Arte e modernidade no jovem Hegel
Autor(a) principal: | |
---|---|
Data de Publicação: | 2019 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFS |
Texto Completo: | https://ri.ufs.br/jspui/handle/riufs/14298 |
Resumo: | It is a question of examining the position of art in the young Hegel, taking as its starting point the conception of modernity that runs through the texts of that period. In the Hegelian conception, the split of the world of culture into art, morality and science, under the rule of reason, also creates a rupture between the past and the future, as well as between the old and the modern. Based on Schiller’s “aesthetic utopia”, young Hegel sees in art the possible solution to the problems of this modernity whose aspects are split. In this sense, it is a working hypothesis the role attributed to art, not only as expressing modern separations in life relations, but also to indicate their reconciliation. For this, the investigation presents, initially, two visions on the concept of modernity in Hegel, that is, the one of Jürgen Habermas and the one of Charles Taylor. In Habermas’s perspective, Hegel was the first philosopher to treat modernity as a problem, since it has the singularity of seeking at all times to be self-certifying and, at the same time, to extract from itself the evaluation criteria and concepts without recourse to an exemplary past. Under this conception modernity expresses in its aspects the division of the world of life, for civil society, on the one hand, appears genuinely as “the creation of the modern world” and, on the other hand, as “ethics lost in its extremes”. In Taylor’s view, Hegel views modernity as the epoch of subjective revolution, which gave rise to the new political theory and the new conception of freedom. Taylor, on this point, links the new position of art to Herder and Schiller’s reflection, and not immediately to Hegel, but even here, it is still about the “aesthetic utopia” in the sense of the young Hegel. For this, it is the attribution of art to present the critique of modernity, referring to its divisions, expressed in the differentiations between freedom and necessity, spirit and nature, and at the same time, their reconciliation. |
id |
UFS-2_3a23db645d86c8ae01bc572d1ea01c4a |
---|---|
oai_identifier_str |
oai:ufs.br:riufs/14298 |
network_acronym_str |
UFS-2 |
network_name_str |
Repositório Institucional da UFS |
repository_id_str |
|
spelling |
Souza, Carlos Kleyvon AraujoOliveira, Everaldo Vanderlei de2021-05-31T17:53:48Z2021-05-31T17:53:48Z2019-03-15SOUZA, Carlos Kleyvon Araujo. Arte e modernidade no jovem Hegel. 2019. 100 f. Dissertação (Mestrado em Filosofia) - Universidade Federal de Sergipe, São Cristóvão, SE, 2019.https://ri.ufs.br/jspui/handle/riufs/14298It is a question of examining the position of art in the young Hegel, taking as its starting point the conception of modernity that runs through the texts of that period. In the Hegelian conception, the split of the world of culture into art, morality and science, under the rule of reason, also creates a rupture between the past and the future, as well as between the old and the modern. Based on Schiller’s “aesthetic utopia”, young Hegel sees in art the possible solution to the problems of this modernity whose aspects are split. In this sense, it is a working hypothesis the role attributed to art, not only as expressing modern separations in life relations, but also to indicate their reconciliation. For this, the investigation presents, initially, two visions on the concept of modernity in Hegel, that is, the one of Jürgen Habermas and the one of Charles Taylor. In Habermas’s perspective, Hegel was the first philosopher to treat modernity as a problem, since it has the singularity of seeking at all times to be self-certifying and, at the same time, to extract from itself the evaluation criteria and concepts without recourse to an exemplary past. Under this conception modernity expresses in its aspects the division of the world of life, for civil society, on the one hand, appears genuinely as “the creation of the modern world” and, on the other hand, as “ethics lost in its extremes”. In Taylor’s view, Hegel views modernity as the epoch of subjective revolution, which gave rise to the new political theory and the new conception of freedom. Taylor, on this point, links the new position of art to Herder and Schiller’s reflection, and not immediately to Hegel, but even here, it is still about the “aesthetic utopia” in the sense