Música, filosofia, forma����o: por uma escuta sens��vel do mundo

La musique, plus qu`um mot et le texte ��crit, a le pouvoir de produire le d��placement du sujet en relation aux contingences du temps e de l��espace. Entendre de la musique est plus que de l��amusement. Comme un artifice cognitif qui ultrapasse l��exp��rience analytique e m��tonymique, les formes tonales doublent la r��alit��, expandent les sens, actionent l��imagination, retotalisent les sentiments, amplient les exp��riences, permettent la rencontre du sujet avec les ��ssences des ph��nom��nes qui ne sont pas traductibles par les mots. Nous ��coutons de la musique pour restituer notre dignit�� e conf��rer �� la vie plus de v��rit��, plus de concr��tion (Santiago Kovadloff). La m��lodie permet l��exp��rimentation des ��tats de coh��sion, de con��ction pleine entre sens et intention, entre commencement et fin, de la finitude de la vie (Schopenhauer). Le ph��nom��ne musical provoque l��expr��ssion de la douleur, de la souffrance et, au m��me temps, du jubile et de la joie, r��liant nature et homme (Nietzsche). Tenant comme base cette compr��hension, la dissertation tient dans la musique une importante m��taphore pour comprendre la complexit�� humaine, une fois qu��elle propicie une ��coute sensible du monde et mobilise dans le sujet l��exp��rimentation de divers ��tats de l����tre. Nous pouvons dire que la musique est un op��rateur de la conaissence parce qu��elle fait affleurer l����coute int��rieure, la rencontre du sujet avec lui m��me. Cet op��rateur cognitif actione les p��les de l����sprit qui font dialoguer sensibilit��, ��thique et esth��tique, ordre et chaos, silence et bruit, mouvement et pause, rep��tition et inovation. Par l��exp��rience musicale, nous habitons des formes hibrides de sensibilit�� et raison. L��inach��vement, notre principal caract��ristique comme humains, a, dans la musique, une image impair, parce que la musique est l��expression du d��vir. Pour tisser ces arguments, la dissertation part des ��tudes de Schopenhauer et Nietzsche sur la musique, esth��tique et m��taphysique; Expose des fragments de la biographie de trois grands penseurs contemporains (Werner Heinsenberg, Ilya Prigogine et Edgar Morin) accentuant la pr��sence de la musique en ses vies; et, par fin, pr��sente ce que nous appelons biographies sonores de quatre artistes-musiciens br��siliens (Benedito Juarez et Gil Jardim, de S��o Paulo, et Ronaldo Ferreira de Lima et, Cleudo Freire, du Rio Grande do Norte)

A estética transcendental kantiana �� luz de Strawson

This work s objective is to make a literal interpretation of Kant s Aesthetic transcendental, the first pilaster of sustentation of the epistemology of Kant and to interpret it at Strawson s light. It contains the doctrine of sensitivity responsible for the intuitions, which rests on the concepts of space and time, and, with this, the tematiza����o of two important questions. For Kant s philosophy in its epistemologic source what s the importance of the concepts of and time? How these concepts of space and time inscribe themselves with such statute as an investigatory task of metaphysics? The specification of the concepts of space and time as ingredients of the theories treated and enrolled in this work are segmented of the Aesthetic transcendental of Kant, and interpreted under Strawson s light. The research is divided in two chapter; first, constituted of two parts, the first part presents an introduction to the Aesthetic transcendental of Kant, to show the doctrine of the sensitivity which is part of with its forms space and time, authentic forms of the intuition. The second chapter, is constituted of four parts, that deal with the interpretation of the austere model of Strawson and related with Kant s transcendental Aesthetic. The conclusion of our work, about the declared objection of Strawson in its austere interpretation that refuses the idea of space and time, even keeping its a priori character, cannot be accepted. The apriority, the intuitivity and the ideality are theories non-separable in a coherent boarding of space and time of Kant s model of epistemology

Formatividade e interpreta����o: a filosofia estética de Luigi Pareyson

The concept of formativity, coined by Luigi Pareyson, is a key to the development of countless contemporary aesthetic studies. The aim of this dissertation is to present a deep understanding of the notion of Formativity and Interpretation, as evidenciated by the title Formativity and Interpretation: the aesthetical philosophy of Luigi Pareyson. The work Aesthetics - Theory of Formativity, first published in 1954, is considered a mark in the rebirth of aesthetics. In this dissertation, the concept of Formativity is examined as a component applicable to every human action, and not limited to pre-determined practices, nor referred to the application of preexisting. I ve performed an investigation of the triple concept of doing-inventing-interpreting, which simultaneously grounds Formativity. In the first section, Pareyson s Aesthetical Propaedeutic is presented; in the second, the Theory of Formativity: the aesthetical character of the whole human experience is analysed; and in the third chapter, The Aesthetical of Form and the Metaphysics of Figuration is related to the formativity character of the knowledge. Through this analysis, I ve intended to evidence how human operability can be understood as search and trial, figuration and invention, in the search for success. In this sense, this thesis seeks to present an interpretation of the idea of work-form, speculating the inexorability of invention and interpretation in an attempt to establish a new bottom line for the studies Pareyson s Aesthetics in Brazil

