Suchergebnisse

Embora a constatação evidente no século XVIII seja o Iluminismo, movimento que deve ser compreendido como um esforço de assimilação da cultura européia. No entanto, há, em seu desacordo, o Sturm und Drang, um Pré-Romantismo rebelado contra o classicismo francês e desperto aos valores germânios do Romantismo. Mas antes mesmo de compreender o Romantismo propriamente dito, o conjunto dos sintomas e ataques do anti-classicismo em pleno século XVIII é o Pré-Romantismo, sua discussão deve preceder a qualquer tentativa de compreender o Romantismo, pois na estética pré-romântica, todas as suas tendências reúnem-se na eloquência torrencial do seu precursor: o entusiasmo, o amor à natureza, a melancolia, o sentimentalismo e a mística democrática de Jean-Jacques Rousseau.

From the ideas of Immanuel Kant and Hannah Arendt regarding Faculty of judgment, this article seeks to analyse the possible connections between our ability to judge the beautiful, and the way in which contemporary art articulate aesthetic values, moral and cognitive. To this end, presents some aspects of appropriation that Arendt makes aesthetic judgment of taste who thinks the beautiful as a political category, aimed at a possible Association of public manifestations of contemporary art to the political action of public character.

This article aims to approach the relationship between poetry and philosophical thought through the approximation between Kantian aesthetics and the work of Carlos Drummond de Andrade. It makes a presentation of the poet's work in the four phases of its development. It briefly exposes Kant's aesthetic conception, highlighting his classification of the arts, his concept of fine arts and the privileged place that the philosopher gives to poetic art. It undertakes an approximation of fine arts and poetry with Drummond's Poema de Sete Faces.

O presente artigo pretende fazer uma análise reflexiva sobre a tecnologia em sentido moral. Procura-se abordar o desenvolvimento das tecnologias evidenciando suas implicações morais a partir da crítica ao progresso da razão elaborada por Jean-Jacques Rousseau no Discurso sobre as ciências e as artes. Assume-se a perspectiva crítica rousseauniana no sentido de que se compreende que o progresso científico e tecnológico deve ser entendido do ponto de vista da sua causalidade final na medida em que o progresso está relacionado com transformações profundas que ocorrem nas relações entre o homem, a natureza e a sociedade.

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.