Dissertations / Theses on the topic 'Vico, Giambattista (1668-1744) – Rhétorique'

Notre travail part du présupposé que la rhétorique occupe une place centrale dans l'œuvre de Vico en tant qu'instrument de transmission de la connaissance scientifique. Loin de l'eloquentia humaniste, l'idéal rhétorique vichien répond donc, non pas aux exigences de persuasion du discours civil, comme on a trop longtemps laisse croire, mais à la visée euristique propre à sa recherche épistémique. Celle-ci étant scientia de universalibus et aeternis, Vico conçoit platoniquement l'art du discours comme une technique psychagogique. Refusant les présupposes métaphysiques de la science cartésienne, Vico choisit comme centre d'intérêt scientifique non pas le monde physique mais l'histoire de l'humanité qu'il entreprend de réorganiser - notamment à ses origines - selon un ensemble de lois dégagées par sa métaphysique. Par un art du discours qui se rattache à la fois à la rhétorique du baroque moderne italien et à celle que développe le pseudo-longin dans le traité du sublime, Vico sait faire de sa reconstruction de l'histoire de l'humanité une oratio sublimis, un parcours d'élévation spirituelle et de révélation eschatologique.

L’objectif principal de ce travail est d’analyser les variations du sens du sublime chez Vico et de déterminer comment le sublime comme moment déclencheur de l’andar raccogliendo, l’aller en rassemblant, participe à la fondation de la communauté politique. C’est à partir de l’expérience de la foudre, moment sublime par excellence que commence le long processus de développement de l’esprit des « bestioni » qui erraient dans les grandes forêts postdiluviennes. Par une imagination vigoureuse, ces derniers créent les « universaux fantastiques » ou « caractères poétiques », qui seront leur premier mode d’appréhension du monde. Ainsi, quittent-ils leur état de brute pour atteindre progressivement l’humanité. C’est sur ce concept d'« universaux fantastiques » que Vico fonde sa nouvelle science. De cette façon, il réhabilite l’imagination, la fantasia, et lui confère un rôle important dans la recherche de la vérité, proposant ainsi une réflexion qui tient compte de toutes les propriétés de l’esprit humain. En fervent défenseur de cette discipline placée en dehors du champ de la connaissance par certains philosophes dont Descartes notamment, Vico étudie les transformations de l'esprit humain à travers différents moments de son évolution. Aussi, invente-t-il une esthétique entièrement fondée sur le sublime. Sa démarche rappelle celle de Kant, qui, dans sa première Critique, définit les règles de base de la connaissance en partant du sensible. Par conséquent, pour comprendre la méthode utilisée par le philosophe napolitain sur l’évolution de l’esprit, il nous a semblé nécessaire de partir de l’esthétique kantienne. Toutefois, la possibilité de réfléchir sur le sublime chez le philosophe napolitain n’étant pas limitée au sensible, il convient d’en déterminer le sens lors du passage de l’âge poétique à l’âge de la « raison entièrement développée ». Considéré comme moment où tous les repères symboliques sont suspendus, le sublime a la particularité de modifier l’ordre des choses en vue de faire émerger de nouvelles institutions symboliques. C’est ce que nous observons dans la Science nouvelle au moment du soulèvement de la plèbe contre le patriarcat. C’est ce moment sublime qui favorisera l’émergence de la démocratie dans les cités, que Marc Richir appelle « sublime en politique ». Il existe donc un lien entre ce dernier et Giambattista Vico quant à la manière dont ils ont tous les deux réfléchi sur la problématique de la fondation sociopolitique
The main objective of this work is to analyze the variations of the meaning of the sublime by Vico and determine how the sublime, as the trigger moment of « andar raccogliendo », participates in the foundation of political community. It’s from the lightning-experience, of the sublime moment that begins the long process of development of the « bestioni » mind who wandered in the great post diluvian forests. By a vigorous imagination, they created the « universals fantastics » or « poetic characters, » which will be their first mode of apprehension of the world. So they are ready to leave their raw state to gradually reach humanity? Thus, at this the concept of «fantastics universals » that Vico founded his new science. In this way, he rehabilitates the imagination, fantasia, and gives it an important role of searching the truth, by proposing a reflection that takes into account all the properties of the human mindset. As a fervent defender of this discipline placed outside the field of knowledge by certain philosophers including Descartes, Vico studied the transformation of the human spirit through different moments of its evolution. So he invented entirely based on « aesthetic sublime ». His approach reminds us Kant, who, in his first criticism, defines basic rules of knowledge starting from the sensitive. The possibility of thinking on sublime as the Neapolitan philosopher not being limited to the poetic age, it should be determined during the passage from the poetic age to the age of « fully developed reason ». Considered as the moment where all symbolic references are suspended, the sublime has the particularity of modifying the order of things to bring out new symbolics institutions. This is what we observe in the new science, during the raising of the plebians against the patriarchy. It is this sublime moment that will favor the emergence of democracy in the cities, which Marc Richir called « sublime in politic». There is a connection between them, as they both reflected the problem of the socio-political foundation

