ESTTICA GERAL

Desidrio Murcho Universidade Federal de Ouro Preto

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)

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 on Metaphysics 1945. The Idea of Nature 1946. The Idea of History

O QUE NO ARTE
Artesanato Representao Magia Diverso

R. G. Collingwood

1. O NOVO PROBLEMA

CRTICA DA TRADIO GREGA

Collingwood ope-se ao que chama teoria tcnica da arte ( ) The first sense of the word art to be distinguished from art proper is the obsolete sense in which it means what in this book I shall call craft. This is what ars means in ancient Latin, and what means in Greek: the power to produce a preconceived result by means of consciously controlled and directed action. (Collingwood 1938: 15)

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 of the word. Our business is to concentrate our attention on these usages until we can see them as consistent and systematic. (Collingwood 1938: 105)

PROGRESSO SEM RESULTADOS

To a person who knows his business as scientist, historian, philosopher, or any kind of inquirer, the refutation of a false theory constitutes a positive advance in his inquiry. It leaves him confronted, not by the same old question over again, but by a new question, more precise in its terms and therefore easier to answer. This new question is based on what he has learned from the theory he has refuted. (Collingwood 1938: 106)

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 unfortunate error of judgement he has been spending time on a theory so idiotic that there is nothing to be learnt from it. (Collingwood 1938: 106)

O QUE SE GANHA COM UMA TEORIA INSUSTENTVEL?

Where the refuted theory, even though untrue as a whole, is not completely idiotic, and where the person who has refuted it is reasonably intelligent and reasonably painstaking, the upshot of his criticism can always be expressed in some such form as this : The theory is untenable as regards its general conclusions; but it has established certain points which must henceforth be taken into account. (Collingwood 1938: 106)

DUAS ATITUDES
Philosophers, especially those with an academic position, inherit a long tradition of arguing for the sake of arguing; even if they despair of reaching the truth, they think it a matter of pride to make other philosophers look foolish. A hankering for academic reputation turns them into a kind of dialectical bravoes, who go about picking quarrels with their fellow philosophers and running them through in public not for the sake of advancing knowledge, but in order to decorate themselves with scalps . (Collingwood 1938: 107)

A ANLISE DE COLLINGWOOD
isolating the preconceived idea which has acted as the distorting agent, reconstructing the formula of the distortion, and re-applying it so as to correct the distortion and thus find out what it was that the people who invented or accepted the theory were trying to say. (Collingwood 1938: 107)

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 provocar certas emoes, e faz-se objectos com matriasprimas

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

R. G. Collingwood

2. EXPRIMIR EMOO E DESPERTAR EMOO

A ARTE EXPRESSA EMOO

Collingwood considera que esta no uma tese filosfica 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

EXPRESSO E CLARIFICAO
Exprimir uma emoo no denotar ou indicar uma emoo Nem provocar essa emoo na outra pessoa Exprimir uma emoo formular, clarificar e articular uma emoo

O PAPEL COGNITIVO DA EXPRESSO

Deste ponto de vista, a arte tem um papel cognitivo bvio 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

REINTERPRETAR A CATARSE
A catarse identificada nas artes por Aristteles um resultado 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

ARTISTA E AUDITRIO
Na falsa arte usa-se meios para provocar emoes no auditrio 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 emoes ir exprimir

TCNICA E EXPRESSO
Expression is an activity of which there can be no technique. (Collingwood 1938: 111)

R. G. Collingwood

3. EXPRESSO E INDIVIDUAO

EXPRESSO E DESCRIO
Expressing an emotion is not the same thing as describing it. To say I am angry is to describe ones emotion, not to express it. (Collingwood 1938: 111-112)

O PARTICULARISMO DE COLLINGWOOD
The reason why description, so far from helping expression, actually damages it, is that description generalizes. To describe a thing is to call it a thing of such and such a kind: to bring it under a conception, to classify it. Expression, on the contrary, individualizes . (Collingwood 1938: 112)

O ARTESANATO NO PARTICULARIZA
The end which a craft sets out to realize is always conceived in general terms, never individualized. (Collingwood 1938: 113)

CRTICA A ARISTTELES
Collingwood considera que Aristteles est a estabelecer receitas para que a falsa arte, a arte representativa, surta efeito no auditrio Esse efeito generalista A arte propriamente dita nada tem a ver com isto

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)

LEITURA NO ARTSTICA DA ARTE

Quando se interpreta a arte como expresso do seu tempo, porque no se entendeu a arte ou porque no se est perante arte genuna A arte genuna no exprime tipos de sentimentos ou emoes Apenas exprime emoes particulares

R. G. Collingwood

4. SELEO E EMOO ESTTICA

DUAS IDIAS
1. No h uma emoo esttica prvia sua expresso numa 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, Simpsio 223d)

EXPRESSO E LIBERDADE
If art means the expression of emotion, the artist as such must be absolutely candid; his speech must be absolutely free. This is not a precept, it is a statement. It does not mean that the artist ought to be candid, it means that he is an artist only in so far as he is candid. (Collingwood 1938: 115)

R. G. Collingwood

5. O ARTISTA E O HOMEM COMUM

GENIALIDADE
A concepo tcnica de arte d origem ideia de que o artista uma pessoa incomum, especialmente dotada Pois trata-se de ter um certo conjunto e habilidades (nomeadamente manuais) que lhe permitem fazer coisas que as pessoas comuns no conseguem fazer

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 audience disappears. For the artist has an audience only in so far as people hear him expressing himself, and understand what they hear him saying. (Collingwood 1938: 118)

PARTICULARISMO OU NO?
If a poet expresses, for example, a certain kind of fear, the only hearers who can understand him are those who are capable of experiencing that kind of fear themselves. (Collingwood 1938: 118)

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 in kind between artist and audience. [] the poets difference from his audience lies in the fact that though both do exactly the same thing, namely express this particular emotion in these particular words, the poet is a man who can solve for himself the problem of expressing it, whereas the audience can express it only when the poet has shown them how. (Collingwood 1938: 118-119)

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 ability to take the initiative in expressing what all feel, and all can express. (Collingwood 1938: 119)

R. G. Collingwood

6. A MALDIO DA TORRE DE MARFIM

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 that clique; and the consequence will be that their work becomes intelligible only to their fellow artists. (Collingwood 1938: 119)

R. G. Collingwood

7. EXPRIMIR EMOO E TRAIR EMOO

EXPRESSO E INTELIGIBILIDADE
The characteristic mark of expression proper is lucidity or intelligibility; a person who expresses something thereby becomes conscious of what it is that he is expressing, and enables others to become conscious of it in himself and in them. (Collingwood 1938: 122)

ARTE E PANFLETO
A arte genuna no pode ser panfletria