Programa de Pós-graduação em Filosofia
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Item A arte além da razão: a tragédia na reflexão do jovem Nietzsche(Universidade Federal de Goiás, 2014-02-24) Batista, Walquiria Pereira; Lopes, Adriana Delbó; http://lattes.cnpq.br/6600189022732543; Lopes, Adriana Delbó; Silva, Adriano Correia; Oliveira, Roberto Charles Feitosa deThe starting point of this study is the examination of tragic art in Nietzsche’s reflection about culture, having his first book The Birth of Tragedy as main line. An intrinsic relation between art and life is noticed in the opposition which the philosopher establishes between a tragic culture and a theoretical culture, in a way that the first is seen as the ideal terrain of art, while the latter is considered a promoter of the artificialized arts of the modern era. The objective is to examine the metaphysical impulses which art has as a substratum in tragic culture and, at the same time, to identify the superposition of reason inaugurated by Socrates as something harmful to the instincts, which would exterminate from art its original, solely artistic element. With these notions, the intention is to study Nietzsche’s Apollinian- Dionysian conception of art, in dialogue with authors of Greek and German drama, identifying contrasts and communions. Art projected on the principle of reason would have its mark in Euripides’ aesthetic Socratism, in Aristotle’s primacy of action and catharsis, in Lessing’s Enlightenment dramaturgy, in Schiller’s expressions of liberty and would resonate in the recitative of the opera in the service of distraction. On the other hand, the splendor of the tragic era lies in the tragedies of Aeschylus and Sophocles, in the hero’s Apollinian- Dionysian dichotomy, exemplified in Prometheus and in the two Oedipusses. Myth and music are seen as fundamental and inseparable components of art sprouted in a tragic culture, capable of establishing an unconscious relationship with the audience. These are the premises to understand Nietzsche’s affinities with Wagner, in the expectation of a renaissance of myth and music as reawakening of the tragic spirit in German genius.Item Prolegômenos a uma arqueologia da música: saber e modernidade musical(Universidade Federal de Goiás, 2011-08-08) Silva, Thiago Cazarim da; Ternes, José; http://lattes.cnpq.br/4963109088070313The aim of this work is to unfold a suggestion given by Michel Foucault, which indicates the possibility of applying the archeological method to a philosophical approach to the arts, literature and as we tried to do throughout this research to music as well. For this purpose, have been taken not only the works in which Foucault have described or developed his archeology (e.g. L archeologie du savoir, L ordre du discourse), but also some texts that Deleuze, Merleau-Ponty and Foucault himself wrote about literature, cinema and the arts. Theses texts, I argue, could point out some decisive and distinctive features of Musical Modernity. Therefore, they could serve to establish the philosophical boundaries into which an archeological description of music should move; consequently, they should show the differences between an archeological and some musicological approaches to become helpful to the comprehension of the very interest of a History of Music.