Au XVIIème siècle, la Querelle des Anciens et des Modernes donne l’occasion de s’interroger sur la manière dont l’homme construit ses connaissances. Deux facultés rentrent en jeu : l’imagination et la raison. Descartes, semble-t-il, a fait de la raison la seule faculté permettant à l’homme de connaître. Par ailleurs, Vico met en évidence l’imagination qui participe activement à la cognition chez l’homme. Ainsi, la tradition philosophique a tendance à faire de l’un l’opposé de l’autre. Mais, pouvons-nous prendre pour acquis une telle opposition ?En s’adonnant à une analyse du corpus cartésien, qu’est-il possible de faire ressortir au sujet de l’imagination ? Que dire de Vico qui, dans sa Scienza Nuova, prend en compte, d’une manière originale, ces deux facultés qui jouent un grand rôle dans la question de la cognition.D’un côté, des critiques font de Vico le farouche opposant de Descartes. D’un autre côté, une relecture de la position cartésienne de l’imagination nous conduit à une reconsidération de l’opposition Descartes/ Vico. La position de Vico permet de considérer l’imagination et la raison dans une relation de hiérarchisation et de complémentarité. Ainsi, l’imagination est chronologiquement la première faculté qui apparaît chez l’Homme. La raison la suit. Mais, ceci signifie t-il que l’une prime sur l’autre ou que l’une relève d’une plus grande importance que l’autre? Aussi, où Vico puise-t-il ses idées ? Comment agence-t-il celles-ci pour une nouvelle perspective dans la construction des connaissances ? Ces questions nous invitent à considérer le rapport Descartes/ Vico comme complexe et ambigu.Notre travail consiste à fixer le statut de l’imagination et son rapport avec la raison chez les deux philosophes et apporter un caractère scientifique à la première. Ceci nous amène à étudier le statut des deux facultés, la relation profonde qui existe entre elles lors de l’appréhension du réel
In the 17th century, the Quarrel of the Ancients and the Moderns gives the opportunity to wonder about the way in which men build knowledge. Two faculties come into play: imagination and reason. Descartes, it seems, has made reason the only faculty enabling men to know. In addition, Vico highlights the imagination that actively participates in cognition in humans. Thus, the philosophical tradition tends to make the one the opposite of the other. But can we take such opposition for granted?By indulging in an analysis of the Cartesian corpus, what is it possible to bring out about the imagination? What about Vico, who in his Scienza Nuova takes into account, in an original way, those two faculties that play a great role in the question of cognition.On the one hand, critics make Vico the fierce opponent of Descartes. On the other hand, a re-reading of the Cartesian position of the imagination leads us to a reconsideration of the opposition Descartes / Vico. Vico's position allows us to consider the imagination and the reason in a relation of hierarchization and complementarity. Thus, imagination is chronologically the first faculty which appears in men. The reason follows. But does this mean that the one over the other or that one is of greater importance than the other? So where does Vico get his ideas? How does he organize these for a new perspective in the construction of knowledge? These questions invite us to consider the Descartes / Vico report as complex and ambiguous.Our work consists in fixing the status of the imagination and its relationship with reason in the two philosophers and bringing a scientific character to the first. This leads us to study the status of the two faculties, the deep relationship that exists between them when apprehending the real

Dans le cadre d’une approche philosophique et épistémologique, qui privilège le point de vue rhétorique sur l’argumentation et la ligne de pensée Aristote-Vico-Perelman, la thèse essaye d’analyser la construction de la subjectivité dans le discours argumentatif. Je cherche à montrer qu’il est possible de tracer une théorie de l’argumentation dans laquelle subjective n’est pas synonyme de fallacieuse.

En général, la thèse analyse le rôle de celui qui parle et de celui qui écoute dans l’argumentation et dans tous les discours. Je vais soutenir est que la dimension personnelle n’est pas un élément qu’il faut supprimer mais, au contraire, un élément essentiel du discours argumentatif.

Une approche rhétorique au problème du sujet se base sur une intuition fondamentale de la rhétorique d’Aristote .Comme nous le savons, dans le premier livre de la Rhétorique, Aristote affirme que le discours (logos) est composé (synkeimai) de trois éléments :l’orateur, le sujet traité et l’auditoire .Au même temps la rhétorique est composée des trois éléments :Logos, Pathos et Ethos. La pratique linguistique inclut la dimension émotive, l’orateur et l’auditoire, qui sont des éléments discursifs. De même, l’ethos et le pathos ne sont pas des moyens de preuves irrationnelles ou des fallacies. On verra que cette idée implique un système philosophique et épistémologique assez différent du système normativiste des théories contemporaines :cela implique de revenir sur le concept de rationalité et sur le rapport entre la rationalité, la praxis et son incertitude essentielle.

Pour question de temps, la thèse ne parle pas de pathos. Elle s’occupe de l’ethos soit du point de vue de celui qui parle (Partie I) soit du point de vue de l’auditoire (Partie II).

Dans la première partie, on analyse la question de la rationalité rhétorique et des paralogismes et les définitions historiques de la dimension personnelle de l’argumentation (ethos, personne, ad hominem).

Dans la deuxième, on analyse le rapport entre la dimension personnelle, le sens commun, la vérité, la certitude et la fides.

