Qualquer um que leia tragédias gregas encontra momentos de elevação especial, de grandeza ou transcendência nos quais o texto parece transportar o leitor/espectador para fora de si mesmo, a uma esfera de emoção e significação extremas. Geralmente, como resultado de uma série de fatores, inclusive cênicos, esses momentos da ação dramática criam um efeito de assombro, surpresa e medo. Os personagens no palco e a platéia compartilham uma sensação do que pode ser chamado de sublimidade. São momentos em que sofrimento, prazer, inspiração ou insight parecem associados para criar um efeito através do qual o espectador é tomado pela emoção ou pelo entendimento, pelo envolvimento ou pelo distanciamento ou, melhor, por uma combinação desses estados. O efeito parece evidente em cenas do drama trágico, em particular das tragédias gregas e dos dramas trágicos shakespeareanos. Na tragédia grega, podem-se considerar sublimes a cena do tapete no Agamêmnon, de Ésquilo, a fala do disfarce do Ájax, de Sófocles, ou o grande discurso do segundo mensageiro, nas Bacantes, de Eurípides. A intenção deste trabalho é examinar algumas cenas passagens especialmente relevantes da tragédia grega e tentar traçar elementos estruturais que possam concorrer para a criação dessa sensação de elevação. É evidente que refiro-me ao sublime em termos até aqui subjetivos. É objetivo do trabalho fornecer algumas bases objetivas sobre as quais apoiar aquilo que chamo de momentos de elevação, grandeza e emoção extrema. / Anyone who reads Greek tragedy encounters moments of special elevation, greatness or transcendence in which the text seems to transport the reader/spectator out of himself to an sphere of heightened emotion and significance. Generally, as the result of a series of reasons, these moments in the action of the play create an effect of amazement, wonder and awe. During these moments, the characters on stage and the audience share a sensation of what may be called sublimity. It is the sort of moment in which either suffering, pleasure, inspiration or insight seem to associate to create an effect through which the spectator is taken by emotion or by understanding, by involvement or detachment, or better by a combination of these. The effect appears evident to me in scenes of tragic drama, particularly of Greek and Shakespearean tragedies. In Greek tragedy, one may consider as sublime some parts of the carpet scene in Aeschylus Agamemnon, the deception speech of Sophocles Ajax, or the second messenger speech in Euripides Bacchae. In Shakespeare, the apparition of the fathers ghost to Hamlet is stunning, and unleashes intense emotion and insight. The intention of this work is to examine some especially relevant passages of Greek tragedy and to try to trace structural elements that may concur to the creation of this sensation of elevation. It is evident that I refer to the sublime in subjective terms and, therefore, it is my aim to provide some objective ground upon which to support what I shall be identifying as moments of elevation, greatness and extreme emotion.

As relações da psicanálise com as obras de arte, a filosofia da arte e as disciplinas estéticas têm sido objeto de inúmeras investigações. Desde sua invenção, a experiência artística esteve presente na argumentação metapsicológica de Freud. E se uma primeira aproximação do tema poderia sugerir que o recurso às formas artísticas ali encontraria uma função meramente expositiva, mobilizado em benefício da ilustrabilidade das teses e proposições psicanalíticas, ou debatidas sob a perspectiva de sua aptidão em demonstrar a plausibilidade das idéias freudianas, cumpre apontar para o que se possa conceber para além desse dispositivo puramente metodológico. A arte realiza na obra freudiana uma função legitimamente heurística. Em momentos decisivos do estabelecimento de determinadas teses da metapsicologia, o recurso ao debate interpretativo acerca de figuras e experiências artísticas provê aportes fundamentais para a configuração e consolidação das mesmas. Recurso esse, é bem verdade, que coexiste e articula-se com elementos extraídos das investigações clínicas de Freud, esses ainda mais frequentes e não menos importantes para os contornos da teoria psicanalítica. O conceito de sublimação é aquele que reúne, sob o extenso e complexo panorama de sua inserção metapsicológica, os mais diversos apontamentos freudianos acerca das consequências e pormenores subjetivos de vicissitudes das mudanças de alvo da pulsão, das quais a experiência artística é um paradigma exemplar. Tal conceito é aqui revisitado, com vistas a restabelecer suas principais matrizes teóricas e alguns de seus matizes doutrinais, numa investigação interna à obra de Freud. Mas, preponderantemente, a discussão aqui pretendida entrevê as conexões da teoria freudiana da sublimação com os elementos artísticos que nela infletem ou à ela subjazem. Na esteira desses desdobramentos, fez-se crucial um debate entre o conceito de sublimação e momentos da filosofia