Estetica - Collingwood,R.G.,1938.pdf

8/13/2019 Estetica - Collingwood,R.G.,1938.pdf

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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

Estetica - Collingwood,R.G.,1938.pdf

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