En conclusion, on soutiendra que l’ethos est soit une pistis technique de la rhétorique, soit une des conditions préalables du discours même.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

La philosophie de Giambattista Vico (1668-1744) est structurée par le récit de l'errance. Dans les " orationes" prononcées à l'Université de Naples entre 1699 et 1732, le Stultus est l'insensé" de Sénèque et de Ciceron. Il représente sur le plan individuel le risque de la dissociation. Dans la Scienza nuova, l'état sauvage" des premiers temps offre l'image par excellence du chaos et de la "non-histoire". L'humanité ignore le lien social, le sentiment de "pudeur" et les principes qui organisent les "utilités". L'oeuvre montre que le processus de civilisation claque la manière dont l'individu parvient à résourdre en lui le conflit de la sapientia et la stultitia. Vico ne pense donc pas l'histoire selon une conception millénariste des temps, ni selon une dialectique du savoir absolu. L'histoire n'est pour lui une thèologie de la révélation, ni le système d'une raison universelle. Mais c'est une réflexion sur le soi, un effort que l'homme acomplit pour se réunifier et coi͏̈ncider avec sa propre nature. C'est le "soin de l'âme" qui permet d'évaluer la juste articulation entre le domaine privé et le domaine public. C'est lui qui détermine l'équilibre des mémoires dont les sociètés démocratiques ont besoin pour durer.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
After situating Vico in the Naples of his time and in relation to the questions of modern rationality, as well as carrying out an exercise of philosophical reflection seeking the understanding of the worldview of Vico, this piece of work aims at making explicit the ethic that underlies his work as an ethic of teleological character which privileges the practical life, evidencing a concern for what man can and should do of himself, notwithstanding the guardianship of a divine providence in a cyclical history. However, within the advent of the "age of men," it is verified a process of unfoldment of the human nature in which the development of the individual starts to dictate the development of the community; at the same time, the predominance of abstract rationality dissociated from other human faculties – such as imagination – leads to a preponderant literality in the interpretation of mythology, which pervades the doctrines of religions, moving man away from piety, with the consequent loss of both social cohesion and the human sense of the world. Hence, man decays in the age of the gods, submitting himself to heteronomy in the face of the eternal ideal history. It is identified with the present thesis, therefore, the "master key" indicated by the Napolitan himself with the imagination that underlies poetic wisdom, the application of this interpretative key of the method of his work – the new critical art – is extended to the solution of the pretended paradox between the autonomy and the aimed happiness by a teleological ethic and the cyclical repetition of the eternal ideal history
Após situar Vico na Nápoles de seu tempo e em relação às questões da racionalidade moderna, e realizar um exercício de reflexão filosófica para a compreensão da cosmovisão viquiana, objetiva-se explicitar a ética que subjaz em sua obra como uma ética de caráter teleológico e que privilegia a vida prática, evidenciando uma preocupação para com o que o homem pode e deve fazer de si mesmo, nada obstante a tutela de uma providência divina numa história cíclica. Entretanto, no advento da “idade dos homens”, verifica-se um processo de desdobramento da natureza humana em que o desenvolvimento do indivíduo passa a ditar o desenvolvimento da comunidade; ao mesmo tempo, a predominância da racionalidade abstrata dissociada de outras faculdades humanas, como a imaginação, conduz a uma literalidade preponderante na interpretação da mitologia, que pervade as doutrinas das religiões, afastando o homem da piedade, com a consequente perda da coesão social e perda do sentido humano do mundo. Daí, o homem decai na idade dos deuses, submetendo-se à heteronomia face a história ideal eterna. Identifica-se com a presente tese, então, a “chave mestra” indicada pelo próprio Napolitano com a imaginação que fundamenta a sabedoria poética, estende-se a aplicação dessa chave interpretativa do método de sua obra – a nova arte crítica – para a solução do pretenso paradoxo entre a autonomia e a felicidade objetivada por uma ética teleológica e a repetição cíclica da história ideal eterna

L'objectif principal que se propose ce travail est d'offrir une interprétation rationnelle de l'oeuvre de Vico, de montrer que le concept de raison est au centre de sa philosophie et que son espression la plus manifeste en est la communauté. En mettant la raison au cœur de notre travail (et avec elle ses deux modalités que sont la communauté et la politique), nous serons amenés à donner une interprétation générale de la Scienza nuova à travers ce que Vico nomme ses " deux pratiques ", à savoir " l'art critique " et " l'art diagnostique ". Une telle lecture nous permettra de développer les notions de providence, d'ingenium, de philologie, " d'histoire idéale éternelle " et d'éducation. Nous montrerons comment ces concepts s'organisent autour d'un projet scientifique ayant comme objet la " nature commune des nations "
This study aims to offer a rational interpretation of Vico's work, to show that the concept of reason occupies a central position in Vico's writings and that its most patent expression is community. By placing reason and its two modalities, community and politics, at the core of this study, I am led to offer a general interpretation of the Scienza nuova through what Vico calls his " two practices ", namely " the art of criticism " and " the art of diagnosis ". Such an interpretation enables me to discuss the notions of prudence, ingenium, philology, " ideal eternal history " and education. I show how these concepts are organized around a scientific project whose object is " the common nature of nations "