moderna do sublime. Um debate que, em seu desenlace, buscou revelar, quanto a doutrina freudiana da sublimação e acerca da apreensão freudiana das obras de arte, os principais efeitos que sobre ela parecem ter exercido aspectos das idéias de Kant, Schopenhauer e Schiller em suas investigações acerca do belo e do sublime. Se o conceito de sublimação não pode ser subsumido à filosofia do sublime, ali figurando como mais um de seus capítulos, ele é todavia permeável a esse debate, sob aspectos que, por motivos e circunstâncias que aqui se procurou evidenciar, Freud jamais soube suficientemente explicitar. / The relationship between psychoanalysis and works of art, the philosophy of art, and the aesthetic disciplines have been the subject of innumerable studies. Since its invention, the metapsychology of Freud has discussed the artistic experience. Beyond merely serving as a methodological exercise for the purpose of illustrating psychoanalytic theses and propositions or demonstrating the plausibility of Freudian ideas, revisiting the topic of artistic expression succeeds in extending their conceptual range. Art serves a legitimately heuristic function in Freudian works. At crucial points in the establishment of particular metapsychological theses, the configuration and consolidation of the theory receives fundamental support from revisiting the interpretation of artistic expression and experience. It is true that this involves elements which are extraneous to the clinical investigations of Freud, but this does not diminish their importance to the shape of psychoanalytic theory. Due to the extent and complexity if its insertion into metapsychological theory, the concept of sublimation reunites many diverse Freudian concepts concerning the effect of subjective idiosyncracies upon the way in which impulses are directed to a target, and the artistic experience serves as a paradigm for this process. The concept is revisited here in an internal investigation of the works of Freud for the purpose of elucidating its principal theoretical origins and some of its nuance. However, for the most part, this discussion intends to connect the Freudian theory of sublimation to artistic elements that are expressed in, or underly, it. In the course of these expositions, there is a crucial dialogue between the concept of sublimation and modern philosophy\'s propositions concerning the sublime. The debate ultimately seeks to reveal how much the Freudian doctrine of sublimation and the Freudian understanding of art have been effected by, and employed, the ideas of Kant, Schopenhauer, and Schiller in its investigation of beauty and the sublime. If the concept of sublimation cannot be subsumed within the philosophy of the sublime, configured as one more of its chapters, it is nevertheless permeable to that discussion, with the view that, for motives and circumstances which herein one attempts to make evident, Freud never knew how to make it sufficiently explicit.

Orientador: Pedro Ângelo Pagni / Banca: Divino José Silva / Banca: Sinésio Ferraz Bueno / Resumo: A presente pesquisa pretende discutir os limites e as possibilidades de se conceber, no tempo presente, a práxis educativa, pela qual se define as relações pedagógicas e comunicativas estabelecidas pelo professor e pelo aluno nos espaços escolares, como portadora de uma dimensão artística e estética em seus processos de produção e recepção dos saberes sistemáticos transmitidos em sala de aula, como um meio de resistência política ao acentuado predomínio dos núcleos científicos que caracterizam esse ofício e, no limite, à racionalidade instrumental para a qual a reflexão sobre os sentidos dessa atividade tornou-se irrelevante. Para tanto, recorre-se à obra de Theodor W. Adorno, particularmente às suas conferências e debates sobre a educação e à sua teoria estética, e ao pensamento de Jean François Lyotard, sobretudo ao seu diagnóstico sobre a pós-modernidade, com o intuito de analisar as possíveis correspondências entre a produção artística e a recepção estética e o processo comunicativo que compreende a relação pedagógica escolarizada, focalizando a dimensão artística e estética dessa atividade, os problemas decorrentes dessa abordagem, particularmente o da relação entre experiência e linguagem, e as implicações estéticas do ofício do educar que poderiam se tornar objetos da reflexão filosófica do professor. Especificamente, pretende-se demonstrar que a mimese artística e o sentimento do sublime, tal como esses conceitos teriam sido apropriados por Adorno e por Lyotard, revelam não apenas a possibilidade de uma arte pedagógica que contenha, em seu processo de comunicação, uma afinidade aconceitual ética e estética com uma experiência irreconciliável, mas que, para além do sentimento apaziguador suscitado pela beleza, os indivíduos envolvidos nessa relação poderiam ser surpreendidos por um espanto sublime em função... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research discusses the limits and possibilities of conceiving, at the present time, the educational praxis, by which one defines the pedagogical relations and communication established by the teacher and the student in school spaces, as having an artistic and aesthetic dimension in their production and reception of transmitted systematic knowledge in the classroom as a means of political resistance to the sharp predominance of scientific cores that characterize this trade and, ultimately, the instrumental rationality to which the reflection on the significance of this activity has is irrelevant. For this, one relies on the work of Theodor W. Adorno, particularly to his lectures and debates on education and his aesthetic theory, and the thought of Jean Francois Lyotard, especially to his diagnosis of post-modernity, in order to analyze the possible correlation between artistic production and reception aesthetics and communicative process which includes the pedagogical relationship educated, focusing on artistic and aesthetic dimension of this activity, the problems arising from this approach, particularly the relationship between experience and language, and aesthetic implications of the letter that the school could become objects of philosophical reflection the teacher. Specifically, we intend to demonstrate that artistic mimesis and the feeling of the sublime, as these concepts have been appropriated by Adorno and Lyotard, reveal not only the possibility of teaching an art that contains, in its communication process, an affinity aconceitual ethics and aesthetic experience with an irreconcilable, but that, apart from feeling aroused by the beauty reliever, individuals involved in this relationship could be surprised by a sublime awe in the light of which the dimensions and conceptual structures, which have traditionally been associated conditions a priori of empirical knowledge... (Complete abstract click electronic access below) / Mestre

Qualquer um que leia tragédias gregas encontra momentos de elevação especial, de grandeza ou transcendência nos quais o texto parece transportar o leitor/espectador para fora de si mesmo, a uma esfera de emoção e significação extremas. Geralmente, como resultado de uma série de fatores, inclusive cênicos, esses momentos da ação dramática criam um efeito de assombro, surpresa e medo. Os personagens no palco e a platéia compartilham uma sensação do que pode ser chamado de sublimidade. São momentos em que sofrimento, prazer, inspiração ou insight parecem associados para criar um efeito através do qual o espectador é tomado pela emoção ou pelo entendimento, pelo envolvimento ou pelo distanciamento ou, melhor, por uma combinação desses estados. O efeito parece evidente em cenas do drama trágico, em particular das tragédias gregas e dos dramas trágicos shakespeareanos. Na tragédia grega, podem-se considerar sublimes a cena do tapete no Agamêmnon, de Ésquilo, a fala do disfarce do Ájax, de Sófocles, ou o grande discurso do segundo mensageiro, nas Bacantes, de Eurípides. A intenção deste trabalho é examinar algumas cenas passagens especialmente relevantes da tragédia grega e tentar traçar elementos estruturais que possam concorrer para a criação dessa sensação de elevação. É evidente que refiro-me ao sublime em termos até aqui subjetivos. É objetivo do trabalho fornecer algumas bases objetivas sobre as quais apoiar aquilo que chamo de momentos de elevação, grandeza e emoção extrema. / Anyone who reads Greek tragedy encounters moments of special elevation, greatness or transcendence in which the text seems to transport the reader/spectator out of himself to an sphere of heightened emotion and significance. Generally, as the result of a series of reasons, these moments in the action of the play create an effect of amazement, wonder and awe. During these moments, the characters on stage and the audience share a sensation of what may be called sublimity. It is the sort of moment in which either suffering, pleasure, inspiration or insight seem to associate to create an effect through which the spectator is taken by emotion or by understanding, by involvement or detachment, or better by a combination of these. The effect appears evident to me in scenes of tragic drama, particularly of Greek and Shakespearean tragedies. In Greek tragedy, one may consider as sublime some parts of the carpet scene in Aeschylus Agamemnon, the deception speech of Sophocles Ajax, or the second messenger speech in Euripides Bacchae. In Shakespeare, the apparition of the fathers ghost to Hamlet is stunning, and unleashes intense emotion and insight. The intention of this work is to examine some especially relevant passages of Greek tragedy and to try to trace structural elements that may concur to the creation of this sensation of elevation. It is evident that I refer to the sublime in subjective terms and, therefore, it is my aim to provide some objective ground upon which to support what I shall be identifying as moments of elevation, greatness and extreme emotion.

