O rap, o hip-hop e o funk: a "eróptica" da arte juvenil invade a cena das escolas públicas nas metrópoles brasileiras

A irreverência e a criticidade de alguns rappers e o gingar alegre do corpo erótico proposto pelo funk sugerem um novo cenário para as metrópoles do país, em que a pluralidade da arte juvenil surge como forma de enfrentamento das marcas deixadas por fraturas sociais profundas. Os conceitos de "visão dionisíaca de mundo", "estética extrema" e "transvaloração dos valores", de Nietzsche, e o "erotismo", segundo Bataille, nortearam o método de ruptura de campo, concebido por Herrmann. Este, essencial para se repensar as noções de autoridade e tradição na sociedade contemporânea a partir das ideias veiculadas pelo rap e pelo funk. Consideramos que somente uma etnografia do olhar que apanhe a dimensão erótica e irreverente - a "eróptica", segundo Canevacci - destas manifestações poderia nelas identificar uma estética afirmativa e crítica, como diria Nietzsche, capaz de produzir uma verdadeira reversão dos valores em nossa sociedade e, no caso, no interior da própria escola.

The Vase’s Representation (Cantharus, Crater) on the Roman Mosaic in Portugal: A Significant Formal and Iconographic Path from Classic Antiquity to Late Antiquity

11TH INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS OCTOBER 16TH  20TH, 2009, BURSA TURKEY Mosaics of Turkey and Parallel Developments in the Rest of the Ancient and Medieval World: Questions of Iconography, Style and Technique from the Beginnings of Mosaic until the Late Byzantine Era

The Place of the Gods : Biblical, Tragic, and Humanist Modes in Shakespeare’s Antony and Cleopatra

Ce mémoire se focalise sur la pièce Antony and Cleopatra de Shakespeare en relation avec la pensée biblique, l’humanisme de la Renaissance et les caractéristiques de la tragédie comme genre littéraire et philosophie grecque. La chute d’Adam et Eve dans la Bible, ainsi que le conflit entre le héros tragique et les dieux, sont deux thèmes qui sont au centre de ce mémoire. Le mythe de la chute d’Adam et Eve sert, en effet, d’un modèle de la chute—et par conséquent, de la tragédie—d’Antoine et Cléopâtre mais aussi de structure pour ce mémoire. Si le premier chapitre parle de paradis, le deuxième évoque le péché originel. Le troisième, quant à lui, aborde une contre-rédemption. Le premier chapitre réfère à l’idée du paradis, ou l’Éden dans la bible, afin d’examiner ce qui est édénique dans Antony and Cleopatra. La fertilité, l’épicuréisme, l’excès dionysien sont tous des éléments qui sont présents dans la conception d’un Éden biblique et Shakespearien. Le deuxième chapitre est une étude sur la tragédie comme genre fondamentalement lié à la pensée religieuse et philosophique des grecs, une pensée qui anime aussi Antony and Cleopatra. Ce chapitre montre, en effet, que les deux protagonistes Shakespeariens, comme les héros tragiques grecs, défient les dieux et le destin, engendrant ainsi leur tragédie (ou ‘chute’, pour continuer avec le mythe d’Adam et Eve). Si le deuxième chapitre cherche à créer des ponts entre la tragédie grecque et la tragédie Shakespearienne, le troisième chapitre montre que le dénouement dans Antony and Cleopatra est bien différent des dénouements dans les tragédies de Sophocle, Euripide, et Eschyle. Examinant la pensée de la Renaissance, surtout la notion d’humanisme, la partie finale du mémoire présente les protagonistes de Shakespeare comme des éternels rebelles, des humanistes déterminés à défier les forces du destin.

