Artistic languages in Gerd Bornheim

• Grant number: 12/01202-3
• Support Opportunities: Scholarships abroad - Research Internship - Post-doctor
• Start date: May 01, 2012
• End date: October 31, 2012
• Field of knowledge: Humanities - Philosophy - History of Philosophy
• Principal Investigator: Olgária Chain Féres Matos
• Grantee: Gaspar Leal Paz
• Supervisor: Dominique Chateau
• Host Institution: Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH). Universidade de São Paulo (USP). São Paulo , SP, Brazil
• Institution abroad: Université Paris 1 Panthéon-Sorbonne, France

Abstract

This study suggests a historic-cultural reading of Gerd Bornheim's interpretations, highlighting the themes of language, particularly the "artistic languages". From these expressions, Bornheim's critical proposals concerning aesthetics and art philosophy open up abroad spectrum of questionings. In this sense, his considerations about theatre and music are remarkable. The theatrical language provides access to other artistic expressions (poetry, music, arts, and cinema) in a free and open way. Musical language, consonant with the theatrical, corroborates Bornheim's research observing the creative process, communication, the role of interpretation (advent of the critic) and ruptures in contemporary poetry. Such an itinerary underlines Bornheim's research developed in France during the fifties and between 1960-70.The stimulus from this ambiance, marked by a dialogue between philosophy and social sciences, psychology, psychoanalysis, history, anthropology, linguistics, communication, theatre and music, was for him determinant. These points aid on the comprehension of the language thematic and its historical environment, in which Bornheim provides other perspectives for research. The background scenery is the crisis of metaphysics and the new parameters for thinking dialectics, theory and practice. The diagnosis of such crisis extends as well to aesthetics. Therefore, the understanding of Bornheim's ideas leads to themes such as "difference" and "alterity" in the contemporaneity. In this way, a thematic trajectory is followed which approaches: language and the problem of communication - from the linkage of Bornheim's interpretations with those of Sartre and Merleau-Ponty. Moreover, the emergence of criticism and the normative questions on ethical and aesthetical matters lead to discussion of the coincidental motivations between arts and sciences. Finally, musical language emphasizes further the subjectivity of the transformation process, propitiating a wider perception of artistic and cultural expressions. (AU)