É possível definir arte? - As abordagens de Weitz e Danto ao projeto definitório

• Autor(a) principal: Silva, Fernanda Azevedo
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/001300000cd2c
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/9677
• topic: Arte; Definição real; Antiessencialismo semântico; Antideficionalismo; Semelhança de família; Art; Real definition; Semantical antiessentialism; Antideficionalism; Family resemblance; CIENCIAS HUMANAS::FILOSOFIA

This thesis aims to address the problem of the possibility of a real definition for the concept "art". We approach such problem from two opposite perspectives, namely those of Morris Weitz and Arthur Danto. First, we show the assumptions that base the interest in the question of the real definition of "art" in the twentieth century, trying to give a general characterization of this type of definition. Next, we present Weitz's antidefinitionalism, showing that this author advocates the impossibility of defining "art" based on the idea that such concept does not have necessary and sufficient conditions of application, but is a concept determined by family resemblances, by intransitive relations that we establish between certain entities that fall under the concept in question and the object we are classifying. We also present the main criticisms that have been addressed to Weitz’s theses, analyzing whether they are grounded on a proper interpretation of his writings. Then, we indicate the similarities and differences between his thought and the one of Ludwig Wittgenstein in the Philosophical Investigations. Moreover, we turn to the analysis of Danto's definitional theses, indicating that the author's criticism of the Wittgensteinian perspectives departs from a misreading of such perspectives as grounded on recognitional skills of artworks. In addition, we elucidate the assumptions from which Danto advocates for “art” being an essentialist concept and indicate which role he attributes to his own definition, establishing relations to his philosophy of art history. Finally, we explore the conditions drawn by the author as the real definition of “art”, showing if it is successful at providing us with the necessary and sufficient conditions of the concept. At the end, this work suggests that certain theses sustained by Danto tend to approach him, maybe unwittingly, to the antidefinitional perspective he rejects.