Detalhes bibliográficos
| Ano de defesa: |
2023 |
| Autor(a) principal: |
Taam, Pedro Luiz Magalhães
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| Orientador(a): |
Pelbart, Peter Pál
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
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| 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
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| 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://repositorio.pucsp.br/jspui/handle/handle/40842
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Resumo: |
To study the nature of the relationship between the mind and the body, our starting point is to observe it “in action” in the realm of piano performance. There, two contrasting positions are revisited, between a pianist who seeks to minimize physical contact with the instrument and an Antigone who administers justice with her own hands. Everything suggests that the mind and the hand do not command each other but correspond and equate, following the same causal sequence or dancing to the same music. By metaphysical affinity, this leads us to the second path: a reading and analysis of what is said in Spinoza’s Ethics about this relationship. Taking seriously the philosopher’s assertion that the only mistake is to name things with the wrong words, we confront the persistent hegemony of the term “parallelism” applied to our question. This term contains two errors. First, it implies an inappropriate notion of relationship for the case of the mind and the body: the Greek word allos, which we translate as “another”, alienated and alien, that does not open itself to any relationship. Second, it is misused to denote a homogeneity between attributes that eventually falls back on the same, repeating itself stutteringly, which we designate by the word autos. For the sake of semantic rectification and for the sake of adequateness, we propose that the relevant relationship is better expressed by the word heteros, which we translate as “the other”, that of a presumed relationship. We come to the third path: an investigation into the word and the soul. Thus, the initial question unfolds itself into three components: the hands of pianists, the attribute of extension, and words. Always guided by music, a conclusion explores the relationships between these disparate pairs – the body and the mind, the artist’s hand and thought, extension and thought, the word and the soul – glimpsing, in the swan song of a transfigured Isolde, the possibility of regaining in this relationship a certain gentleness, that is, the promise of its construction |
