Originally presented as the author's Thesis (doctoral)--Universität Mannheim, 2005. / Includes bibliographical references (p. 153-166).

Originally presented as the author's Thesis (doctoral)--Universität Mannheim, 2005. / Includes bibliographical references (p. 153-166).

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

Thesis (Ph. D.)--Rheinische Friedrich Wilhelms-Universität Bonn, 1924. / Includes bibliographical references (p. 6-12).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1936. / Typescript. Includes abstract and vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf [105]).

[pt] Este trabalho é uma investigação acerca da possibilidade de se estabelecer um fundamento objetivo do sublime a partir da estética de Friedrich Schiller. Em Kallias ou Sobre a Beleza, a sua correspondência com Gottfried Körner de janeiro a fevereiro de 1793, Schiller busca estabelecer um fundamento objetivo para a beleza, no intuito de refutar - com os próprios meios da filosofia kantiana - o conhecido argumento de Kant, segundo o qual é impossível estabelecer um fundamento objetivo para o belo. Contudo, apesar de Schiller ter desenvolvido um fundamento objetivo para o belo, ele não fez o mesmo em relação ao sublime. Desta forma, esta dissertação tem o propósito de pensar a possibilidade de se cunhar este fundamento a partir dos meios deixados pelo próprio Schiller em suas concepções sobre a beleza, constante no referido texto, sobre o sublime, presente no texto Do sublime (Para um desenvolvimento de algumas idéias kantianas) de 1793 e sobre o patético do texto Sobre o patético de 1793. No entanto, antes de investigar o que seria o fundamento objetivo do sublime, é necessário abordar a impossibilidade que Kant defende de se fundar no objeto a experiência estética e, por via de conseqüência, abordar, ainda que brevemente, o fundamento subjetivo do belo e do sublime tal como foi desenvolvido pelo autor na Crítica da Faculdade do Juízo de 1790. / [en] This work is an investigation of the possibility of establishing an objective foundation for the sublime on the basis of Friedrich Schiller s aesthetics. In Kallias or On Beauty, his correspondence with Gottfried Körner dating from January and February 1793, Schiller seeks to establish an objective foundation for the beautiful in order to refute - by means of Kantian philosophy itself - Kant s well-known argument about the impossibility of establishing an objective foundation for the beautiful. However, although Schiller developed an objective foundation for the beautiful, he did not do the same for the sublime. The present dissertation thus tries to explore the possibility of establishing the foundation of the later on the basis of Schiller s own ideas, as expressed in his discussions on beauty in Kallias, on the sublime in On the sublime (Towards a further development of some Kantian ideas) (1793) and on the pathetic in On the pathetic (1793). However, before investigating what the objective foundation of the sublime is, it is necessary to address Kant s statement of the impossibility of founding aesthetic experience on the object and, consequently, also to address, even so briefly, the discussion on the subjective foundations of the beautiful and the sublime as developed by that author in his Critique of the Faculty of Judgement (1790).

Este trabalho consiste na tradução das Instituições de Filosofia Moral: para o uso dos estudantes da faculdade de Edimburgo, de Adam Ferguson. As lições foram publicadas em 1769 com o intuito de servir como um manual de filosofia moral; assim, compreendem os principais conceitos da filosofia britânica. Na introdução, apresentamos de modo geral os temas trabalhados por Ferguson no Um ensaio sobre a história da sociedade civil (1767) e nas Instituições, principalmente no que diz respeito à análise da natureza do homem para a fundamentação da moral. Com a presente tradução das Instituições, pretendemos trazer para o português um importante texto do iluminismo e indicar sucintamente a influência de Ferguson sobre o pensamento de Friedrich Schiller, autor de A educação estética do homem, com a aproximação dos conceitos fergusonianos de propensão (propensity) e de jogo (play) ao conceito de impulso lúdico (Spieltrieb) de Schiller. Por esse motivo, incluímos também, em forma de notas, trechos dos comentários de Christian Garve, cuja tradução das Instituições, de 1772, foi, na época, a mediação à leitura do autor escocês nos círculos intelectuais alemães. / This work is a translation of the Institutes of Moral Philosophy: for the use of students in the College of Edinburgh, by Adam Ferguson. The lessons were published in 1769 in order to be used as a manual of moral philosophy, thus, it comprises the main concepts of the British philosophy. In the introduction, we present the general themes discussed by Ferguson in An essay on the history of civil society (1767) and in the Institutes, especially with regard to the analysis of mans nature to the foundation of morality . With this translation of the Institutes, we intend to bring to the Portuguese an important text of the Enlightenment and briefly indicate Ferguson\'s influence on the thought of Friedrich Schiller, author of The aesthetic education of man, with the approach of Fergusons concepts of propensity and play and Schillers concept of play drive (Spieltrieb). For this reason, we have also included, in the form of notes, excerpts from Christian Garves comments, whose translation of the Institutes of 1772 was at the time the reading mediation of the Scottish authors in German intellectual circles.