Orientador: Roberto Romano da Silva
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Vico criticou a racionalidade de seu tempo e propôs outra como alternativa: a chave para essa questão é o conceito de engenho. Em seu programa pedagógico, Vico aspirava a uma síntese entre ciência, prudência e eloqüência, e sugeriu que isso seria possível aguçando-se o engenho dos jovens. Vico não é um irracionalista. Sua noção de razão tem raízes humanistas. Ele pretendeu superar a razão cartesiana, reafirmando a tópica, a inventio e a fantasia, para coroar o engenho com o estatuto de faculdade certa do conhecer. Isso permitia-lhe aprofundar-se no estudo das humanidades. Vico condenou o caráter monástico e solitário das filosofias da virada da século XVII para o XVIII, e alertou para o mal do "egoísmo racional" que acometia a sociedade de sua época. Vico não é um pensador solitário. Antes de vê-lo como um precursor ou conservador, é melhor situá-Io em seu próprio tempo, respondendo às últimas novas da república das letras de então. O empenho de contribuição que Vico enfatizou em suas preleções foi posto em prática no contexto da célebre Querela entre Antigos e Modernos, mais especificamente acerca da questão do status de Homero - um problema que solicitou, entre outras coisas, o engenho de Vico. Os quatro aspectos do engenho, a agudeza, a inventividade, a prudência cidadã e a presença histórica, lançam luz sobre a racionalidade pensada por Vico
Abstract: Vico has criticized the rationality of his time and he proposed another one as alternative: the key for this question is the concept of wit. Into his pedagogical program, Vico wished a synthesis among science, prudence, and eloquence. He suggested that it would be possible if one sharpen the young men's wit. Vico is not na irrationalist. His notion about the reason has humanist roots. He intended to overcome the Cartesian reason, in reaffirming the science of topical, the inventio, and the phantasy to enthrone the wit with a right faculty status of knowing. That allows him to make a profound study of the humanities. Vico has condemned the monachal and solitarian feature of the philosophies from the turn of the XVII century to XVIII century, and he prevented us against the evil of the "rational selfish" that society from his time was taken with. Vico is not a solitary thinker. Before seeing him as a forerunner or conservator, it is rather situate him in his own time, answering the last news of the republic letters since that time. The interest of the contribution that Vico emphasized in his discourses was put in practice into the context of the famous Quarrel between the Ancients and the Moderns, more specifically about the question of the Homer's status - a problem that demanded from Vico his wit. The four aspects of the wit, the acuity, the inventiveness, the citizeness prudence, and the historical presence, bring under light the rationality that was thought by Vico
Mestrado
Mestre em Filosofia

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Partindo da análise das obras de René Descartes (1596-1650) e da concepção de retórica enquanto uma metalinguagem, fornecida tanto por Roland Barthes quanto por Haroldo de Campos, investigamos certa tensão entre Giambattista Vico (1668-1744) e o filósofo francês. Atrito forjado a partir da leitura indireta do retor napolitano das obras de Descartes. Este trabalho trata, portanto, da diferença entre a certificação do conhecimento em Descartes e Vico, diferença que, segundo elucidamos, pode ser situada na tensão entre os conceitos de verdade e verossimilhança, respectivamente, bem como nos conceitos de sentido e senso. Em 1699, Giambattista Vico assumiu a cátedra de Retórica na Universidade Real de Nápoles. A partir deste ano e, até o ano de 1707, o filósofo proferiu discursos de abertura dos anos letivos nesta instituição. Esses discursos nos chegam sob o título de Orazioni Inaugurali (1699-1707), donde foram analisadas, na presente dissertação, às duas primeiras, concernentes aos anos de 1699 e 1700. Tal análise procurou nuançar não apenas o entrelaçamento entre forma e conteúdo como, também, a partir disso, sugerir que a verossimilhança viquiana incide formalmente em seus textos, assim como a verdade cartesiana seria derivada de certa estrutura textual.
Analyzing the works of René Descartes (1596-1650) and the conception of rhetoric as a meta language, provided both by Roland Barthes and by Haroldo de Campos, we investigated tension between Giambattista Vico (1668-1744) and the French philosopher. Misunderstanding forged from indirect reading of Neapolitan rector of the works of Descartes. This work analyzes the difference between the certification of knowledge in Descartes and Vico, a difference that, according elucidated, may be located in the tension between the concepts of truth and verisimilitude, respectively, as well as the concepts of way and sense. In 1699, Giambattista Vico took over the chair of Rhetoric at the Royal University of Naples. From this year by the year 1707, the philosopher gave opening speeches of school years at this institution. These talks come in under the heading of Orazioni Inaugurali (1699-1707), from which were analyzed in the present work the first two, pertaining to the years 1699 and 1700. This analysis sought to nuance not only the interweaving between form and content as, also, from there, suggest that the verisumilitude viquiana focuses formally in his writings, as well as the Cartesian truth would be derived from certain textual structure.