of the young Hegel. For this, it is the attribution of art to present the critique of modernity, referring to its divisions, expressed in the differentiations between freedom and necessity, spirit and nature, and at the same time, their reconciliation.Trata-se de examinar a posição da arte no jovem Hegel, tomando como ponto de partida a concepção de modernidade que atravessa os textos do período. Na concepção hegeliana, a cisão do mundo da cultura em arte, moral e ciência, sob o império da razão, cria também uma ruptura entre o passado e o futuro, assim como entre o antigo e o moderno. Com base na “utopia estética” de Schiller, o jovem Hegel vê na arte a possível solução aos problemas desta modernidade cindida. Neste sentido, constitui hipótese de trabalho o papel atribuído à arte, não apenas como o de exprimir as separações modernas nas relações de vida, mas também o de indicar sua reconciliação. Para tanto, a investigação apresenta, inicialmente, duas visões acerca do conceito de modernidade em Hegel, quais sejam, a de Jürgen Habermas e a de Charles Taylor. Na perspectiva de Habermas, Hegel foi o primeiro filósofo a tratar como problema a modernidade, pois esta tem a singularidade de procurar a todo momento autocertificar-se e, ao mesmo tempo, extrair de si mesma os critérios de avaliação e conceitos, sem recorrer ao passado exemplar. Sob essa concepção a modernidade exprime, em seus aspectos, a divisão do mundo da vida, pois a sociedade civil, de um lado, aparece genuinamente como “a criação do mundo moderno” e, por outro, como “eticidade perdida em seus extremos”. Na visão de Taylor, Hegel concebe a modernidade como a época da revolução subjetiva, o que originou a nova teoria política e a nova concepção de liberdade. Taylor, neste ponto, liga a nova posição da arte à reflexão de Herder e Schiller, e não imediatamente a Hegel, mas, mesmo neste caso, ainda se trata da “utopia estética” em sentido próximo ao desenvolvido pelo jovem Hegel. Para este, é atribuição da arte apresentar a crítica da modernidade, remetendo às cisões manifestadas nas diferenciações entre liberdade e necessidade, espírito e natureza, e ao mesmo tempo, indicar sua reconciliação.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESSão Cristóvão, SEporFilosofiaEstéticaCivilização modernaFilosofia- AlemãArt. modernityAestheticsHegel, Georg Wilhelm FriedrichCIENCIAS HUMANAS::FILOSOFIAArte e modernidade no jovem Hegelinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisPós-Graduação em FilosofiaUniversidade Federal de Sergipereponame:Repositório Institucional da UFSinstname:Universidade Federal de Sergipe (UFS)instacron:UFSinfo:eu-repo/semantics/openAccessLICENSElicense.txtlicense.txttext/plain; charset=utf-81475https://ri.ufs.br/jspui/bitstream/riufs/14298/1/license.txt098cbbf65c2c15e1fb2e49c5d306a44cMD51ORIGINALCARLOS_KLEYVON_ARAUJO_SOUZA.pdfCARLOS_KLEYVON_ARAUJO_SOUZA.pdfapplication/pdf1052912https://ri.ufs.br/jspui/bitstream/riufs/14298/2/CARLOS_KLEYVON_ARAUJO_SOUZA.pdfc9f7e6e7145e2842ba211dba0451824bMD52TEXTCARLOS_KLEYVON_ARAUJO_SOUZA.pdf.txtCARLOS_KLEYVON_ARAUJO_SOUZA.pdf.txtExtracted texttext/plain273900https://ri.ufs.br/jspui/bitstream/riufs/14298/3/CARLOS_KLEYVON_ARAUJO_SOUZA.pdf.txtcc6033dc938389f3eaceeca39d85f67aMD53THUMBNAILCARLOS_KLEYVON_ARAUJO_SOUZA.pdf.jpgCARLOS_KLEYVON_ARAUJO_SOUZA.pdf.jpgGenerated Thumbnailimage/jpeg1138https://ri.ufs.br/jspui/bitstream/riufs/14298/4/CARLOS_KLEYVON_ARAUJO_SOUZA.pdf.jpg68e12d02f216980ebaa04d1ed78165c8MD54riufs/142982021-05-31 14:53:48.279oai:ufs.br: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Repositório InstitucionalPUBhttps://ri.ufs.br/oai/requestrepositorio@academico.ufs.bropendoar:2021-05-31T17:53:48Repositório Institucional da UFS - Universidade Federal de Sergipe (UFS)false |
dc.title.pt_BR.fl_str_mv |
Arte e modernidade no jovem Hegel |
title |
Arte e modernidade no jovem Hegel |
spellingShingle |
Arte e modernidade no jovem Hegel Souza, Carlos Kleyvon Araujo Filosofia Estética Civilização moderna Filosofia- Alemã Art. modernity Aesthetics Hegel, Georg Wilhelm Friedrich CIENCIAS HUMANAS::FILOSOFIA |
title_short |
Arte e modernidade no jovem Hegel |
title_full |
Arte e modernidade no jovem Hegel |
title_fullStr |
Arte e modernidade no jovem Hegel |
title_full_unstemmed |
Arte e modernidade no jovem Hegel |
title_sort |
Arte e modernidade no jovem Hegel |
author |
Souza, Carlos Kleyvon Araujo |
author_facet |
Souza, Carlos Kleyvon Araujo |
author_role |
author |
dc.contributor.author.fl_str_mv |