Estética del rock

El objetivo del presente artículo es el de analizar la estética del Rock en términos de la experiencia que ofrece este género musical. En primer lugar se construirá una relación entre el Nacimiento de la tragedia de Nietzsche y el surgimiento del Rock, bajo la premisa de que el origen del Rock es eminentemente dionisíaco; luego se mostrará una forma de la experiencia en la vida cotidiana de quien escucha Rock, en donde se da cuenta de la necesidad de expresar los sentimientos de placer y displacer en el individuo; por último, se verá el concierto como expresión última del Rock, expresión que se enmarca dentro de la característica de una celebración-ritual que guarda semejanzas con la tragedia griega. Estos elementos terminan por dar cuenta de una forma de ver el mundo en la que se constituye la individualidad dentro de la comunidad electiva

Visual ambiguity in the oeuvre of the Gela Painter: a new lekythos from Thessaly

This paper presents a previously unpublished Attic lekythos and discusses visual ambiguity as an intentional drawing style used by a vase painter who conceptualised the many possible relationships between pot and user, object and subject. The Gela Painter endowed this hastily manufactured and decorated lekythos with visual effects that drew the viewer into an inherently ambivalent motif: a mounting Dionysos. This motif, like other Dionysian themes, had a vogue in late Archaic times but did not necessarily invoke chthonic associations. It had the potential to be consumed in diverse contexts, including religious festivals, by a wide range of audiences. Such images were not given to the viewer fully through visual perception but through interpretation.

Facebook: o Dionisíaco em uma modulação da forma social

This paper is about the form of social modulation, The Facebook. The social order is the form that all parties. The modulations (there are several) are aspects of social order and therefore capable formant. The Facebook, then, is searched as a Dionysian aspects of the social form that appears with cyberculture and the mass consumption. Thus, it is to display the attitude of Dionysian that consume otherness and give up the KEYWORDS: social form, modulation, Dionysian, cyberculture, Facebook consumption on Facebook

A estética da Commedia dell Arte: contribuições para o ensino das Artes Cênicas

Theatrical phenomenon borned in the Italy the Comedy dell Art concerned to it climax in the XVI century and spreading itself by the word than can be sight like the theatre base modern. Lasting parallel the conventional theatre since the three hundred years, this gender influenced significativly the making theatrical in the Europe graces the popular character of its simulation turned for the improvise. In spite of treat a theatric manifestation no more existing in the present time, we understand that the Comedy dell Art was constituted in one artistic language whose esthetics centralized in the popular fanciful and in the improvise permitted a rich possibility of verbal and not-verbal communication that today can to be taken again in contemporary productions theatricals. Departing of an approach of esthetics, this work has with purpose concentrate the references esthetics that configure that one artistic manifestation such that one references can contribute for the Arts teaches in the present times. We appeal the text and image of Comedy dell Art, such this historical reference that in context, with fountain investigated that mean and if complementary in one esthetic reflection for the creation of meaning diverse and news interpretations for the purpose investigated if having with base some analysis categories such as: the actor s body, the actuations spaces and the esthetics categories such the ugly, the comic and the absurd. To investigate the Comedy dell Art esthetic in the ambit of the teach of Arts Scenics is a manner of be understand the artistic universe of three century behind that can be meant, revived, in the marking possibilities of an art teach able to incentive the critical, the appreciation, the discussion and the transgression of instituted true. Having investigated the exhibition Comedy dell Art esthetic we rebound four stich that we judge significative for we think the Arts Scenics teach, they are: the articulation between actor s body, the text and the space actuation in the play; statement what it is given between actor s body and the on-looker and the every gesture that did share of scene in a popular scenic space; a conception actor s body that transgress with the true duty socially that is capable the to admit its dimension Dionysian, creative and ambiguous in the to do theatrical; the text conception that get beyond the ambit the word writing by the dramatist and talked by actors, if spreading the other elements significance in the scene like gesture, the parody, the recent news, the gags and the word used in the day-to-day; the scenic space like a statement symbolic between actors and on-looker that make a quality of amusement pact supported by the scenic true of artist that actuate in not usual spaces bid at an auctioning degrees of participation in the building the scenic phenomenon; and the importance of esthetics categories such as the ugly, the comic and the absurd, those categories that foundation like a do scenic transgressor make a possible exchange mutual between actor and appreciator. The statement of esthetics categories in joint continuous between the body, the text and the scenic space evident themselves in doing theatrical and in the its appreciation. We believe that the reflection esthetic about the Comedy dell Art in the arts class, consider the stich detached, can favor possibilities of to share discovery, ideas, feelings and attitudes, and can permit the observation of different stich of view, establishing the statement of individual with the group in a participative and democratic form