Orientador: Hermas Gonçalves Arana
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Doutorado

Le probleme qui se pose aux liberaux au debut de la restauration est de donner a la fois un fondement et une interpretation au code civil. Le fondement est trouve par cousin dans une loi divine d'inspiration kantienne, qui resonne au coeur des individus et limite a priori leur liberte par le respect de celle d'autrui. La societe ainsi definie est d'ordre ideal; un fondement est bien donne au code en tant que recueil de lois, mais ce fondement philosophique ne permet pas a lui seul de fonder une jurisprudence, qui doit par essence s'appuyer sur une realite. Cette realite, ou cet ancrage social, ne peut etre trouvee ni dans la tradition, qui ramenerait a l'ancien regime, ni dans les pratiques populaires. Le modele de la jurisprudence va etre cherche chez les jurisconsultes romains, et le code repense comme une reactivation moderne des lois de rome. Ainsi, au moment meme ou le reel semble diverger d'avec l'ideal, jourdan affirme-t-il leur convergence, au prix d'eriger rome en substitut de la realite francaise. C'est ici que vico est convoque, comme garant de la convergence du reel et de l'ideal, de l'histoire et de la philosophie, du fait et du droit. L'appel a vico ne tient que si n'est pas interroge le principe meme qui permet au napolitain d'affirmer la presence de l'ideal dans le reel. Ce "principe heroique", qui dit que les hommes font le monde civil, produit necessairement un moment democratique, ou tous concourent egalement a la confection des lois. En interrogeant ce moment, ballanche d'une part, michelet de l'autre, sont amenes a mettre en cause le principe de representation sur lequel repose en definitive la conception liberale, a redefinir les rapports du civil et du politique, et a accorder a la plebe pour l'un, au peuple pour l'autre, un role moteur dans l'histoire
French liberals at the beginning of the restoration were faced with the doubly complex task of establishing both a foundation and an interpretation for the civil code. Cousin derives the basis from a divine law of kantian inspiration which, resounding within the heart of every man, implies that an individual's freedom is limited by his respect for that of his fellow man. A society defined in this manner is of an ideal nature. Indeed, a basis is established for the code as a set of laws, but this philosophical foundation alone does not constitute grounds for jurisprudence, which must essentially rely upon reality. The roots for this reality, or social setting, cannot be taken from tradition, for this would signify a return to the former system. Nor can they be derived from folks ways and practices. Instead the model for jurisprudence is taken from the roman jurisconsults, and the code is now seen as a modern resuscitation of roman law. Hence, at the very moment when reality would appear to diverge from the ideal, jourdan asserts that the two actually converge, at the expence of substituting ancient rome for the reality of france. It is at this point that vico is invoked in order to ensure the convergence between reality and the ideal, between history and philosophy, between the facts and the law. This appeal to the theories of vico can be considered valid only if the principle itself by which the neopolitan affirms the presence of the ideal in reality remains unquestioned. This "heroic principle", which stipulates that man creates the civil world, gives way to a necessarily democratic entity at some point in time where each individual takes part in the drawing-up of laws. After close examination of this moment, both ballanche and michelet are compelled to question the principle of representation upon which the liberal concept is based, to redefine the relationship between the civil sphere and the political sphere and, finally, to attribute to the plebians in the one case, and to the people in the other, a role as a driving force in history

Orientador: Roberto Romano da Silva
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A Scienza Nuova de Vico responde em grande medida as principais carências da ciência moderna apontadas por ele em seus primeiros textos de perfil anticartesiano. Nela encontra-se uma tópica dos fatos humanos; um exame histórico do senso comum; uma ciência ativa; e um estilo que confere eloqüência à ciência. Para Vico, a faculdade criativa por excelência é o engenho. Esse em todos seus aspectos é a faculdade operante na Scienza Nuova
Abstract: The Vico's New Science is a responde to his evaluation witc regard to the modern science, above all the Cartesian philosophy. It contains topics of human facts, a historical inquiry of common sensc, an active science and an eloquent scientific language. According to Vico, the wit is the human faculty to invent. The New Science intends to be a wity work
Doutorado
Filosofia
Doutor em Filosofia

Orientador : Hermas Gonçalves Arana
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A Filosofia Moderna foi o ponto de partida desta investigação. Para isto foi importante investigar também as raízes do pensamento moderno através da abordagem do humanismo renascentista. Esta primeira parte do trabalho tem a finalidade de oferecer o ambiente cultural em que viveu Giambattista Vico (1668-1744). Vico dedicou-se aos estudos da história, do direito natural e da filologia, .relacionando estes vários campos do saber na filosofia. Seu objetivo era demonstrar as várias fases de desenvolvimento idade. da mente humana e aquilo que era próprio a cada A linguagem poética é a expressão de um saber pré reflexivo, anterior ao raciocínio.lógico. Esta forma de linguagem é própria de uma sabedoria também poética, momento em que a percepção e a imaginação atuam com maior intensidade intelecto humano. A linguagem poética é a base sobre a constrói o conhecimento lógico. sobre o qual se Passando dó campo histórico para o campo epistemológico, a linguagem poética é própria das crianças e dos adolescentes, ela é o caminho para se chegar à reflexão filosófica durante a juventude. Para os modernos, as discussões no campo da linguagem estavam diretamente ligadas às novas formas de escolarização e, aos respectivos' métodos pedagógicos que surgiam em meio às mudanças sócio-econômicas. A reflexão sobre a linguagem oferece novos elementos para repensarmos a influência dos métodos modernos sobre o pensamento pedagógico atual, bem como distorções sofridas por estes métodos ao longo dos séculos
Mestrado
Filosofia e História da Educação
Mestre em Educação