Ce travail de recherche étudie la déstabilisation de la hiérarchie entre l’abject et le sublime dans les oeuvres [textes de théâtre, récits et essais] de Georges Bataille, Jean Genet et Samuel Beckett. L’étude part de la constatation effectuée par Jean-François Lyotard selon laquelle la question du sublime se pose à chaque fois qu’une crise de la représentation a lieu [âges de la poétique et de l’esthétique, âge actuel] afin de confronter l’art à ce qui l’excède, lui permettant ainsi de se renouveler. Elle montre que la notion de sublime tend également, lors de chacune de ses réapparitions, à se rapprocher davantage de la notion d’abject, sensée lui être diamétralement opposée. C’est ce qui apparaît dans les oeuvres de Bataille, Genet et Beckett où la doxa qui organise le monde et les valeurs à partir de paradigmes purement antithétiques est déconstruite. Cette redéfinition du rapport entre les notions est analysée aux niveaux stylistique, poétique, esthétique, empirique, psychanalytique, moral et éthique. Un chapitre est dédié à l’étude du phénomène dans l’oeuvre de chaque auteur. Bataille remet en question la hiérarchie entre les notions en définissant un nouvel humanisme « noir » – ou « hyperhumanisme » – grâce à un terrorisme notionnel et littéraire pensant la communication comme un sacrifice. Genet se fait le chantre de l’abject en empruntant les moyens du sublime et en retournant chaque notion en son contraire, au point de ne plus pouvoir les distinguer. Beckett met en place une poétique de la Vanité, déclinée sur les modes classique et postmoderne, permettant de rendre compte de l’inhérente proximité et complémentarité des notions grandissant à travers les siècles. À défaut de proposer une solution au problème posé par Lyotard, ce travail montre la nécessité de prendre en considération le lien unissant le sublime à l’abject lors de toute tentative de renouvellement artistique. / This thesis examines the destabilization of the hierarchical relationship between the abject and the sublime in the works [i.e. plays, prose narratives and essays] of Georges Bataille, Jean Genet and Samuel Beckett. Its starting point is Jean-François Lyotard’s observation that the question of the sublime is raised each time there is a crisis within representation [in the age of poetics, of aesthetics, or in the present day] in order to set up a confrontation between art and that which exceeds art, permitting art to renew itself. Subsequently, it is argued that whenever the notion of the sublime appears it moves in proximity to – and sometimes merges with – its opposite : the abject. This is the case in the works of Bataille, Genet and Beckett, in which a doxa that understands the world and organizes values in terms of purely antithetical paradigms is deconstructed. This redefinition of the relationship between the sublime and the abject is analysed on a poetic, stylistic, aesthetic, empirical, psychoanalytic, moral and ethical level in the work of each author. Bataille can be said to interrogate the hierarchical separation of the two notions in defining a new « black » humanism – or « hyperhumanism » – through the use of a notional and literary terrorism which conceives of communication as sacrifice. Genet makes himself the eulogist of the abject in using sublime means and by changing each notion into its opposite, to the point that it is impossible to distinguish between the two. Beckett introduces a poetics of the Vanitas, understood in both its classical and its postmodern aspects, revealing the developing proximity and complementarity of the two notions. Rather than provide definite answers to the questions Lyotard poses, this thesis demonstrates the need to consider the links and affinities between the sublime and the abject in all attempts at artistic renewal.

