Intuitive Finitude and Symbolic Infinitude in Husserl’s Philosophy of Arithmetic and Crisis”. Since its inception, Husserl’s phenomenology oscillates between a positive valuation of technical calculus in order to compensate for the limited capacity of human beings, and a denunciation regarding the blindnessthat its extraordinary development has brought about regarding the true nature of scientific and philosophical thinking, in their sense as λ. Likewise, regarding intuition phenomenology oscillates between on one side a positive valuation of the foundational and authentic character of the basic intuitive representations and, on the other, the observation of their radical finitude. This paper explores some salient features of these oscillations. / Desde su origen, la fenomenología de Husserl oscila entre una valoración positiva del cálculo técnico, para compensar la limitada capacidad de los seres humanos, y una denuncia de la ceguera que su desarrollo extraordinario ha ocasionado respecto de la verdadera naturaleza del pensamiento científico y filosófico, en su sentido de λ. Asimismo, respecto de la intuición, la fenomenología oscila entre una valoración positiva del carácter fundacional y auténtico de las representaciones intuitivas básicas y la observación de su finitud radical. En esta ocasión exploramos algunos rasgos de estas oscilaciones.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation s purpose is to characterize the musical notation as a representational system in which a certain kind of symbolic thought works. In this sense, the operations that are made in this notation are understood as signs handling without considering the meaning. Though this characterization confronts the question for the possibility of the symbolic thought, which question may be asked like this: how is it possible to warranty the results correction obtained by the sign s handling without taking care of the meanings? Aiming to offer a solid answer to this question, it was used a Leibniz s notion of blind or symbolic thought or knowledge, and certain associated functions. Based in an exam of three functions that are played by signs, as well as an analysis of traditional musical notation s basic elements this work tried to characterize the musical thought as a kind of formal operation. This can be seen in the western basic musical structure, in which scale and rhythm are comprehended as formal organization s ways in that are present a certain kind of calculus. So the signs in musical notation simply do not play the role of substitute the phonic component, but they make visible some structural aspects of these images. This exhibition is attributed in different senses to others representational systems, as diagrams, some artificial languages and even some alternative musical symbolism, some, called graphism , proposed by some 20th century composers. In this perspective the method used was the comparison among the different representation forms in order to identify the musical notation as an ecthetic representation. Concluding, the musical notation is characterized as a constitutive element of the music itself, and it is not a mere secondary code. / Esta dissertação visa caracterizar a notação musical enquanto sistema representacional em que opera um tipo de pensamento simbólico. Nesse sentido, as operações realizadas nessa notação são entendidas como pura manipulação de signos, sem a necessária consideração do designado. Entretanto, essa caracterização se defronta com a pergunta pela possibilidade do pensamento simbólico. Tal questão pode ser formulada à seguinte maneira: como é possível garantir a correção dos resultados obtidos pela manipulação simbólica, enquanto pura manipulação de signos sem atenção aos significados? Com vistas a oferecer uma resposta consistente a essa pergunta, recorre-se à noção leibniziana de pensamento (ou conhecimento) cego ou simbólico, e a certas funções a ela associadas. A partir de um exame de três funções exercidas pelos signos a saber, função de sub-rogação, função de cálculo e função ectética bem como de uma análise dos elementos básicos da notação musical tradicional, busca-se caracterizar o pensamento musical como um tipo de operação puramente formal. Isso pode ser observado pela atenção ao caráter estrutural da própria música ocidental, em que noções como a de Escala e a de ritmo são entendidas como modos de organização formal nas quais opera um certo tipo de cálculo. Assim, os signos da notação musical não executam simplesmente a função de substituir imagens acústicas, mas exibem ou tornam visíveis certos aspectos estruturais dessas imagens. Ora, essa exibição é atribuída também, em diferentes sentidos, a outros sistemas representacionais, como os diagramas, algumas linguagens artificiais e até mesmo algumas formas alternativas de simbolismo musical, como os chamados grafismos, propostos por compositores do século XX. Nessa perspectiva, a estratégia aqui empregada passa pela comparação entre a notação musical tradicional e diferentes formas de representação, buscando identificar essa notação como um tipo de representação ectética. Como conclusão, caracteriza-se a notação musical como elemento constitutivo da própria música, e não simplesmente como um código secundário.

