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Desidrio Murcho
Universidade Federal de Ouro Preto
ESTTICA GERAL
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TRS IDIAS COMUNS
1. A arte representa a realidade
Teoria da imitao ou mimese (Plato, Aristteles)
Nelson Goodman rejeita a idia de imitao
2. Tudo o que conta na arte a forma
Teoria formalista (Clive Bell, Eduard Hanslick)
3. A arte exprime emoes
Teoria expressivista (R. G. Collingwood, Leo Tolsti)
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R. G. Collingwood(1889-1943)Filsofo e arquelogo britnico
Algumas obras 1933.An Essay on
Philosophical Method
1938. The Principles of Art
1940.An Essay onMetaphysics
1945. The Idea of Nature
1946. The Idea of History
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O QUE NO ARTE
Artesanato
Representao
Magia Diverso
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1. O NOVO PROBLEMAR. G. Collingwood
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CRTICA DA TRADIO GREGA
Collingwood ope-se ao que chama teoria tcnica daarte ()
The first sense of the word art to be distinguished from
art proper is the obsolete sense in which it means what inthis book I shall call craft. This is what ars means inancient Latin, and what means in Greek: the powerto produce a preconceived result by means of consciouslycontrolled and directed action. (Collingwood 1938: 15)
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O MTODO DE COLLINGWOOD
We shall be trying as best we can to remind ourselves of
facts well known to us: we actually do use the word art
[sic] to designate certain kinds of thing, and in the
sense which we have now isolated as the proper sense ofthe word. Our business is to concentrate our attention onthese usages until we can see them as consistent andsystematic. (Collingwood 1938: 105)
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PROGRESSO SEM RESULTADOS
To a person who knows his business as scientist,
historian, philosopher, or any kind of inquirer, therefutation of a false theory constitutes a positive advance
in his inquiry. It leaves him confronted, not by the sameold question over again, but by a new question, moreprecise in its terms and therefore easier to answer. Thisnew question is based on what he has learned from the
theory he has refuted. (Collingwood 1938: 106)
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E QUANDO NADA SE APRENDE?
If he has learned nothing, this proves either that he is too
foolish (or too indolent) to learn, or that by an unfortunateerror of judgement he has been spending time on a theory
so idiotic that there is nothing to be learnt from it.(Collingwood 1938: 106)
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O QUE SE GANHA COM UMA TEORIAINSUSTENTVEL?
Where the refuted theory, even though untrue as awhole, is not completely idiotic, and where the person whohas refuted it is reasonably intelligent and reasonably
painstaking, the upshot of his criticism can always beexpressed in some such form as this: The theory isuntenable as regards its general conclusions; but it hasestablished certain points which must henceforth be taken
into account. (Collingwood 1938: 106)
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DUAS ATITUDES
Philosophers, especially those with an academicposition, inherit a long tradition of arguing for the sake ofarguing; even if they despair of reaching the truth, theythink it a matter of pride to make other philosophers lookfoolish. A hankering for academic reputation turns theminto a kind of dialectical bravoes, who go about pickingquarrels with their fellow philosophers and running themthrough in public not for the sake of advancing knowledge,
but in order to decorate themselves with scalps.(Collingwood 1938: 107)
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A ANLISE DE COLLINGWOOD
isolating the preconceived idea which has acted as the
distorting agent, reconstructing the formula of thedistortion, and re-applying it so as to correct the distortion
and thus find out what it was that the people who inventedor accepted the theory were trying to say. (Collingwood1938: 107)
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CARACTERSTICAS DO ARTESANATO
1. Distingue meios de fins
2. Visa provocar emoo
3. Envolve fazer coisas No artesanato usa-se certos meios para atingir certos
fins previamente conhecidos, nomeadamente provocarcertas emoes, e faz-se objectos com matrias-
primas
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CARACTERSTICAS DA ARTE
Na arte h algo como a distino entre meios e fins,mas que no bem isso
A arte relaciona-se com a emoo, mas no se trata de
a provocar A arte envolve fazer coisas, mas no se trata de
objectos fsicos
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2. EXPRIMIR EMOO E DESPERTAREMOO
R. G. Collingwood
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A ARTE EXPRESSA EMOO
Collingwood considera que esta no uma tesefilosfica
algo que todos ns pensamos e com base no qual
poderemos depois fazer uma teoria filosfica Nem interessa para j se verdadeira
Temos apenas de explorar esta hiptese para ver se
verdadeira
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EXPRESSO E CLARIFICAO
Exprimir uma emoo no denotar ou indicar umaemoo
Nem provocar essa emoo na outra pessoa
Exprimir uma emoo formular, clarificar e articularuma emoo
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O PAPEL COGNITIVO DA EXPRESSO
Deste ponto de vista, a arte tem um papel cognitivobvio
Trata-se de passar a conhecer uma emoo de que
antes se tinha apenas uma impresso vaga Exprimir uma emoo descobrir uma emoo que
previamente no se conhecia
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REINTERPRETAR A CATARSE
A catarse identificada nas artes por Aristteles umresultado da expresso artstica
Mas a arte propriamente dita no tem por fim qualquer
catarse O que Aristteles tomou como catarse apenas o
alvio que a clarificao da emoo provoca em ns
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ARTISTA E AUDITRIO
Na falsa arte usa-se meios para provocar emoes noauditrio
O arteso sabe previamente que emoes quer
provocar Na arte genuna no se usa meios para provocar
emoes: apenas se exprime emoes
O artista no sabe, antes de as exprimir, que emoesir exprimir
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TCNICA E EXPRESSO
Expression is an activity of which there can be no
technique. (Collingwood 1938: 111)
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3. EXPRESSO E INDIVIDUAOR. G. Collingwood
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EXPRESSO E DESCRIO
Expressing an emotion is not the same thing asdescribing it. To say I am angry is to describe ones
emotion, not to express it. (Collingwood 1938: 111-112)
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O PARTICULARISMO DE COLLINGWOOD
The reason why description, so far from helping
expression, actually damages it, is that descriptiongeneralizes. To describe a thing is to call it a thing of such
and such a kind: to bring it under a conception, to classifyit. Expression, on the contrary, individualizes.(Collingwood 1938: 112)
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O ARTESANATO NO PARTICULARIZA
The end which a craft sets out to realize is always
conceived in general terms, never individualized.