Lorsque Edmund Burke et Kant traitent du sublime à la fin du XVIIIe siècle, ils identifient l’infini et l’ « astonishment », lié à une passion de conservation de soi, comme sources de sublime. L’identification de celles-ci dans leurs œuvres respectives s’oriente toute vers la violence d’une émotion, d’un paysage ou d’une situation : sang, assassinats, paysages naturels gigantesques et effrayants sont autant de situations qu’ils identifient comme principaux motifs de transport de sublime. Mais dans l’Œuvre de Balzac, il va se révéler beaucoup plus complexe, prenant différentes formes toutes plus diverses les unes des autres. Ainsi, sous la plume de Balzac, le sublime ne s’incarne plus qu’à travers le côté sombre des choses, caractéristique romantique. Cette étude propose donc d’envisager le sublime comme pluriel. Le but premier en sera d’établir une typologie du sublime dans plusieurs œuvres de l’auteur afin de montrer le génie d’un homme qui sut innover et se différencier des autres auteurs de l’époque. Le beau, le bon, l’exemplaire, le surpassement de l’être et bien d’autres encore sont autant de catégories qui seront proposées et permettront ainsi une relecture de La Comédie humaine jusque-là jamais envisagée. / When Edmund Burke and Kant deliberate on the aesthetic of the sublime in the late 18th century, they identified concepts such as the infinity and the “astonishment“ as the beginnings of this aesthetic, linked to an instinct of self-preservation. They identify how the origins of the sublime take form around the violence of an emotion, a landscape or a situation: blood, murders, great but terrifying landscapes are all considered a reason for the communication of this aesthetic. Conversely, in Balzac’s work, the sublime is more complex, showing multiple forms all different from one another; the sublime no longer appears only through the somber lens, characteristic of the Romantic Period. This study suggest reconsidering the sublime as plural. The main objective being the establishment of a typology of Balzac’s novels in order to identify the genius of a man who innovated and differentiated himself from other 19th century writers. The beauty, the good, the exemplary, alongside the out-performance of oneself and more, are all categories which appear in this study and allow a now reading of La Comédie humaine.

Made available in DSpace on 2016-04-28T19:58:56Z (GMT). No. of bitstreams: 1 Ana Paula de Toledo Soares.pdf: 859912 bytes, checksum: b406d8677e851cc315ac7f4cff485b9c (MD5) Previous issue date: 2015-08-21 / Fundação de Amparo a Pesquisa do Estado de São Paulo / The dissertation presents an approach of sublime aesthetics in nature, with reading of the Manoel de Barros poems presents in the books O Guardador de Águas (1989) e Menino do mato (2010). The study performs reflection about the sublime feeling, as well as expands the area of knowledge about the poetics of the author. The research proposes a theoretical approach of the sublime in a historical and conceptual aspects, for a better understanding of its transformation over time, as well as the aesthetization of the nature and poetic image created in the texts to provide basis for thinking the sublime in the poetry. The corpus selected shows that the aesthetics of the sublime is still present in the texts and its basis are the same faculty of imagination and faculty of reason what changes is the form of scenarios composition, transforming the way of feeling. Reading Manoel de Barros, the feeling is awakened with the stimulus of the faculty of imagination, generating estrangement followed by delight, which produces the negative pleasure of the sublime / A dissertação apresenta uma abordagem da estética do sublime na natureza, a partir da leitura de poemas de Manoel de Barros, presentes nos livros O Guardador de Águas (1989) e Menino do mato (2010). O estudo realiza reflexão acerca do sentimento sublime, assim como amplia a área de conhecimento sobre a poética do autor. A pesquisa propõe um recorte teórico