Submitted by Cássio da Cruz Nogueira (cassionogueirakk@gmail.com) on 2017-01-04T14:32:19Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_PlataoDiderotCritica.pdf: 983967 bytes, checksum: 157195afd36f91c5ccc2c84d796dcd6f (MD5) / Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2017-01-09T15:09:31Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_PlataoDiderotCritica.pdf: 983967 bytes, checksum: 157195afd36f91c5ccc2c84d796dcd6f (MD5) / Made available in DSpace on 2017-01-09T15:09:31Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_PlataoDiderotCritica.pdf: 983967 bytes, checksum: 157195afd36f91c5ccc2c84d796dcd6f (MD5) Previous issue date: 2015-10-15 / O objetivo deste trabalho é, como o próprio título indica, apresentar a crítica ao artista empreendida por Platão e Diderot. A despeito de Platão desferir sua crítica à poesia em A República dentro de um contexto ético-político; e Diderot, por sua vez, em O Paradoxo sobre o Comediante, dentro de um registro estético, observa-se um posicionamento análogo dos dois filósofos no tocante ao tema. Dentre muitos pontos análogos observados entre eles, concentramos nosso olhar em dois deles que nos pareceu fundamentais às referidas críticas: as noções de páthose de ideal. Tanto em Platão quanto em Diderot observa-se que a figura do artista é sempre pensada em relação com essas noções. Embora, à primeira vista, sejamos tentados a concluir que, nessa relação, o ideal apresenta-se como um antípoda das paixões, percebe-se mais atentamente, que estas oscilam: ora figuram como um empecilho, ora, como uma referência positiva dentro das respectivas críticas; a chave para apaziguar esse conflito será a temperança (sophrosýne). Diante disso, nos propomos, com esse trabalho, investigar e explicitar essa relação cambiante que se encontra de forma análoga nos referidos filósofos. / The aim of this work is, as the text indicates, to present the critique of the artist undertaken by Plato and Diderot. Despite Plato launch his criticism of poetry in The Republic within an ethical-political context; and Diderot, in his turn, in The Paradox of the Comedian, within an aesthetic register, there is an analogous position of the two philosophers regarding the subject. Among many similar points observed between them, we focus our vision into two of them that seemed to us fundamental to such criticism: the notions of pathos and ideal. In both Plato and Diderot one observes that the figure of the artist is always thought of in relation with these notions. Although at first glance, we could be tempted to conclude that, in this relationship, the ideal is presented as an antipode of the passions, we can see more closely that these oscillate: sometimes they show up as a hindrance, sometimes, as a positive reference within the respective critiques; the key to appease this conflict will be temperance (sophrosýne). In view of this, we propose, with this work, to investigate and explain this unstable relationship that one finds in an analogously form in those philosophers.

Zürich, Univ., Phil. Fak. I, Diss. von 1976. / Vollst. Ausg.: Europäische Hochschulschriften; Reihe XVIII. 9.

Published in 1780, Nicolas Le Camus de Mezieres' The Genius of Architecture; or, The Analogy of Tkat Art with Our Sensations is firmly ensconced in the traditions of western architectural theories, dating back to Vitruvius' The Ten Books on Architecture . Continuing the traditional relationship to the theatre as well as to the harmonic proportions of the orders although recast in terms of the century in which he wrote, Le Camus uses the paradigm of the theatre as the space of reception for his architecture. / Definitively establishing the conventions and taste of the theatre in eighteenth century France, Denis Diderot's The Paradox of Acting established the role of the poetic genius in relation to his or her audience. The relationship to the audience as enabled by the conventions of good taste allows for an understanding of Le Camus' unique analogy of architecture and the sensations, giving to his architecture the ability to provide a cathartic morality as put forth by Diderot.

Zugl.: München, Univ., Diss., 2004

Présenté à l'origine comme thèse de doctorat de l'auteur à l'université de Montréal en 1991. / Titre de l'écran-titre (visionné le 19 mai 2009). Bibliogr.

Thesis (M.A.)--Miami University, Dept. of French and Italian, 2003. / Title from first page of PDF document. Includes bibliographical references (p. 93-95).

This study explores the interdependent relationship between Diderot's writings on art, the art of eighteenth-century France, and the times that produced them both. Accordingly, the study falls into three principal related sections, with each enlarging upon a specific facet of the topic. Proceeding from the premise that both Diderot and the paintings he discussed belonged within a particular cultural context of tastes, ideas, and historical facts, the first principal division, "Diderot in the Scheme of Things", begins as a brief survey of the artistic realities that prevailed in France prior to the approximate period spanned by the Salons in order to present a general view of the eclectic body of art on which he based the substance of his commentaries. The related section on "Diderot's Aesthetics" specifies a certain problem in discussing Diderot's writing on art and demonstrates that Diderot's artistic notions cannot be treated from a general aesthetic standpoint but can be understood only in terms of the individual criticisms themselves. The "Essay on Painting" presents a compendium of the themes and ideas that Diderot applied in those individual criticisms. Both the section entitled "Diderot's Aesthetics" and the one dealing with the "Essay" present transitional introductory material for the second major division, "The Salons: 1759-1781", which deals with individual criticisms of specific paintings to show Diderot's critical method at work in a varied range of representative works and to show in what way Diderot fails to understand the paintings before him in the idiom of the artist. On the basis of this conclusion, it would be easy to dismiss much of his commentary on the ground that it is quaint but inadequate; the final major division builds on this possible conclusion, however, to explore a further facet of the Salons and shows, through its focus on the Salon of 1767 that Diderot's commentaries were not merely criticisms of art but of society as well and that his attitude toward the needs and faults of society conditioned his approach to art. In its substance, this section offers the view that because of--rather than in spite of--its polarities and inconsistencies, Diderot's thoughts on contemporary art provide a faithful reflection in small of identical conflicts and aspirations in the larger context of eighteenth-century French society. Diderot's values and the values of his time emerge from his application of those values to contemporary art. With art as the matrix, the values of the man. and those of the society present themselves at the conclusion of the study as a mosaic of concepts in opposition--a mosaic where each conceptual element attains its meaning in juxtaposition, rather than in harmony, with the others. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