L'objectif principal que se propose ce travail est de montrer, dans toute sa complexité, le caractère scientifique de la nouvelle science vichienne. L'épistémologie de la Science Nouvelle apparaîtra, à travers notre analyse, comme le résultat de trois composants gnoséologiques fondamentaux: la rhétorique, la jurisprudence et la science de la nature. Sans nier la fonction essentielle des instances sensibles et imaginatives, nous essaierons de montrer l'importance de la détermination rationnelle qui caractérise la Science Nouvelle, et le corpus vichien tout entier. Une telle lecture nous permettra d'envisager le caractère anthropologique tout à fait particulier de la science "relative à la commune nature des nations" et de nous arrêter sur l'interprétation civile du mythe qu'elle contient. Nous essaierons finalement de jeter les bases d'une actualisation et d'une application de l'herméneutique vichienne du mythe en la comparant avec le courant phénoménologique et irrationaliste des études contemporaines de la mythologie et de l'histoire des religions
This study aims to prove the scientific character of Vico's new science and its complexity. The New Science epistemology will appear, through our analyse, the result of three basic components: rhetoric, jurisprudence and natural science. Without denying the fundamental function of sensible and imaginative determinations, we will try to show the importance of rational determination in the New Science, and indeed in Vico's entire output. This reading will allow us to examine the distinctively anthropologic nature of the science "concerning the common nature of the nations" and to dwell upon the civil interpretation of the myth which it provides. Subsequently, we will try to lay the foundations of an actualisation and an application of the vichian hermeneutics of myth, by comparison with the phenomenological and irrationalist tendency of contemporaneous studies of mythology and history of religions

This paper undertakes to develop an in-depth interpretation of Piranesi's Il Campo Marzio. While drawing heavily from specific details in both the text and images, the study retains a contextual outlook, speculating that Vico's New Science can lend meaning to Piranesi's work.
Based primarily on Vico's concept of the Ideal Eternal History, parallels are drawn between the two works. While this provides the key to entering into Piranesi's work, it reveals only its inner horizon, merely describing in different terms what is already there.
The insights provided by this exercise, however, demonstrate that the making of architecture as promoted by the Campo Marzio is not unlicensed Romantic freedom, but a fundamental, culturally-bound human activity. The paper concludes, moreover, that the making of the Campo Marzio interpretively re-enacts the original imaginative founding of the Eternal City and, as such, constitutes an attempt to re-found Heroic Rome.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Nous allons etudié dans les pages suivant la genèse du penser poetique et de sa fondamentale participation dans la construction des premières mythes et institutions. Les récits mythologiques, alors que fruits de l ingéniosité et de l imagination, ils représentent, fantastiquement, les traces laissées par l homme dans ses realisations historiques. Par la métaphore, l ancienne bête sauvage commence le processus de signification des choses du monde, et avec l originel peur des rayons cherche refuge dans leurs projetions et fantaisies. Ceux qu avant parcouraient la bois ne deplacé que par leurs pulsions sensibles, maintenant ils brûlent les forêts et contemplent la lumière numineux de la divine providence, source de la réglementation qui conduit le primitive a la grotte e a la fixation. Installés dans leurs grottes, les gentiles ont donné les premières pas dans la conception de ses mariages solennels et, en misant les limites dans ses domaines, qu ils ont suscité son respect pour les morts. Nous ferons une analyse des principales divinités qui soutiennent la solennité des mariages, et après nous chercheront comprendre la démarcation des frontières du sauvage et du fixé par la construction des tombes. Une analyse d écu d Achille élucidera le context belliquex qui se trouvaient les hommes dans l âge poétique, en figurant l intrinsèque relation entre les champs et les cités, en tant que l obstiné lutte par justice et droits proclamée par les masses subjugées. Enfin, nous faisons spécial attention a l Hercule, personnage que joue l unité du droit aristocratique. Néanmoins, dans la fonction de duple poétique, Hercule aussi semble ouvrir nouveau chemin a l insertion des famoli dans la societé avant exclusif a les héros. Jupiter s abandonne a l enfindélité et Juno jalouse se venge de leurs trahisons. Ainsi, Hercule compléte une triade qu en ensemble constitue le chemin parcouri par les paternels autorités et révèle, parmi les transformations historiques, l ouverture politique donnée par les héros, contrariés, a les famoli indignés.
Investigaremos nas páginas que se seguem a gênese do pensar poético e de sua fundamental participação na construção dos primeiros mitos e instituições. As narrativas mitológicas, enquanto frutos da engenhosidade e da imaginação, retratam, de modo fantástico, os rastros deixados pelo homem em suas realizações históricas. Pela metáfora, a antiga bestafera inicia o processo de significação das coisas do mundo e, com o originário temor dos raios, busca abrigo em suas projeções e fantasias. Aqueles que antes vagavam movidos apenas por seus impulsos sensíveis, agora queimam os bosques e contemplam a luz numinosa da divina providência, fonte reguladora que conduz o primitivo às cavernas e à fixação. Instalados em suas cavernas, os gentios deram os primeiros passos na concepção de seus solenes matrimônios e, já colocando limites em seus domínios, despertaram seu respeito pelos mortos. Faremos, então, uma análise das principais divindades que amparam a solenidade das núpcias e, logo em seguida, buscaremos entender de que forma a construção dos sepulcros delimitava as fronteiras do que era selvagem e do que já se mantinha fixado. Uma análise do escudo de Aquiles elucidará o contexto bélico em que se encontravam os homens na idade poética, figurando a intrínseca relação entre os campos e as cidades, assim como a constante luta por justiça e direitos proclamada pelas massas subjugadas. Por fim, daremos atenção especial a Hércules, personagem que representa a unidade do direito aristocrático. Porém, na função de duplo poético, Hércules parece também abrir caminho para a inserção dos famoli na sociedade antes exclusiva aos heróis. Júpiter se entrega aos adultérios e Juno, ciumenta, se vinga de suas traições. Deste modo, Hércules completa uma tríade que, em seu conjunto, compreende o caminho percorrido pelas potestades familiares e revela, em meio às transformações históricas, a abertura política cedida pelos heróis, a contragosto, aos famoli revoltosos.
Mestre em Filosofia