A proposta estruturante deste trabalho é problematizar, em diferentes temas, o lugar das preocupações estéticas ou sensíveis nos textos de Kant à luz de A Educação Estética do Homem. Partindo sempre da letra de Kant, elaboramos as questões e as posturas desse autor no que diz respeito ao campo estético no modo da escrita kantiana, na formulação dos princípios morais e na promoção da tarefa moral entre os homens. O nosso objetivo é, por um lado, ressaltar a importância dessas questões e, por outro lado, mostrar a possibilidade de, sem desrespeitar os princípios kantianos, assumir posturas distintas das de Kant. Nesse empreendimento, Schiller, enquanto poeta-filósofo ou filósofo-poeta, mostra-se sobretudo na obra supracitada o autor que, de maneira destacável, compreende os princípios da razão e defende uma postura original de exercitá-los. Reconhecendo que a sensibilidade não tem muito a acrescentar na fundamentação de princípios racionais defendida pelo entendimento analítico, Schiller reserva-lhe um papel totalmente diferente no que se refere ao desafio humano de agir segundo tais princípios num mundo em que as contingências nunca se fazem ausentes (num mundo ininterruptamente pulsante). Se a compreensão exata da legislação da razão necessita atravessar o caminho escolástico ou analítico das Críticas, sendo, portanto, acessível a poucos homens, a tarefa da razão necessita se apresentar como exequível a todo e qualquer homem que a queira. Não se trata aqui de afirmar que a educação estética executa melhor essa tarefa que o projeto do esclarecimento, mas apenas que aquela educação, embora se coloque numa perspectiva plenamente humana, não representa um perigo à pureza ou incondicionalidade da razão. / The main purpose of this work is to discuss, on different themes, the place of aesthetic or sensitive concerns in Kant\'s texts since the Letters upon Aesthetic Education of Man. Always starting from the letter of Kant\'s philosophy, we prepared the issues and postures of this author with regard to the aesthetic field in Kant\'s writing style, in the formulation of moral principles and the promotion of moral task among men. Our objective is, on the one hand, stress the importance of these issues and, on the other hand, show the possibility of, without breaching the Kantian principles, assume different postures of Kant. In this endeavor, Schiller, as a poet-philosopher or philosopher-poet, shows - especially in the aforementioned work - the author who, in a remarkable way, understands the principles of reason and defends a unique position to apply them. Schiller acknowledges that the sensitivity does not have much to add in the grounds of rational principles defended by the analytical understanding. Regarding the human challenge to act on these principles in a pulsating world, where contingencies are never absent, Schiller assigns to the sensitivity a totally different role. If the exact understanding of the legislation of reason need to go through the scholastic or analytical way of Kants Critiques, and need be accessible to few men, the task of reason needs to present itself as feasible to every man who wants to. It is not about asserting that the aesthetic education performs better this task than the project of enlightenment, but only that such education, although it puts a fully human perspective, does not represent a danger to the purity and absoluteness of reason.

No description available.

Cette étude met en évidence la manière dont Schiller, après sa lecture de Kant et de Diderot, intègre le public dans sa dramaturgie pour pouvoir donner une dimension publique et politique à la représentation théâtrale de ses drames. Schiller crée ainsi une dramaturgie qui lui permet d’aborder des sujets soulevés par la Révolution Française et qui réutilise certains éléments de la tragédie classique française.La première partie de cette étude, consacrée à la tragédie classique française, retrace l’évolution du concept de « public » au cours du 17e siècle en examinant les différentes formes de publics de cette époque, notamment dans la Querelle du Cid, la Pratique du Théâtre de l’abbé d’Aubignac et les tragédies de Corneille et de Racine.Dans la deuxième partie, nous démontrons que depuis le 18e siècle et le drame bourgeois en particulier, l’acte d’assister à une représentation théâtrale n’est plus entendu comme une action publique qui se déroule devant d’autres spectateurs mais comme une action intrinsèquement subjective. Ce concept de spectateur permet de créer une sphère publique dans le sens moderne du terme.Dans la dernière partie, nous analysons les rapports qui existent d’une part entre, la dramaturgie tardive de Schiller et son esthétique développée à partir de la lecture de Kant et de Diderot, d’autre part, entre cette dramaturgie intrinsèquement publique et la tragédie classique française. Le concept de « public » qui est à la base cette dramaturgie est distingué d’autres concepts du public développés dans les écrits théoriques de Schiller et est illustré par l’analyse de Wallenstein, Marie Stuart et de Démétrius. / The present study shows how Schiller, as a consequence of his reading of Kant and Diderot, includes the audience in his dramaturgy and thereby gives the scenic situation a public character, which allows him to represent political issues typical of the French Revolution. This serves to explain why Schiller’s later plays, especially Wallenstein, Maria Stuart and Demetrius, adapt some features of French classical tragedy.The first part of the study explains how, during the Querelle du Cid, contemporaries developed an awareness of how the presence of an audience lends a public quality to the situation of dramatic performance. This public quality is reflected in contemporary prescriptive poetics and employed to affect the audience in Corneille’s and Racine’s dramaturgy.The second part describes how since the 18th century viewing drama has been regarded as a genuinely subjective action, instead of being seen, as before, as a public activity taking place in front of other spectators. This mode of viewing allows creating a public sphere which is abstract in a modern sense.The third and final part states how Schiller’s aesthetics lead to a partial integration of the theatre audience into the scene, which in turn gives the scene a public character, similar to the one of the French classical period. This concept of the public character of drama is then distinguished from concepts developed in Schiller’s theoretical writings and illustrated with analyses of his later plays.