Suchergebnisse

A presente comunicação objetiva demonstrar que a piedade em Rousseau, muito embora seja condição de possibilidade fundamental para o estabelecimento de relações sociais mais humanas, pode se converter em condição para a desumanidade e indiferença para com o que sofre. Argumenta-se, para tanto, que ao mesmo tempo em que a imaginação, e com ela a capacidade do homem reconhecer o outro como de sua espécie, sentindo por este empatia, encontre lugar propício para seu desenvolvimento na sociedade, também revela nesse cenário, pelo aumento das luzes, que a capacidade do homem apiedar-se pode manifestar-se, por vezes, em relação aos que se afiguram como seus iguais, porém de forma muito tênue, e até inexistente, no que concerne aos que pela distância são avaliados como diferentes, sendo por isso hostilizados. Acrescente-se a isso que a exposição excessiva a determinados acontecimentos é apresentada no Emílio como contraproducente, visto conduzir à indiferença.

This article discusses a philosophical perspective the relationship between fine arts Division proposed by Kant and Hegel. Aims to clarify the approaches and distances between the Division of fine arts presented by philosophers, pointing out their similarities and differences. Basing your analysis on 'The Critic of Judgement of 1790 and Aesthetics Courses' (1820-21), respectively prepared by Immanuel Kant and Friedrich Hegel. Performs a comparative analysis between the Division of Kantian and Hegelian fine arts. Features initially the Division of fine arts on Kantian perspective, addressing the concept of beautiful art, your classification and your hierarchy, according to the philosopher of Königsberg. Then, the Division of the arts according to Hegel, introducing the concept of your beautiful, artistic forms of symbolic art, classical and romantic, exposing and analyzing also the private Arts according to the philosopher of Stuttgart. Concludes that, despite the differences between the two analyses on the Division of fine arts, such as the defense of Hegel in beautiful artistic relationship and of Kant to the beautiful natural, the Hegelian claim that there is a science of the beautiful while the Kantian conception is that there is no science of the be it, for example, featured philosophers agree, among other things, that poetry occupies the highest place in the hierarchy of the fine arts, being the more spiritual and free them.

The theatrical performance has always been a continual concern during all the history of humanity, because it performs an art where people have certain stories that arouse many feelings and insights to the spectators. It highlights the fact that the theatrical performance has special importance for philosophical reflection, especially in the characteristic illustration of the philosophy of the eighteenth century. In this context, several thinkers participated intensely of the political reality of this time, using the theatrical practice on several occasions, both for the contribution to the intellectual framework and to portray the daily life of the rising class, namely the bourgeoisie. Among these thinkers, this paper will highlight the Voltaire conceptions of representation of the aristocratic theater, establishing it as a powerful means of education; Diderot about the genesis of the drama, where art had the function of refining and instructing individuals, representing the aspirations of the bourgeoisie. Since the conception of Jean-Jacques Rousseau about the theater, unlike the two mentioned thinkers, says the educational role of the theater is illusory, as the theatrical representation only reflects the passions of their audience. Thus, it is emphasized that the Genevan thinker followed a contrary understanding to the thinkers of the period.