This dissertation examines the conceptualization of the ideal society in Western culture in relation to changes in communication modes. The utopian discourse is defined by a concern with the relationship between language and reality. I explore this concern as a reflection of the theoretical disposition invited by changes in communication modes, which are perceived as crises of representation. Plato and Thomas More’s enlightened communities in the Republic and Utopia reflect comparable idealistic perspectives on education. In my view, this optimism stems from the social reality of growing literacies with the advent of the alphabet and printing, respectively. I contend that these writers are animated by an ethical impulse to teach their readers that language is representation. From the vantage point of this knowledge, each individual may employ language symbolically in order to create and perpetuate a moral and spiritual mode of thought. I argue that the discourse of the ideal is the symbolic expression of humanity’s engagement with death, the ultimate existential concern made acute by the aspect of historical discontinuity in the crisis of representation. Plato and More exhibit comparable efforts to open to their readers the superior space of critical reflexivity which they themselves inhabit. From this conceptual, pre-representational space of conscious choice, language is subjected to achieving spiritual progress. I introduce the concept of post-utopia, which describes a pragmatic moment when the relationship between author and the ideal society is brought into the foreground and reinforced as a way of addressing concerns with textual authority. I examine these developments in Augustine’s De Civitate Dei, François Rabelais’s episode of the Abbaye de Thélème in Gargantua, and Francis Bacon’s New Atlantis. These authors draw on the ideologies of representation inherent in utopian discourse, and position the authorial figure as link between scriptural teleology and history, ensuring spiritual and societal betterment in the textual cultures of late antiquity and early modernity. The figure of the author emerges as a symbol of history and of man’s ability to assume the limits of the mind and of language.

This dissertation examines the conceptualization of the ideal society in Western culture in relation to changes in communication modes. The utopian discourse is defined by a concern with the relationship between language and reality. I explore this concern as a reflection of the theoretical disposition invited by changes in communication modes, which are perceived as crises of representation. Plato and Thomas More’s enlightened communities in the Republic and Utopia reflect comparable idealistic perspectives on education. In my view, this optimism stems from the social reality of growing literacies with the advent of the alphabet and printing, respectively. I contend that these writers are animated by an ethical impulse to teach their readers that language is representation. From the vantage point of this knowledge, each individual may employ language symbolically in order to create and perpetuate a moral and spiritual mode of thought. I argue that the discourse of the ideal is the symbolic expression of humanity’s engagement with death, the ultimate existential concern made acute by the aspect of historical discontinuity in the crisis of representation. Plato and More exhibit comparable efforts to open to their readers the superior space of critical reflexivity which they themselves inhabit. From this conceptual, pre-representational space of conscious choice, language is subjected to achieving spiritual progress. I introduce the concept of post-utopia, which describes a pragmatic moment when the relationship between author and the ideal society is brought into the foreground and reinforced as a way of addressing concerns with textual authority. I examine these developments in Augustine’s De Civitate Dei, François Rabelais’s episode of the Abbaye de Thélème in Gargantua, and Francis Bacon’s New Atlantis. These authors draw on the ideologies of representation inherent in utopian discourse, and position the authorial figure as link between scriptural teleology and history, ensuring spiritual and societal betterment in the textual cultures of late antiquity and early modernity. The figure of the author emerges as a symbol of history and of man’s ability to assume the limits of the mind and of language.

El presente trabajo analiza el sentido con que los cortometrajes del director de cine checo Jan Švankmajer: “El apartamento” (Byt, 1968) y “Una tranquila semana en casa” (Tichý týden v dome, 1969) se vinculan con las ideas de un filósofo de la antigüedad como Platón y con un pensador contemporáneo como Michel Foucault. En principio, se presentan las nociones de logos y de mito-símbolo y sus relaciones. Asimismo, se explican las categorías de Platón y Foucault que se emplean en el análisis del objeto de estudio. A continuación, se analizan los cortometrajes en base a dichas categorías: realidad, conocimiento y hombre en el caso de Platón y saber-poder, discurso y sujeto en el caso de Foucault. / This study analyzes the meaning with wich the short films of Czech film director Jan Švankmajer: "The flat" (Byt, 1968) and "A quiet week at home" (Tichý týden v dome, 1969) are linked to the ideas of an ancient philosopher like Plato and a contemporary thinker like Michel Foucault. First, the notions of logos and mytho- symbol and their relationships are introduced. Likewise, the categories of Plato and Foucault that are used in the analysis of the object of this study are explained. The following is an analysis of the short films based on these categories: reality, knowledge and man in Plato's case, and knowledge-power, discourse and subject in Foucault's case. / Tesis