La fabbrica della mente désigne chez le poète Torquato Tasso la structure de l'allégorie propre au poème épique. La présente enquête poursuit cette intention de pensée en tentant d'établir l'architectonique des savoirs humanistes, c'est-à-dire de savoirs dans lesquels se côtoient concepts et signes, ontologie et philologie. Pour parvenir à ce but, on part d’une figure classique de la pensée scolastique de la renaissance, l'"analogie des noms", telle qu'elle a été décrite par le théologien dominicain Thomas De Vio-Cajétan. On montre que cet instrument logique indispensable à la métaphysique et à la théologie suppose en réalité une similitude originaire, non thématisable dans la langue de l'ontologie scolastique, mais exercée par l'acte même de nommer les principes de la science. En poursuivant une telle "philosophie des noms" au cours de l'histoire de la culture humaniste italienne, l'enquête rencontre la figure du philosophe napolitain du XVIIIe s. , Giambattista Vico. Celui-ci fait expressément reposer un tel pouvoir du nom dans la pensée sur un critère de vérité plus général que l'opposition du concept et du signe : la convertibilité du vrai et du fait. On montre alors que, loin de conduire à une métaphysique activiste ou actualiste, ce critère inscrit l'action humaine dans un espace continu, fondement de tous les actes analogiques de la raison, à l'intérieur duquel se partagent et prennent sens les formes disjointes de l'activité théorique et de l'activité symbolique. La thèse s'achève dans l'idée qu'une telle appréhension intuitive des œuvres humaines suscite une ontologie spécifique, ontologie non-catégoriale mais fondée sur une morphologie de la division - illustrée à ce jour par la sémiophysique de René Thom -, qui fait de la vie de l'esprit une participation à une nature infinie
For the poet Torquato Tasso, the fabbrica della mente, i. E. The "fabric" of the mind, refers to the structure of allegory as it is used in epic poems. This investigation develops this trend of thought in that it attempts to establish an architectonics of humanist culture, that is of a culture in which are to be found side by side concepts and signs, ontology and philology. In order to achieve this purpose, we start with a classical figure of renaissance scholastic thought, the nominum analogia, as described by the Dominican theologian Tommaso De Vio, called ii Gaetano. This logical tool, which is indispensable for metaphysics and theology, is shown to really imply an aboriginal similitude (similitudo proportionnalitatis), that cannot be properly expressed in the language of scholastic ontology, but is carried out in the very act of naming scientific principles (consideratio nominum). As it follows this "philosophy of names" through the history of Italian humanist culture, our investigation comes across the eighteenth-century Neapolitan philosopher Giambattista Vico. He explicitly bases the power of names in thought on a truth criterion more general than the opposition between concepts and signs: the convertibility of truth and fact (verum et factum convertuntur). We then show that, far from leading to an activistic or "actualistic" metaphysics, this criterion places human action in the framework of a continuous space, on which all the analogic acts of reason are built, and within which the separated forms of theoretical activity and symbolic activity take on their meaning