CORPOREIDADE E A MELODIA DA EXPERI��NCIA EST��TICA NA FORMA����O HUMANESCENTE DE CANTORES-EDUCADORES

In order for this study to be developed, the central goal on our investigation was defined as analyzing and interpreting the aesthetical experiences meanings lived by singers-educators in the human formation. The interest for the aesthetical experience theme was built from my own experience for the last twelve years as a member of the School of Music Madrigal, the oldest group in the State Federal University, created for research and cultural extension with structural perspective which brings closer teachers, students and the outer community that comes from different social realities to face the challenge of combining the ability of singing, the corporeity involvement and the aesthetical experiences meanings. This paper points out the understanding of art as perceptive expression of human emotions, such as the creation of existential demand, the restructuring of oneself and the constructions which shape beauty. We seek a dense contribution of new challenges to the peculiar demand of human potential in terms of sensibility repertoire, of involvement, of expectation in magnifying the possibilities and the human and social competences. In the formation human process, we find a living field blooming with natural artistical possibilities, experimenting emotions and feelings shared in collective life, and bringing out impulses to unexpected ludic creation, establishing a powerful aesthetical ambience which highlights the symbolic and imaginary with the deepening of rich ludopoiese properties in several meanings. From the guiding principles of etnophenomenology we find structural and indispensable perspectives which contemplate values, desires, archtype images and ideas that impress originality and fertility to the study. On this path we understand the abundance of living moments of intense commitment, acquaintance, challenges, reunions and connections that stand out from fundamental aspects to freedom, autonomy, creativity and new discontinuities. This acknowledgement brings us closer to the enlighted fullness which makes us humans

A ontologia da cor na fenomenologia estética bachelardiana

La philosophie de Gaston Bachelard se fonde sur une tension ontologique, qui comprend tant la Science que la po��tique, et au cours de cette recherche, se d��veloppe par la compr��hension de la possibilit�� d envisager une ontologie de la couleur, expression de Bachelard ci t��e en ��Le Droit de R��ver��. Nous suivons, donc, face au dialogue ent re la science et la po��sie tout en ��tablissant des param��t res afin d ��lucider, d un c��t��, la couleur conceptuelle de la science qui ne matise pas seulement les objets par le biais de l exp��rience chimico-physique, mais ��tablit aussi dans la relat ion ent re l observateur et l objet une compr��hension de l existence de la couleur invisible, celle qui habite l imagination cr��atrice et appara��t comme un type d ontologie de la couleur. Dans ce sens, la couleur est une image qui na��t dans la conscience de l homme, comme un produit direct de l ��me dans son actualit�� m��me. Ainsi, la couleur serait dans l imagination cr��ative une image autog��ne desti tu��e de substantialit��

Her��clito na filosofia do jovem Nietzsche

In the early 1870s, the German Philosopher Friedrich Nietzsche, professor of philology in Basel, researches the ancient Greek philosophers. These studies result in texts as The Preplatonic Philosophers, also known as Lessons on Pre-platonic Philosophers, and Philosophy in Greek tragic age. Using both texts as sources, this dissertation aims elucidating the Nietzsche's interpretation about Heraclitus, in other words, comprehend how Nietzsche recognizes in Heraclitus a philosopher with an aesthetic vision of the world, a contemplative and cheerful view of the world, the becoming, defined by the incessant change, as a child's play that builds and destroy sand castles on the shore. This spectacle, as Nietzsche believed, would be unveiled first by Heraclitus and must be contemplated eternally

Música dos espa��os: paisagem sonora do Nordeste no movimento armorial

This work exams the presence of music in the imaginary constitution of spaces, taking as study s object part of the musical production of the Armorial Movement, officially casted in 1970 in the city of Recife, Pernambuco. From that so called, by the Armorial s discourse, the essence of the brazilian northeastern popular art , the armorialists has intended to make an art that express an idea of northeasternity and brazility . Tries to demonstrate how the music has exerted a basic function of condensation and spreading of the armorial aesthetics, auditorily delimiting the territory of Brazilian Northeastern and, at the same time, trying to impose a sonority to it. This work still analyses the elaboration of what would be a proper soundscape of the Northeastern and how this elaboration passes trough the desire of crystallization of an idealized space, perpetual, escape line of the characteristic modernizing and postmodernizing experience of the twentieth century, product, in turn, of the anxiety of conservation of the Northeastern as a shelter to the traditions that has been evidenced by the construction of an visibility and, also, an audibility to the so called northeastern universe. It analyses, too, the way as works the confrontation between the idea of a so called northeastern soundscape - sonorous events set taken as typical from the rural space - and a sonorous archives series produced since 1920 with the regionalist discourse, showing how was elaborated an armorial music that has intended to represent the brazilian Northeastern. It evidences how, to the elaboration of armorial music, it was managed elements from the European musical culture so called scholar. It argues that the utilization of, to the manufacture of the armorial thinking and aesthetics, of a European mimical capital, so called that way by Stephen Greenblat, was consequence of the intellectual leadership of the Movement, centered in the writer Ariano Suassuna. It argues that Suassuna, followed by the musicians and the artists of the Movement, has searched to evidence a genetic linking between what he has considered the Brazilian true popular art and the medieval Iberian culture. For in such a way, the music was taken as a formation element of the social imaginary and directed to verify a relationship between the Northeastern idealized by the Armorial and the music produced by the Movement. This work has searched, therefore, through the analysis of the armorial music, to study the possible confluences between music and the space that has produced it to, by this analysis, to think the complicity between music and history