My dissertation examines the relationship between collecting knowledge and writing the world, taking two central figures of the Enlightenment as its starting point, Jean-Jacques Rousseau (1712-78) and Denis Diderot (1713-84). Employing the disciplinary frameworks and methods of early modern history of science and literary studies, I analyze practices of knowledge collection in their two respective “Enlightenment projects,” arguing for the centrality of knowledge and scientific practices in the constitution of the category of literature, especially realist prose writing. I show this, firstly, by examining Rousseau’s large extant collections of pressed plants, the product of his passion for botany in his final years, which he inserted into a late practice of writing and philosophizing the self as promeneur solitaire. Secondly, I demonstrate that the Encyclopédie (1751-72), Diderot’s massive compendium of all knowledge of the arts, sciences, and crafts, was developing an intermediate register of style and representation of knowledge. I focus on the middling status of chemistry and engraving, and discuss the image of the homme de lettres crossing the thresholds of artisans’ workshops to argue that the Encyclopédie generates a mode of representation of the variety of socio-economic life that is an origin point for nineteenth-century realism. These two models, the promeneur solitaire and the homme de lettres, re-emerge in the second half of my project in two later case studies of practices of knowledge collection and writing the world, Émile Zola’s novel series chronicling Second Empire France, the Rougon-Macquart (1871-93) and W.G. Sebald’s (1944-2001) literary-historiographical writings. These examples serve to make a broader argument about how knowledge collection has continued to be central to the category of literature. The jump forward in time necessitated by such a claim is accomplished via a “grammar of juxtaposition” across time and place, outlined in my introduction, which takes as its basis Sebald’s literary practice of bringing together fragments and moments of the past. I show how the extensive notes or dossiers préparatoires that are the extant evidence of Zola’s practice of collecting knowledge via “scientific,” on-the-ground research, conducted on battlefields, in department stores, mines, and food markets were a weapon in his campaign for getting a new kind of socially engaged novel accepted by the literary institution. My final chapter turns back to Sebald to argue that his texts, which juxtapose instances of knowledge collection assembled by a walking historian of nature and human civilization, are a framework for a history of knowledge collection within a broad concept of the Enlightenment.

No description available.

Montrer que la compréhension des idées pédagogiques de Diderot est importante pour celui qui veut saisir la complexité des relations humaines du 18ième siècle n'est pas chose facile au départ. Mais les chercheurs, érudits et professeurs qui se sont donnés la peine de lire les ouvrages de l'encyclopédiste n'ont pas manqué de constater qu'il a laissé dans ses écrits des traces évidentes reliées de près à des préoccupations pédagogiques. Mais ces indices ne rendent pas la recherche plus facile pour autant; les écrits qui touchent de près à l'éducation sont plus nombreux qu'on ne serait porté à le croire à priori. Abstraction faite des "classiques de Diderot sur l'éducation" à travers lesquels le souci d'une action pédagogique est évidente, les ouvrages du philosophe contiennent, éparpillés ça et là, tantôt de simples digressions, tantôt de véritables fragments réservés tout entiers aux idées pédagogiques. Ce travail d'émondage, l'on s'en doute, conditionne le chercheur à ne rien laisser au hasard. La somme pédagogique de Diderot, c'est à proprement parler l'ensemble de ses écrits parmi lesquels certains servent dans bien des cas d'armature philosophique à d'autres. Sa contribution au monde de l'éducation NE PEUT ETRE CONSIDEREE comme un APPORT PROSPECTIF pour notre société contemporaine car sa pédagogie n'invite pas à la curiosité comme celle de Rousseau. Parmi les raisons qui expliquent cette indifférence nous pouvons souligner que d'un côté, l'ombre de Jean-Jacques Rousseau, dont la contribution à la pensée pédagogique est mise en évidence à tous les jours par les psychologues et pédagogues d'aujourd'hui, continue d'assombrir et de reléguer au second plan le reste des penseurs du dix-huitième siècle qui se sont attardés aux problèmes de l'éducation. Deuxièmement, les oeuvres complètes de Diderot n'ont été réunies qu'à la fin du dix-neuvième siècle par Jules Assézat et Maurice Tourneux. Mais là encore, plusieurs problèmes continuent à se poser; à cet effet, le nombre croissant de recherches effectuées sur Diderot ont révélé que cette première étude sur ses oeuvres complètes, loin d'être exhaustive, ne peut être considérée comme une édition définitive. Monsieur Jacques Proust, dans son excellent ouvrage sur Diderot et l'Encyclopédie nous invite à la prudence lorsqu'il s'agit d'attribuer à Diderot des textes anonymes et des articles non signés. C'est la raison pour laquelle nous avons cru bon de n'accepter dans ce travail que les écrits parfaitement authentifiés. Nous avons voulu, dans ce travail, réunir les textes importants de Diderot dont la lecture révèle l'intention de justifier un plan d'instruction appuyé sur une théorie pédagogique dans le sens où cette expression se définit comme étant la réflexion de la pensée humaine sur l'éducation. Dans le premier chapitre, une analyse condensée permettra au lecteur de juger de la valeur des idées pédagogiques émises au dix-huitième siècle. Le deuxième chapitre est consacré à l'étude des sources de la pensée pédagogique de Diderot tandis que la dernière partie analyse plus profondément sa contribution au monde de l'éducation. / Québec Université Laval, Bibliothèque 2014