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dc.contributor.authorMárcio Benchimol Barros
dc.date.accessioned2019-10-26T02:29:51Z
dc.date.available2019-10-26T02:29:51Z
dc.date.created2017-09-29 23:03
dc.date.issued2012-06-01
dc.identifieroai:doaj.org/article:b61a68e4d5264d6ea500dda8afd62a83
dc.identifier10.1590/S0100-512X2012000100009
dc.identifier0100-512X
dc.identifierhttps://doaj.org/article/b61a68e4d5264d6ea500dda8afd62a83
dc.identifier.urihttp://hdl.handle.net/20.500.12424/1535548
dc.description.abstractO ano de 1851 marca o primeiro contato de Richard Wagner com a filosofia de Schopenhauer, logo seguido por sua proclamada e algo surpreendente "conversão" ao schopenhauerianismo. Vinte anos depois, essa adesão é reafirmada em "Beethoven", escrito festivo que contém um esboço de uma filosofia da música, apresentada pelo compositor como fundamentada na estética schopenhaueriana e que terá grande influência na elaboração da noção do dionisíaco, tal como aparece em "O nascimento da Tragédia", de Nietzsche. Meu trabalho pretende, em primeiro lugar, investigar em que medida a estética musical esboçada em "Beethoven" é de fato compatível com as teses estéticas de "O mundo como Vontade e representação". A constatação de certas incongruências entre as duas concepções estéticas dá então oportunidade a reflexões sobre o caráter das relações entre Wagner, Schopenhauer e o jovem Nietzsche.<br>In the year 1851, Richard Wagner had his first contact with the philosophy of Schopenhauer, a fact that was followed soon by his proclaimed and somewhat surprising "conversion" to schopenhauerianism. Tweny years later, his debt to Schopenhauer is reaffirmed in "Beethoven", a comemorative writing in which are to be found the outlines of a philosophy of music - claimed by the composer to be based on Schopenhauer's aesthetics - that had great influence in Nietzsche's theoretical elaboration of the dionysiac, as it appears in "The birth of Tragedy". My work aims primarily at investigating to what extent the musical aesthetics outlined in "Beethoven" is actually compatible with that presented in "The world as Will and representation". The pointing out of remarkable differences between the two aesthetic conceptions gives then rise to some reflexions concerning the character of the relations between Wagner, Schopenhauer and the young Nietzsche.
dc.languageEN
dc.languageFR
dc.languageDE
dc.languageIT
dc.languagePT
dc.languageES
dc.publisherUniversidade Federal de Minas Gerais
dc.relation.ispartofhttp://www.scielo.br/scielo.php?script=sci_arttext&pid=S0100-512X2012000100009
dc.relation.ispartofhttps://doaj.org/toc/0100-512X
dc.sourceKriterion, Vol 53, Iss 125, Pp 179-193 (2012)
dc.subjectMúsica
dc.subjectestética
dc.subjectWagner
dc.subjectSchopenhauer
dc.subjectNietzsche
dc.subjectMusic
dc.subjectaesthetics
dc.subjectWagner
dc.subjectSchopenhauer
dc.subjectNietzsche
dc.subjectPhilosophy (General)
dc.subjectB1-5802
dc.subjectPhilosophy. Psychology. Religion
dc.subjectB
dc.subjectDOAJ:Philosophy
dc.subjectDOAJ:Philosophy and Religion
dc.titleMúsica como aia da vontade: ensaio sobre a leitura wagneriana de Schopenhauer
dc.typeArticle
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ge.identifier.permalinkhttps://www.globethics.net/gel/11677519
ge.lastmodificationdate2017-09-29 23:03
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ge.oai.setnameLCC:Philosophy. Psychology. Religion
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ge.linkhttps://doaj.org/article/b61a68e4d5264d6ea500dda8afd62a83


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