Para uma metapsicologia freudiana da experi��ncia estética

H�� muito a arte j�� era tema de acirradas discuss��es filos��ficas quando do surgimento da psican��lise no fim do s��culo XIX. Com o avan��o desta e seu eventual deslocamento do campo das patologias ps��quicas para as produ����es da cultura, superp��e-se ��s ent��o produ����es te��ricas sobre a arte um discurso que implica novas categorias do acontecer ps��quico no fazer art��stico. Com o conceito freudiano de inconsciente todo fazer humano passou a ser concebido como comportando a marca do ser dividido que �� o homem. Julgamos a experi��ncia estética como indissoci��vel desse fazer. E �� por apostar na singularidade da abordagem psicanal��tica no campo est��tico que nos aventuramos a propor uma descri����o metapsicol��gica da experi��ncia estética. Para tanto, devemos primeiramente compreender qual o crit��rio que Freud utiliza para o uso do conceito de sublima����o, este que consideramos um conceito chave para a an��lise da experi��ncia estética. A experi��ncia �� dividida ainda na experi��ncia estética do espectador, isto ��, a contempla����o, e a experi��ncia do autor, isto ��, a do criador da obra.

O eterno retorno como par��dia e como colagem na filosofia da diferen��a de Gilles Deleuze

Gilles Deleuze h��s commented on many philosophers, but his relationship with Nietzsche plays a singular role in his thought: appropriating the concept of the ���eternal return��� to think the central axis of his thesis, Difference and repetition (1968). Terms ���difference��� and ���repetition��� appeared associated to eternal return in his Nietzsche and philosophy (1962). Our dissertation thesis analyzes the presentations of that concept in bothworks. Chapter one presents the style construction and critical, methodological aspects of Nietzschean philosophy, fundamental elements to understand Deleuze���s interpretation. It subsequently analyzes the first presentation of that concept, expressed in the following terms: the aesthetic existence, either innocent or justified from the figure of game. We will see how the image of game implies another concept of chance, that leads Deleuze to think of an affirmative philosophical ���type���, capable of creating new values. Chapter two evaluates the existential, ���ethical-selective���, ���physicalcosmological��� character of the concept of eternal return, as much as the difficulties it imposes upon Nietzsche���s interpreter. We present afterwards Deleuzian comprehension of eternal return as a ���parody��� or a ���simulacrum of doctrine���. Chapter three analyzes that interpretive position as a transvaluation of values from a rearrange of perspectives in order to overcome the negative comprehensions of existence. We want to question the way Deleuze builds another image of thought from the concept of eternal return ��� an image that, by a sort of ���colagem��� and selective elimination of the negativity, proposes a historiographic work and unfolds a lineage of thinkers of immanence and difference, a detour from the thought of identity, the same and the similar. We want thus to understand Deleuze���s critique of ���dogmatic image of thought���.

O eterno retorno como par��dia e como colagem na filosofia da diferen��a de Gilles Deleuze

Gilles Deleuze h��s commented on many philosophers, but his relationship with Nietzsche plays a singular role in his thought: appropriating the concept of the ���eternal return��� to think the central axis of his thesis, Difference and repetition (1968). Terms ���difference��� and ���repetition��� appeared associated to eternal return in his Nietzsche and philosophy (1962). Our dissertation thesis analyzes the presentations of that concept in bothworks. Chapter one presents the style construction and critical, methodological aspects of Nietzschean philosophy, fundamental elements to understand Deleuze���s interpretation. It subsequently analyzes the first presentation of that concept, expressed in the following terms: the aesthetic existence, either innocent or justified from the figure of game. We will see how the image of game implies another concept of chance, that leads Deleuze to think of an affirmative philosophical ���type���, capable of creating new values. Chapter two evaluates the existential, ���ethical-selective���, ���physicalcosmological��� character of the concept of eternal return, as much as the difficulties it imposes upon Nietzsche���s interpreter. We present afterwards Deleuzian comprehension of eternal return as a ���parody��� or a ���simulacrum of doctrine���. Chapter three analyzes that interpretive position as a transvaluation of values from a rearrange of perspectives in order to overcome the negative comprehensions of existence. We want to question the way Deleuze builds another image of thought from the concept of eternal return ��� an image that, by a sort of ���colagem��� and selective elimination of the negativity, proposes a historiographic work and unfolds a lineage of thinkers of immanence and difference, a detour from the thought of identity, the same and the similar. We want thus to understand Deleuze���s critique of ���dogmatic image of thought���.