Souza, Carlos Kleyvon Araujo |
dc.contributor.advisor1.fl_str_mv |
Oliveira, Everaldo Vanderlei de |
contributor_str_mv |
Oliveira, Everaldo Vanderlei de |
dc.subject.por.fl_str_mv |
Filosofia Estética Civilização moderna Filosofia- Alemã |
topic |
Filosofia Estética Civilização moderna Filosofia- Alemã Art. modernity Aesthetics Hegel, Georg Wilhelm Friedrich CIENCIAS HUMANAS::FILOSOFIA |
dc.subject.eng.fl_str_mv |
Art. modernity Aesthetics Hegel, Georg Wilhelm Friedrich |
dc.subject.cnpq.fl_str_mv |
CIENCIAS HUMANAS::FILOSOFIA |
description |
It is a question of examining the position of art in the young Hegel, taking as its starting point the conception of modernity that runs through the texts of that period. In the Hegelian conception, the split of the world of culture into art, morality and science, under the rule of reason, also creates a rupture between the past and the future, as well as between the old and the modern. Based on Schiller’s “aesthetic utopia”, young Hegel sees in art the possible solution to the problems of this modernity whose aspects are split. In this sense, it is a working hypothesis the role attributed to art, not only as expressing modern separations in life relations, but also to indicate their reconciliation. For this, the investigation presents, initially, two visions on the concept of modernity in Hegel, that is, the one of Jürgen Habermas and the one of Charles Taylor. In Habermas’s perspective, Hegel was the first philosopher to treat modernity as a problem, since it has the singularity of seeking at all times to be self-certifying and, at the same time, to extract from itself the evaluation criteria and concepts without recourse to an exemplary past. Under this conception modernity expresses in its aspects the division of the world of life, for civil society, on the one hand, appears genuinely as “the creation of the modern world” and, on the other hand, as “ethics lost in its extremes”. In Taylor’s view, Hegel views modernity as the epoch of subjective revolution, which gave rise to the new political theory and the new conception of freedom. Taylor, on this point, links the new position of art to Herder and Schiller’s reflection, and not immediately to Hegel, but even here, it is still about the “aesthetic utopia” in the sense of the young Hegel. For this, it is the attribution of art to present the critique of modernity, referring to its divisions, expressed in the differentiations between freedom and necessity, spirit and nature, and at the same time, their reconciliation. |
publishDate |
2019 |
dc.date.issued.fl_str_mv |
2019-03-15 |
dc.date.accessioned.fl_str_mv |
2021-05-31T17:53:48Z |
dc.date.available.fl_str_mv |
2021-05-31T17:53:48Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
SOUZA, Carlos Kleyvon Araujo. Arte e modernidade no jovem Hegel. 2019. 100 f. Dissertação (Mestrado em Filosofia) - Universidade Federal de Sergipe, São Cristóvão, SE, 2019. |
dc.identifier.uri.fl_str_mv |
https://ri.ufs.br/jspui/handle/riufs/14298 |
identifier_str_mv |
SOUZA, Carlos Kleyvon Araujo. Arte e modernidade no jovem Hegel. 2019. 100 f. Dissertação (Mestrado em Filosofia) - Universidade Federal de Sergipe, São Cristóvão, SE, 2019. |
url |
https://ri.ufs.br/jspui/handle/riufs/14298 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.publisher.program.fl_str_mv |
Pós-Graduação em Filosofia |
dc.publisher.initials.fl_str_mv |
Universidade Federal de Sergipe |
dc.source.none.fl_str_mv |
reponame:Repositório Institucional da UFS instname:Universidade Federal de Sergipe (UFS) instacron:UFS |
instname_str |
Universidade Federal de Sergipe (UFS) |
instacron_str |
UFS |
institution |
UFS |
reponame_str |
Repositório Institucional da UFS |
collection |
Repositório Institucional da UFS |
bitstream.url.fl_str_mv |
https://ri.ufs.br/jspui/bitstream/riufs/14298/1/license.txt https://ri.ufs.br/jspui/bitstream/riufs/14298/2/CARLOS_KLEYVON_ARAUJO_SOUZA.pdf https://ri.ufs.br/jspui/bitstream/riufs/14298/3/CARLOS_KLEYVON_ARAUJO_SOUZA.pdf.txt https://ri.ufs.br/jspui/bitstream/riufs/14298/4/CARLOS_KLEYVON_ARAUJO_SOUZA.pdf.jpg |
bitstream.checksum.fl_str_mv |
098cbbf65c2c15e1fb2e49c5d306a44c c9f7e6e7145e2842ba211dba0451824b cc6033dc938389f3eaceeca39d85f67a 68e12d02f216980ebaa04d1ed78165c8 |
bitstream.checksumAlgorithm.fl_str_mv |
MD5 MD5 MD5 MD5 |
repository.name.fl_str_mv |
Repositório Institucional da UFS - Universidade Federal de Sergipe (UFS) |
repository.mail.fl_str_mv |
repositorio@academico.ufs.br |
_version_ |
1802110794181115904 |