(Collingwood 1938: 113)
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CRTICA A ARISTTELES
Collingwood considera que Aristteles est aestabelecer receitas para que a falsa arte, a arterepresentativa, surta efeito no auditrio
Esse efeito generalista A arte propriamente dita nada tem a ver com isto
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O TRABALHO DO ARTISTA
The artist proper is a person who, grappling with the
problem of expressing a certain emotion, says, I want to
get this clear. He does not want a thing of a certain
kind, he wants a certain thing. (Collingwood 1938: 114)
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LEITURA NO ARTSTICA DA ARTE
Quando se interpreta a arte como expresso do seutempo, porque no se entendeu a arte ou porque nose est perante arte genuna
A arte genuna no exprime tipos de sentimentos ouemoes
Apenas exprime emoes particulares
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4. SELEO E EMOO ESTTICAR. G. Collingwood
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DUAS IDIAS
1. No h uma emoo esttica prvia sua expressonuma obra de arte
2. Antes de compor uma tragdia ou uma comdia, o
autor no sabe se ser uma coisa ou outra Scrates defende a idia correta, mas pela razo
errada: nota 1, p. 116 (Plato, Simpsio223d)
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EXPRESSO E LIBERDADE
If art means the expression of emotion, the artist as suchmust be absolutely candid; his speech must be absolutelyfree. This is not a precept, it is a statement. It does not
mean that the artist ought to be candid, it means that he isan artist only in so far as he is candid. (Collingwood1938: 115)
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5. O ARTISTA E O HOMEM COMUMR. G. Collingwood
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GENIALIDADE
A concepo tcnica de arte d origem ideia de queo artista uma pessoa incomum, especialmentedotada
Pois trata-se de ter um certo conjunto e habilidades(nomeadamente manuais) que lhe permitem fazercoisas que as pessoas comuns no conseguem fazer
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O CARTER COMUM DO ARTISTA
If art is not a kind of craft but the expression of emotion,
this distinction of kind between artist and audiencedisappears. For the artist has an audience only in so far
as people hear him expressing himself, and understandwhat they hear him saying. (Collingwood 1938: 118)
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PARTICULARISMO OU NO?
If a poet expresses, for example, a certain kind of fear,the only hearers who can understand him are those whoare capable of experiencing that kind of fear themselves.
(Collingwood 1938: 118)
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ARTISTA E AUDINCIA
if art is the activity of expressing emotions, the reader is
an artist as well as the writer. There is no distinction inkind between artist and audience. [] the poets
difference from his audience lies in the fact that thoughboth do exactly the same thing, namely express thisparticular emotion in these particular words, the poet is aman who can solve for himself the problem of expressing
it, whereas the audience can express it only when thepoet has shown them how. (Collingwood 1938: 118-119)
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TOMAR A INICIATIVA
The poet is not singular either in his having that emotion
or in his power of expressing it; he is singular in his abilityto take the initiative in expressing what all feel, and all can
express. (Collingwood 1938: 119)
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6. A MALDIO DA TORRE DE MARFIMR. G. Collingwood
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ELITISMO E A MORTE DA ARTE
If they [the artists] form themselves into a special clique,
the emotions they express will be the emotions of thatclique; and the consequence will be that their work
becomes intelligible only to their fellow artists.(Collingwood 1938: 119)
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7. EXPRIMIR EMOO E TRAIR EMOOR. G. Collingwood
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EXPRESSO E INTELIGIBILIDADE
The characteristic mark of expression proper is lucidity or
intelligibility; a person who expresses something therebybecomes conscious of what it is that he is expressing, and
enables others to become conscious of it in himself and inthem. (Collingwood 1938: 122)
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ARTE E PANFLETO
A arte genuna no pode ser panfletria
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