DSpace Community:https://repositorio.ufu.br/handle/123456789/51652026-09-17T06:26:45Z2026-09-17T06:26:45ZNo palácio do quintal: memórias, mitos e bênçãoshttps://repositorio.ufu.br/handle/123456789/501892026-09-10T06:21:00Z2026-07-23T00:00:00ZTitle: No palácio do quintal: memórias, mitos e bênçãos2026-07-23T00:00:00ZLinguagem, civilização e moral no pensamento de Friedrich Nietzschehttps://repositorio.ufu.br/handle/123456789/501862026-09-10T06:21:06Z2026-08-05T00:00:00ZTitle: Linguagem, civilização e moral no pensamento de Friedrich Nietzsche
Abstract: This study analyzes Friedrich Nietzsche's critique of Western civilization, taking his radical distrust of language as a guiding thread. The investigation posits that Nietzschean philosophy is not merely a theoretical deconstruction, but offers a path toward overcoming moral and existential decadence. Methodologically, the study relies on the analysis of the author's primary works, supported by the theoretical framework of commentators such as Patrick Wotling and Carlos Alberto Ribeiro de Moura. Initially, it examines the genesis of language in the essay On Truth and Lie in an Extra-Moral Sense, revealing that truth is not a reflection of reality, but a metaphorical and conventional network that, once petrified, becomes the foundation of a deception that defines civilization. Subsequently, the research delves into the relationship between language and the formation of civilization, discussing how the crystallization of words serves as a tool for establishing herd morality and domesticating instincts. It analyzes how this scenario culminates in the creation of bad conscience—a mechanism through which the individual introjects guilt and submits to a regulatory authority. Finally, the will to power is presented as the Nietzschean response to decadence, understood not as a first principle, but as an interpretive hypothesis that reads reality through the body and the affirmation of life. It concludes that, by unmasking language and morality as conventions, Nietzsche opens space for overcoming decadent man in favor of a new mode of existence, capable of creating new values and affirming life in its growing multiplicity.2026-08-05T00:00:00ZA imaginação produtiva e reprodutiva em Immanuel Kanthttps://repositorio.ufu.br/handle/123456789/501552026-09-09T06:18:29Z2026-08-07T00:00:00ZTitle: A imaginação produtiva e reprodutiva em Immanuel Kant
Abstract: This study investigates the faculty of imagination (Einbildungskraft) in Immanuel Kant's Anthropology from a Pragmatic Point of View, aiming to understand its nature, its different aptitudes, and its role in the constitution of human experience. It is based on the interpretation that, in this work, imagination belongs primarily to the domain of sensibility rather than thought, a position grounded especially in the interpretation proposed by Olavo Calabria. First, the Kantian distinction between sensibility, imagination, and understanding is examined, highlighting the intermediary role of imagination between feeling and thinking. Next, the productive and reproductive aptitudes of imagination are analyzed, showing that the former originally organizes sensible manifold, making experience possible, while the latter reactivates previously acquired representations. The study also examines the authorial faculties described by Kant, including plastic sensible imagination, associative imagination, and affinity, as well as the voluntary and involuntary impulses and the autonomous and heteronomous modes of imagination. In order to clarify these distinctions, the research draws on everyday examples, personal experiences, artistic manifestations, and philosophical analogies, seeking to bring Kantian reflection closer to ordinary experience without compromising conceptual rigor. The research is based on a bibliographical review, taking Anthropology from a Pragmatic Point of View as its primary source, complemented by secondary literature on the subject. It concludes that imagination plays an indispensable role in human life by organizing sensible experience, enabling recollection, guiding artistic creation, and continuously mediating the relationship between the subject and the world, thereby revealing itself as one of the richest and most complex faculties in Kant's philosophy.2026-08-07T00:00:00ZA estética musical em Descarteshttps://repositorio.ufu.br/handle/123456789/501532026-09-09T06:18:08Z2026-06-30T00:00:00ZTitle: A estética musical em Descartes
Abstract: Cette thèse examine la possibilité d’identifier une élaboration esthétique dans la pensée de René Descartes, dont l’origine se trouve dans le Compendium musicae (1618) et dont les développements se prolongent jusqu’aux Passions de l’Âme (1649). À partir de l’hypothèse selon laquelle la réflexion cartésienne sur la musique dépasse le cadre de la théorie musicale et de l’acoustique, cette recherche analyse les rapports entre proportion, plaisir, sensibilité et affects afin de mettre en évidence l’existence d’une esthétique implicite au sein de la philosophie cartésienne.
L’étude repose sur l’analyse directe des textes originaux de Descartes, en latin et en français, avec une attention particulière portée au Compendium musicae, à la correspondance philosophique, notamment avec Marin Mersenne et Constantijn Huygens, au Traité de l’Homme ainsi qu’aux Passions de l’Âme. Une place importante est accordée à l’examen des Praenotanda, ensemble de propositions préliminaires dans lesquelles Descartes expose les principes de la perception sensible, de la délectation et de la proportion. La recherche engage également un dialogue critique avec la tradition interprétative en confrontant les lectures classiques, qui refusent l’existence d’une esthétique cartésienne, aux interprétations contemporaines qui reconnaissent l’importance philosophique de la sensibilité dans son oeuvre.
Les résultats montrent que Descartes déplace la compréhension de la musique d’un horizon cosmologique hérité de la tradition pythagoricienne vers une perspective centrée sur l’expérience humaine du plaisir. La distinction entre perfection et beauté, développée dans sa correspondance, révèle que le beau ne se réduit pas aux propriétés mathématiques de l’objet, mais dépend de la relation entre le son et l’âme qui le perçoit. Il est ainsi possible de conclure que le Compendium constitue le point de départ d’une réflexion sur le sensible qui trouve son prolongement dans la théorie des passions, permettant de reconnaître l’existence d’une esthétique cartésienne fondée sur l’union de l’âme et du corps, de la proportion et de la délectation, de la raison et de la sensibilité.2026-06-30T00:00:00Z