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| Author(s): |
Pedro Augusto da Costa Franceschini
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH/SBD) |
| Defense date: | 2019-02-08 |
| Examining board members: |
Marco Aurélio Werle;
Pedro Sussekind Viveiros de Castro;
Zaida Verónica Olvera Granados;
Oliver Tolle;
Ulisses Razzante Vaccari
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| Advisor: | Marco Aurélio Werle |
| Abstract | |
This thesis intends to render a general outline of the role played by mythology within German aesthetic thinking during the second half of the Eighteenth century, not only as an arrangement of artistic contents, but also as a basis for the very possibility of the establishment of aesthetics as an autonomous discipline. In the works of Herder, Moritz and Schelling, we examine the specific ways by which they sought to deal with the different aspects and difficulties of this project of thought, but also showing a continuity between them. Starting with the question of the use of mythology by modern poetry, Herder encounters in the mythical phenomenon a critical paradigm against normative poetics, as well as a deepening of Baumgartens understanding of aesthetics as a science of sensuous knowledge. Taking even further the foundation of sensibility as the source of all knowledge, he reveals an active and productive side of human sensibility and finds in mythology the best expression for the creative and poetic traits of the spirit. Paying a closer attention to the internal structure of art products and production, Moritz understands the work of art as an autonomous entity, sided by a natural and objective productivity of the artist. Here, phantasy is placed at the crossing of this two interdependent poles, and the author exposes mythology as the language and logic proper to this faculty. Finally, in Schellings first philosophy, and its many shifts, we explain in detail the conditions for a full integration of art and mythology within a systematic reason. Through a new role of productive imagination, a reconnection between the infinite and the finite and a symbolical glimpse of reality, the philosophy of art establishes itself in his works as a speculative deduction of mythology, giving art its universal foundation. Thus, the intersection between aesthetics and mythology offers both a key to the reading of the individual thinking of these authors and a broader view of the intellectual development of this periods, which led aesthetics, as a science of sensibility, to be finally established as a philosophy of art in a speculative and autonomous sense. (AU) | |
| FAPESP's process: | 14/01548-2 - Aesthetics and mythology in classical German philosophy |
| Grantee: | Pedro Augusto da Costa Franceschini |
| Support Opportunities: | Scholarships in Brazil - Doctorate |