do sublime numa vertente histórico-conceitual, para melhor compreensão da sua transformação no decorrer do tempo, assim como da estetização da natureza e da imagem poética criada nos textos, a fim de fornecer bases para pensarmos o sublime na poesia. O corpus selecionado nos mostra que a estética do sublime ainda é presente nos textos e que suas bases são as mesmas faculdade da imaginação e faculdade da razão o que muda é a forma de composição dos cenários, transformando a forma de sentir. Em Manoel de Barros, o sentimento é despertado com o estímulo da faculdade da imaginação, gerando o estranhamento seguido do alumbramento, que produz o prazer negativo do sublime

李康廷. / "2011年8月". / "2011 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 99-103). / Abstract in Chinese and English. / Li Kangting. / 引用與縮寫 --- p.5 / 導論 --- p.6 / Chapter 1 --- 康德論人的立場 --- p.10 / Chapter 1.1 --- 人類的認知活動 --- p.11 / Chapter 1.2 --- 人類的創造活動 --- p.14 / 想像力於創造活動的功能 --- p.17 / Chapter 1.3 --- 有限理性者的使命 --- p.19 / Chapter 1.4 --- 有限理性者的他律傾向 --- p.22 / 實踐理性的他律 --- p.22 / 理論理性的他律 --- p.24 / Chapter 2 --- 反省性判斷與美感判斷 --- p.30 / Chapter 2.1 --- 反省性判斷 --- p.30 / 決定性判斷與反省性判斷 --- p.30 / 感性反省判斷 --- p.32 / 想像力於反省性判斷的角色 --- p.33 / 自然合目的性 --- p.34 / Chapter 2.2 --- 美感判斷 --- p.37 / 美感判斷與自由遊戲 --- p.37 / 美感判斷是純粹的判斷 --- p.38 / 無利害關係的滿足感 --- p.40 / 主觀普遍性 --- p.42 / 無目的的合目的性 --- p.43 / 示範的必然性 --- p.44 / Chapter 2.3 --- 美感經驗的功能 --- p.46 / 美感經驗於認知上的功能 --- p.48 / 美感經驗於道德上的功能 --- p.51 / Chapter 3 --- 崇高判斷一般 --- p.54 / Chapter 3.1 --- 崇高經驗 --- p.54 / 反目的性：痛苦 --- p.55 / 合目的性：歡愉 --- p.58 / 反目的的合目的性：否定的歡愉 --- p.60 / Chapter 3.2 --- 數學崇高與力學崇高的區分 --- p.63 / 數學與力學的區分 --- p.63 / 數學崇高與力學崇高 --- p.65 / Chapter 4 --- 數學崇高 --- p.68 / 理論理性的要求 --- p.68 / 數學綜合的失敗 --- p.70 / 思想能力的自覺 --- p.73 / 數學崇高的功能 --- p.74 / 數學崇高的對象 --- p.77 / Chapter 5 --- 力學崇高 --- p.80 / 實踐理性的要求 --- p.80 / 格律的製造 --- p.82 / 力學綜合的失敗 --- p.85 / 自由意志的自覺 --- p.86 / 力學崇高與道德感的分別 --- p.88 / 力學崇高的功能 --- p.89 / 總結 --- p.94 / 參考書目 --- p.99

This thesis explores the eighteenth-century aesthetic of the sublime in application to Mozart’s Symphony No. 41 Jupiter, K. 551. Using Immanuel Kant’s definition of the mathematical sublime and Johan Georg Sulzer’s idea of the sublime, I argue that Mozart achieves this aesthetic through the synthesis of stylistic opposites: the learned and the galant. The culmination of such is best articulated in the fugue found in the Coda of the fourth movement. In this segment, Mozart combines five galant motives into a learned fugue; this intricate combination of stylistic opposites creates an elevated effect, one in keeping with eighteenth-century philosophies of the sublime. Drawing from my own experiences, I further argue for the subjectivity of the sublime and discuss its occurrence both in composition and as emotion.

Time back to French Revolution (1789), on the other side of the English Channel, a British philosopher Edmund Burke (1729-1797) vigorously appealed French was under a dangerous revolution. As he criticized, the protesters were eradicating the long tradition of France, blindly sublimed the abstract ideas of rights, such as liberty or equal. The dangerous of pursuing abstract ideas, would caused unrecoverable damages in political practices and were also against the human nature. The core and vital of tradition, for Burke, is it brings the intellectual knowledge abreast of modern developments, actively improve and modify those inappropriate contexts. This is why abstract ideas of rights are not persuasive, and tradition is worth been relied. This thesis will focus on Burke¡¦s aesthetic. First, regard the core cause of his social construction is related to his aesthetic. Then, explain how his noble and aesthetic ideas in politics combine with tradition. Last, point out his critics to Rationalism also comes from his ideas of human nature. It is proved that to comprehend his politics through his aesthetic won¡¦t cause conflicts between Ancient Constitutionalism, but can replenish those vogue parts in his political writings.