Entre júbilo e ruína: a perspectiva trágica de Nietzsche

It is investigating why reason Nietzsche affirms, in 1888, when revises his work (Ecce Homo), that to be exactly with The Birth of Tragedy it will be necessary to forget some things , and, in spite of, insist, in the same writing, in naming himself the first tragic philosopher - that is, the opposite and antipode of a pessimistic philosopher . Nietzsche elaborates in The Birth of Tragedy a theory about tragic starting from the opposition and complementarity among Apollo and Dionysian, rationalism and instinct, and in the refusal of the pessimistic perspective. The objective of the dissertation is to discuss how the theory of tragedy modifies due to the rupture with the inspiring of the first moment of the nietzschian philosophy, Schopenhauer and Wagner - maybe the such things to be forgotten about The Birth of Tragedy - and the implications of this rupture, that transforms the philosophy of Nietzsche in dissident of the metaphysical tradition. Like this, it is noticed that there is more continuity than estrangement in what concerns to the definition of tragic, just announced in 1871. By the sentence of the eternal return to the concept of will of power Nietzsche elaborates a tragic perspective, marked by the Dionysian celebration of the life, also acted through the pessimism dionisiac , defined in Gaya Science's § 370 (1881-2), and of the sentence of the love fate, enunciated in the §276 of the same work; all those concepts, discussed in this research, concentrate, decisively, the acceptance idea and statement of life, or more precisely, the decline of the tragic hero, between joy and ruin

Sabedoria trágica no último Nietzsche

Pós-graduação em Filosofia - FFC

Corpo, contemporaneidade, juventudes e escola

Pós-graduação em Educação para a Ciência - FC

O SLA funk de Fernanda Abreu

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O “Apolíneo” e o “Dionisíaco” n’A montanha mágica: a dialética como paródia do Bildungsroman

