[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.

Diese Studie beschäftigt sich mit dem Bild des Weges und verwandten Vorstellungen im Werk Friedrich Schillers. Sie zeigt, dass dem >>Weg<< im 18. Jahrhundert eine neue Wertschätzung zugedacht wird. Der im 18. Jahrhundert aufkommende Anthropologiebegriff, die Debatte um >>Bewegung<<, das kulturprägende Phänomen des Spazierengehens und auch die >>serpentine walks<< in der Gartenkunst tragen dazu bei. Der Hauptteil ist dem Werk Schillers gewidmet, das vor diesem Hintergrund anhand der Wegebildlichkeit und verwandter Vorstellungen interpretiert wird. In seinen frühen Werken, von denen "Die Räuber" und "Der Verbrecher aus verlorener Ehre" betrachtet werden, verwendet Schiller >>Wege<< auf seiner Suche nach dem >>commercium mentis et corporis<<. Die Elegie "Der Tanz" affiziert im Sinne der Bewegungsdebatte den Rezipienten und die Elegie "Der Spaziergang" greift das entsprechende kulturprägende Phänomen auf. Beide Elegien erinnern auf je eigentümliche Art und Weise an die Horgarthsche >>line of beauty<<. In seinen theoretischen Schriften betont Schiller mit dem Bild des Weges seine Tendenz zur Wechselwirkung von Bild und Begriff. Als routinierter Dichter bewerkstelligt er es, durch ein Netz von Wegebildern und verwandten Vorstellungen, den Stoff in der Form aufgehen zu lassen, wie anhand der "Wallenstein"--Trilogie gezeigt wird. Schiller nutzt >>Wege<< als Metaphern, als Symbole, als literarische Bilder, als Phänomene der literarischen Landschaft und auf Wegen basiert die sprachlich dargestellte Bewegung. Diese >>Wege<< lassen sich kombinieren. Voraussetzung dafür ist eine Lektüre, die es unternimmt, aus einzelnen Aspekten ein Ganzes zu bilden. Dabei ist festzustellen, dass Schiller >>Wege<< systematisch nutzt. Er arbeitet mit bekannten Wegebildern, die aus einer langen Tradition menschlicher Vorstellungskraft stammen, und integriert sie in neue Handlungszusammenhänge. Der Sprachinhalt von Wegebildern bei Schiller deutet auf die Auseinandersetzung des Individuums mit sich selbst, mit überindividuellen, geschichtlichen Ereignissen, veranschaulicht prekäre zwischenmenschliche Begegnungen und weist auf die Psychologie des Sprechers hin. Eine Untersuchung des "Wilhelm Tell" zeigt, dass Schiller mit zunehmender schriftstellerischer Erfahrung dazu tendiert, Bezeichnungen weniger im metaphorischen und mehr im eigentlichen Sinne zu nutzen. Die Wege durch die literarische Landschaft gehen dabei in ihrer eigentlichen Bedeutung nicht völlig auf, sondern gewinnen symbolischen Gehalt. / This study concerns the literal picture of the way and related perceptions in Friedrich Schiller's work. Therefore it shows that in the 18th century new appreciation is given to the phenomenon of the >>way<<. There are some reasons for that: In the 18th century there is a new concept of anthropology emerging, the debate about >>movere<< is in progress, people are going for a walk regularly and >>serpentine walks<< are used in the art of gardening. The main part is devoted to the oevre of Friedrich Schiller, that is interpreted against this background by the use of literal pictures of >>ways<< and related perceptions. In his early work Schiller uses the >>way<< in order to search for a >>commercium mentis et corporis<<, as this study shows by "Die Räuber" and "Der Verbrecher aus verlorener Ehre". The elegy "Der Tanz" affects in the sense of the debate on >>movere<< the rezipient and the elegy "Der Spaziergang" captures the imagination of the corresponding cultural phenomenon. Both elegies are each idiosyncratic evocative of Horgarth's >>line of beauty<<. In his theoretical work Schiller emphasizes with the literal picture of >>way<< his advance towards interplaying concepts and literal pictures. As an experienced writer he accomplishes to cover his material with the given form by a network of literal pictures of the way and related perceptions, as this study shows on the basis of Schillers "Wallenstein"--Trilogy. Schiller uses >>ways<< as metaphors, as symbols, as literal pictures, as phenomena in the literal landscape and the way serves as a basis for the performed movement. It is possible to combine these >>ways<<. The core requirement for this is a reading that assoziates literal pictures with each other in order to get the whole issue. In this process you see, that Schiller uses >>ways<< systematically. He works with wellknown pictures of the way, that are derived from the long tradition of human power of imagineration and integrates that pictures in new contexts. The meanings of Schillers >>ways<< are indicating the conflict between the individual and its struggle against historical happenings, illustrating the difficulty in meetings, pointing on the psychology of the speaker. An analysis of "Wilhelm Tell" shows the tendency of Friedrich Schiller who reduces with increasing experience metaphorical speach in order to use the words in concrete sense. But the concrete meaning is not the only one that is given to the >>way<<, because there is a symbolic meaning achieved.

Orientador: Ernesto Jacob Keim. / Dissertação (mestrado) - Universidade Regional de Blumenau, Centro de Ciências da Educação, Programa de Pós-Graduação em Educação.

Habilitation--Philosophische Fakultät--Jena--Friedrich-Schiller-Universität, 2003/04. / Bibliogr. p. 486-517.

Inaug.-Diss.--Universität Bern. / Bibliographical references included in "Anmerkungen" (p. 78-89).

Zugl.: Köln, Univ., Habil.-Schr., 2007

Thesis--Tübingen. / Bibliography: p. [175]-178.

Inaug.-diss.--Tübingen. / Vita. "Verzeichnis der ... benutzten werke": 2d prelim. leaf.

Zugl.: Diss.

Inaug.-Diss.--Universität Bern. / Bibliographical references included in "Anmerkungen" (p. 78-89).