a continuous exercise of philosophizing. This proximity of both philosophers is torn for antagonistic project that reveals, at once, the hardest opposition and the most nearness between both thinkers. The so acute and staunch criticism that are drawn by Nietzsche against Socrates in works such as The birth or tragedy and Twilight of the idols, in which appears malign expressions as devil , dying and illness ; are eased by intermediate paintings that make a friendly scenery, in which rises the shining figure of Socrates that comes as free Spirit , "big rich irony in mystery" and as "Teacher Apollonian". Nietzsche brings Socrates in every work, sometimes with shocking criticism and sometimes by suddenly praises. Analyzing the Socrates images through the Nietzsche philosophy lights allow us to travel into the deepest subject that the Germany Philosopher dealt: the diversity of characters Socrates reveals the dynamic and even the Nietzsche diversity that shows a philosophy in contrast come-to-be (Werden), in a process that is flexible and bellicose at the same time, through the philosophy is built while effective (Wirklichkeit), in a continuous pursuit for overcoming oneself (Selbst), this requires an unconditional love for the life in its misfortune (Verhängniss). The whole work is a presentation of images of Socrates under Nietzsche views, in order to show the mainly traces that built the complex theoretical relationship between both thinkers, as well as the elements that give us the possibility of thinking in a overcoming of the man built by Socrates while theoretical man prototype. Nietzsche diagnostics in this human being the genesis of the decadence of the Western that develops itself under the eagis of the Socrates idea of fearlessness of death, thanks to the knowledge and to the dialectic procedure, that characterize the image of the dying Socrates, mainly aim of the Nietzsche attacks. Thus, first, through a mapping of the images of Socrates in his works and in the posthumous fragments of the German philosopher, will be possible to have a vision more specific of the Nietzschean thought. Then considering the work Ecce Homo, in which there are some central points of his works, it will seek for elements that distinguish Nietzsche and Socrates as an expression of the maximum western decadence. / Nietzsche e Sócrates são considerados pensadores divisores de água e, como antinomias de tempos pretensamente seguros e sóbrios, ambos souberam detectar as lacunas, ou melhor, o adoecimento histórico-cultural a que pertenciam, no qual viveram, cresceram e pelo qual fizeram de sua vida um contínuo exercício de filosofar. Essa proximidade entre ambos é dilacerada por projetos antagônicos que revelam, ao mesmo tempo, a mais dura antinomia e a mais branda proximidade entre os pensadores. As críticas tão agudas e ferrenhas que são desenhadas por Nietzsche contra Sócrates em obras como O Nascimento da tragédia e o Crepúsculo dos ídolos, nas quais surgem nefastas expressões como demônio , moribundo e doente , são amenizadas com pinturas intermediárias que compõem um cenário cordial, no qual emerge sútil complacência à luminosa figura de Sócrates que desponta como Espírito livre , grande irônico rico em mistérios e como Professor Apolíneo . Sócrates perpassa toda a obra nietzschiana, em meio às mais chocantes críticas e a repentinos elogios. Uma análise das imagens socráticas à luz da filosofia nietzschiana permite navegar nos temas mais profundos abordados pelo filósofo alemão: a diversidade das personagens Sócrates revela a dinamicidade e a própria diversidade de Nietzsche, que apresenta uma filosofia em constante vir-a-ser (Werden), num processo, conjuntamente, belicoso e flexível, pelo qual a filosofia é construída enquanto efetividade (Wirklichkeit), numa busca contínua pela superação de si-mesmo (Selbst), que requer um amor incondicional à vida em sua fatalidade (Verhängniss). O conjunto do trabalho é uma apresentação das imagens de Sócrates no corpus nietzschiano, para mostrar os traços principais que compõem a complexa relação teórica entre os pensadores, bem como os elementos a partir dos quais é possível pensar uma superação do homem socrático enquanto protótipo do homem teórico . Nietzsche diagnostica nesse homem a gênese da decadência ocidental, que se desenvolveu sob a égide do brasão socrático do destemor à morte, graças ao saber, e ao procedimento dialético, que caracterizam a imagem do Sócrates moribundo, principal alvo dos ataques nietzschianos. Desse modo, primeiramente, através de um mapeamento das imagens de Sócrates nas obras e nos fragmentos póstumos do filósofo alemão, poder-se-á ter uma visão mais específica do pensamento nietzschiano, em seguida, levando em consideração a obra Ecce homo, na qual aparecem os pontos centrais dos seus escritos, buscar-se-ão os elementos que distanciam Nietzsche de Sócrates enquanto expressão máxima da decadência ocidental.