Pós-graduação em Estudos Literários - FCLAR

Sobre graça, dignidade e beleza em Friedrich Schiller e Heinrich von Kleist

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

O Recuo Brutalista

Em conformidade com a dúvida de seu título, o difundido livro The New Brutalism: Ethic or Aesthetic? de Reyner Banham não é possível explicar o Brutalismo como manifestação artística coesa, dotada de consistência e reprodutibilidade formal. A citação de arquitetos famosos, porém divergentes, parece associar e comparar obras ásperas com a pretensão de reerguer uma arquitetura moderna considerada ascética, monótona e insuficiente e gera um teoricismo da aparência crua e do moralismo dos objetos. Discurso que oculta, ou desvia a atenção do retorno artístico à sublimidade e construção artesanal. O Brutalismo é aceito como evolução natural dos estágios modernos anteriores e sanciona artefatos toscos, pesados e inacabados como se fossem filiados ao processo moderno desinfestado. Esconde contradições e disfarça seu rompimento com o moderno para prolongar a expressão Movimento moderno. Mas o objeto claro, econômico e preciso é repudiado pelo consumidor e, por ser pouco representativo, o artista faz sua maquiagem com episódios contrastantes e monumentais na informalidade das cidades espontâneas. No entanto, parece possível suspender a noção positiva e corretiva do Brutalismo para entendê-lo como um recuo artístico vulgarizador que despreza aperfeiçoamento e afronta a atitude moderna com banalização conceptiva, exagero, figuralidade, musculação estrutural, grandeza tectônica, rudimento e rudeza. Assim, moralismo, retorno rústico e originalidade desqualificam a expressão International Style entendida como a culminação da arquitetura moderna do pós-guerra, ao depreciá-la como decadente, como produto imobiliário, comercial e corporativo a serviço do capital. Essa interpretação desvela uma crítica anti-industrial, portanto antimodernista e diversa da pós-modernidade, porém contestadora e realista para fornecer imagens à cultura e aos insensíveis à estrutura da forma moderna. Diverso da pós-modernidade pela dependência ao moderno e ausência de apelo popular. Tornada insignificante a configuração oportuna do artefato, o arquiteto tenta reter sua notabilidade artística, ou o prestígio que parece enfraquecer na aparência símile da especificação de catálogo, no rigor modular. Indispõe-se e repudia componentes, Standards e acabamentos impessoais da indústria da construção para insistir em autoria e inspiração, mas repete cacoetes estilísticos de época e o inexplicável uso intensivo de concreto bruto e aparente para sentir-se engajado e atualizado. Porém, é necessário distinguir obras de aparência severa concebidas pela atitude moderna mais autêntica das de concreto aparente em tipos ou configurações aberrantes. Para avançar na discussão do Brutalismo propõe-se entender este fenômeno com a substituição do juízo estético moderno de sentido visual postulado por Immanuel Kant (1724-1804) por um sentimento estético fácil e relacionado com a sensação da empatia, com a Einfühlung de Robert Vischer (1847-1933). Na época da cultura de massas, admite-se o rebaixamento das exigências no artefato e a adaptação brutalista com a transfiguração dos processos de arquitetura moderna. Assim, a forma é substituída pela figura ou pelo resumo material; a estrutura formal subjacente pelo ritmo e exposição da estrutura física; o reconhecimento visual pelo entusiasmo psicológico ou pelo impulso dionisíaco; a concepção substituída pelo partido, ou, ainda, pelo conceito; a sistematização e a ordem pela moldagem e a organização; a abstração e síntese pela originalidade e essencialidade, o sentido construtivo pela honestidade material; a identidade das partes pela fundição ou pela unicidade objetal e a residência pela cabana primitiva.

Resisting Postmodernity: Swedish social policy in the 1990s

The purpose of this paper is to introduce ideas that have emerged during the course of writing a book on Swedish welfare in the 1990s. The book is the result of many years of writing about two subjects: Swedish drug policy and the Swedish welfare state. The one very specialised, the other, more general. I first became interested in Swedish drug policy on a research visit to Örebro Län in 1986. A social worker showed me a copy of the county's drug policy programme and explained the significance of the 'restrictive line'. I have spent the years since that visit, trying to understand and explain the Swedish goal of a drug-free society (Gould 1988, 1994, 1996b). I only began to write about the welfare state in Sweden in the early 1990s, just as things were beginning to go wrong for the economy (Gould 1993a, 1993b, 1996a, 1999). For the last few years I have intended to write a book on the events covered by the period 1991-1998 - the years of a Bourgeois and a Social Democratic Government -which would bring the two halves of my work together. Material for this study has been accumulated over many years. A number of research visits have been made; large numbers of academics, politicians, civil servants, journalists, unemployed people, social workers and their clients have been interviewed; and extensive use has been made of academic, administrative and public libraries. Since September 1991 I have systematically collected articles from Dagens Nyheter about social services, social insurance, health care, employment, social issues and problems, the economy and politics. The journal Riksdag och Departement (Parliament and Ministry), which summarises a wide range of public documents, has been invaluable. Friends and informal contacts have also given me insights into the Swedish way of life. The new book is based upon all of these experiences. This paper will begin with a brief account of major global social and economic changes that have occurred in the last twenty years. This is intended to provide a background to the more recent changes that have occurred in Swedish society in the last decade. It will be suggested that the changes in Sweden, particularly in the field of welfare, have been less severe than elsewhere and that this is due to political, institutional and cultural resistance. The paper will conclude by arguing that Sweden, as an exemplar of an Apollonian modern society, has had much to fear from the Dionysian characteristics of postmodernity.