Detalhes bibliográficos
| Ano de defesa: |
2019 |
| Autor(a) principal: |
Dantas, Lucia Ferraz Nogueira de Souza
 |
| Orientador(a): |
Ibri, Ivo Assad |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Filosofia
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| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
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| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/22791
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Resumo: |
From the theoretical inputs arising from the philosophy of Charles S. Peirce, this present research develops a reflection in the context of Philosophy of Art on the implications of the validity of the conceptual network which grounds epistemologically the art interpretative action, in the same time that not neglected the aesthetic character that all and every work of art have. Our hypothesis of investigation has two main problematics. The first highlights the symmetry and the ubiquity of the three peirceans categories and the consequences of this in the meandering of the aesthetic experience, in what has permitted us to erect three vectors of the artistic-aesthetic experience, namely: the contemplation, as an experience of firstness characterized as the pure feeling before the work of art; the poíesis, as an experience of secondness concerns the shock of alterity before the world and the object that is art, and finally, the experience of mediation of the thirdness qualified as art fruition. Since the scientific study of art involves identification, comparison and analysis, having as its final purpose an interpretation, if cannot dispense with mediation, resulting in the logical-conceptual enclosing of the research process in the field of art, which ends up to withdraw itself from the inherent and central character of firstness of aesthetic experience, which highlights the specificities and singularities of the works of art - emphasizing the intrinsic qualities of feeling contained therein, qualities which cannot be encompassed by a logical network, in Ibri’s terms, would be concerned to the ‘nameless things’, which we repute basilar on the comprehension of each and every work of art. The second problematic refers to the theory of perception in Peirce, to study the nature of aesthetic judgment and its implications in the formulation of aesthetic habits of feelings, culminating in the construction of judgments of art, conditioners of the art fruition that triggers the analyzes and interpretations of art. Therefore, under this pragmatic-peircean philosophical framework, we present a reformulation of the conceptual basis that traditionally grounds the scientific investigation of art, suggesting a conciliation between the mediative and general character of the analysis and interpretation of art should have, with the immediate, singular and sensitive character of the aesthetic experience, the true engine that drives the process of the artistic semiosis gears which would elevate the work of art – conceived as a peculiar kind of dynamic object – to the condition of the core of a diagrammatic ‘aesthetic-semiotic spiral’, an organizing and articulations metaphor of the main components involved in this semiosis |
