Thesis (Ph. D.)--Georg-August-Universität zu Göttingen, 1908. / "Mit Erlaubnis der philos. Fakultät erscheint hier nur ein Teil der eingereichten Arbeit im Druck."--T.p. verso.

Thesis (doctoral)--Universität Greifswald, 1904. / Vita.

Thesis--Zürich. / Vita. Includes bibliographical references (p. 121).

Thesis.

Thesis (doctoral)--Eberhard-Karls-Universität zu Tübingen, 1908. / Cover title. Vita. Includes bibliographical references (p. [7]).

Statements in Schiller's early essays seem to suggest that he adhered to the view of the dramatic illusion as a temporary escape from reality, an experience in which the spectator is encouraged to forget that he is in the theatre and be caught up in a deceptive and convincing illusion. Analysis of Schiller's dramatic and aesthetic theory and of his correspondence from 1790 onwards, however, shows that the ideas of moral freedom, aesthetic harmony and of the autonomy of art led Schiller to reject the ideal of convincing illusion which was current and popular in his time. In its place he wished to encourage awareness of the illusory nature of the stage action and drama which was obviously different from everyday reality in its subject matter and style. Analysis of Schiller's plays from Wallenstein to Wilhelm Tell shows that Schiller aimed at illusion of this type in his own practice. With reference to the dramatic illusion, Schiller's views actually come close to those of Brecht, in spite of statements to the contrary in Brecht's Kleines Organon für das Theater. The detailed analysis of Schiller's theory and of his later plays is preceded firstly by a chapter on problems associated with the topic of the dramatic illusion. Secondly, a background chapter considers influential developments in drama, dramatic theory and in aesthetics from the origins of western drama in Greek classical tragedy to the theatre of Schiller's time, to establish possible influences on Schiller or similarities between his views and existing traditions, and to suggest Schiller's position with regard to his contemporaries and to the historical development of the dramatic illusion.

Texte révisé de: Dissertation--Jena--Friedrich-Schiller-Universität, 2005/2006. / Bibliogr. p. 391-424.

, Diss--Universität Jena, 2008.

Issued also as thesis, Basel. / Bibliography: p. 325-335. Also issued online.

[pt] Este trabalho visa expor a teoria do filósofo alemã o Friedrich Schiller sobre a beleza e demonstrar como ela, tal como exposta em A educação estética do homem apresenta um novo tipo de liberdade, característica do estado estético da mente, que carrega uma promessa política. Segundo Schiller, o Iluminismo fracassava e a revolução francesa se degenerava em terror por conta de um desequilíbrio entre razão e sentimento na cultura. O ser humano é um ser de natureza mista, de modo que razão e sentimento precisam estar em equilíbrio para a sua plenitude. Partindo da estética de Immanuel Kant, Schiller defendeu que, quando contempla a beleza, nenhuma aptidão humana domina o sujeito, que atinge um estado de suspensão, ativo e passivo ao mesmo tempo: o estado estético. Nele, ambas as suas legislações se harmonizam. O pensador francês Jacques Rancière argumentou, em Mal estar na estética que a educação estética de Schiller pode ser uma alternativa à antiga ideia de revoluçâo política, uma vez que configura um novo tipo de experiência do sensível, sem dominação e sem hierarquias, onde todos são iguais e onde o sentimento não é subjugado pela razão. Há, na experiência do jogo estético, a revogação do domínio que a razão estabelecia sobre a sensibilidade, tal como daquele empreendido pelo opressor sobre o oprimido. A arte, como descrita por Schiller e Rancière, não está à serviço de uma determinada Poética ou ideologia. Tampouco se trata de arte pela arte. Este novo regime estético se caracteriza pela autonomia na forma de experiência do sensível, que se lança, para além do estético, ao político, da beleza à liberdade. / [en] This work aims to study the theory of the German philosopher Friedrich Schiller about beauty and demonstrate how such theory as exposed in The aesthetic education of man presents a new type of freedom, characteristic of the aesthetic state of mind, which carries a political promise. According to Schiller, the Enlightenment failed and the French Revolution degenerated into terror because of an imbalance between reason and feeling in culture. The human being is a being of mixed nature, so that reason and feeling need to be in balance for their fullness. Starting from the aesthetics of Immanuel Kant, Schiller argued that, when contemplating beauty, no human aptitude dominates the subject, who reaches a state of suspension, active and passive at the same time: the aesthetic state. In it, both their laws harmonize. The French thinker Jacques Rancière argued, in Aesthetics and Its Discontents that Schiller s aesthetic education can be an alternative to the old idea of political revolution, since it configures a new type of experience of the sensible without domination and without hierarchies, where everyone is equal and where feeling is not subjugated by reason. There is, in the experience of the aesthetic free play the revocation of the dominion that reason established over sensibility, such as that undertaken by the oppressor over the oppressed. Art, as described by Schiller and Rancière, is not at the service of a certain Poetics or ideology. Nor is it art for art s sake. This new aesthetic regime is characterized by autonomy in the form of the experience of the sensible, which go es beyond the aesthetic to the political, from beauty to freedom.