This thesis examines the extent to which Ibn Khaldun can legitimately be considered a founding father of sociology. To pursue this research, Khaldun's theoretical framework will be compared with four Western scholars: Auguste Comte, Emile Durkheim, Giambattista Vico, and Ludwig Gumplowicz. This paper begins with an Introduction (Chapter I), followed by a general overview of Khaldun's work (Chapter II). Next, Khaldun's work is compared to that of Auguste Comte (Chapter III), Emile Durkheim (Chapter IV), Ludwig Gumplowicz (Chapter V) and Giambattista Vico (Chapter VI). In each of these chapters, Khaldun is compared and contrasted to the other social theorist, illustrating their similarities and considering their differences. Finally, in Chapter VII, I put forth conclusions that consider the extent to which Khaldun can validly be considered a founding father of sociology.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation is the result of research work linked to the Graduate Program in Modern and Contemporary Philosophy of the Federal University of Uberlandia, the work is embodied in the Research Line "Social and Political Philosophy." The theme of the research was to investigate the concept of wisdom in poetic magnum opus of Giambattista Vico (1668-1744). The problem formulation of the research allowed a brief investigation of the philosophical context in which the works of Vico caught the debate on the formation of civil society, but especially the man who is. The Neapolitan philosopher runs through the history of philosophy and aims to discover the true wisdom of the ancients from its method elucidated here. This research topic is covered in the second chapter, which discusses Vico's arguments about the wisdom of men in dark times and fabulous. The third chapter presents the method of philosophical-philological of Vico, that based upon the concept of poetic wisdom examines the wisdom of Homer, or the discovery of the true Homer. In short, the dissertation allows further discussion of the philosophical assumptions of the history of nations that can be known with the approach of fables, which were responsible for the preservation of the first human ideas born in the world of gentility.
Esta dissertação é o resultado do trabalho de pesquisa vinculado ao Programa de Pós-Graduação em Filosofia Moderna e Contemporânea da Universidade Federal de Uberlândia; o trabalho está inscrito na Linha de Pesquisa Filosofia Social e Política . O tema da pesquisa foi a investigação do conceito de sabedoria poética na obra magna de Giambattista Vico (1668-1744). A formulação do problema da pesquisa permitiu uma breve investigação sobre o contexto filosófico com o qual as obras de Vico travaram o debate relativo à formação da sociedade civil, mas, sobretudo do homem que a constitui. O filósofo napolitano percorre a história da filosofia e se propõe a descobrir a verdadeira sabedoria dos antigos a partir do seu método aqui elucidado. Este tópico da pesquisa é contemplado no segundo capítulo, onde se discute os argumentos de Vico a respeito da sabedoria humana nos tempos obscuros e fabulosos. O terceiro capítulo apresenta a aplicação do método de investigação filosófica-filológica de Vico, que embasado no conceito de sabedoria poética analisa a sabedoria de Homero, ou, a descoberta do verdadeiro Homero. Em suma, a dissertação permite o aprofundamento da discussão dos pressupostos filosóficos da História das Nações que podem ser conhecidos com a abordagem das fábulas, que foram responsáveis pela preservação das primeiras idéias humanas nascidas no mundo da gentilidade.
Mestre em Filosofia

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley's views of the perfect contingency of the world and on Vico's theories of truth and ingenium. A reading of Diderot's critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu's aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as a pre-cinematic effects that represent the non-material, non-causal deep structure of reality.

Le vieux différend entre le philosophe et le poète, entre logos et mythos, peut être converti en accord à condition de changer de point de vue. Alors que Platon n’a voulu voir dans leurs différences qu’une source de discorde et de division, Aristote en a tiré une poétique et une rhétorique, les poètes de la Renaissance une philosophie poétique et Vico une anthropologie du langage et une archéologie de la pensée. Ce qui est pour les modernes une « pensée sauvage » a longtemps été considéré par les anciens comme une sagesse archaïque, qui s’exprimait par figures et « traduisait en langue des dieux » les voix de la nature.On se propose ici de réévaluer les notions de pensée poétique et de pensée mythique en adoptantle point de vue des poètes de la Renaissance et de l’âge baroque, qui identifièrent l’une et l’autre à la pensée ingénieuse productrice de métaphores, de figures et de fictions. Mais il faut remonter aux sources antiques pour pouvoir rendre compte de l’active polysémie des anciennes méthodes d’interprétation des mythes qui, loin de séparer les points de vue de la physique, de la morale et de la théologie, les associaient en une « science poétique » qui faisait la synthèse de tous les savoirs du monde, et qui est désormais une science fossile
The old dispute between the Philosopher and the Poet, which leads to the dichotomy betweenLogos and Mythos, can be turned into a settlement as long as one changes one’s viewpoint. WhilePlato only considered their difference as a source of discord and division, Aristotle drew from it aPoetic and a Rhetoric, the Renaissance poets a Poetical Philosophy, and Vico a language’sAnthropology and an Archeology of the Thought. What is considered by the Moderns to be a « wildthinking » was seen by the Ancients as an archaic wisdom, expressed through figures and« translating the voices of nature into the language of gods ».The purpose here is to reassess the concepts of Poetic and Mythic thought by adopting theviewpoint of the poets of the Renaissance and the Baroque era. Those cleary identified these twospecific thinkings with the wit’s power to produce metaphors, figures and fictions. In order to achievethis research, it is important to revisit the antic sources, so as to enlight the effective polysemysupporting the ancient ways used to interpret myths. Far from categorising the stance of the physics,the morals and the theology, the Ancients used to gather them into a comprehensive « poeticscience » : it reunited the synthesis of all knowledge but has become a fossilised science

Le vieux différend entre le philosophe et le poète, entre logos et mythos, peut être converti en accord à condition de changer de point de vue. Alors que Platon n’a voulu voir dans leurs différences qu’une source de discorde et de division, Aristote en a tiré une poétique et une rhétorique, les poètes de la Renaissance une philosophie poétique et Vico une anthropologie du langage et une archéologie de la pensée. Ce qui est pour les modernes une « pensée sauvage » a longtemps été considéré par les anciens comme une sagesse archaïque, qui s’exprimait par figures et « traduisait en langue des dieux » les voix de la nature.On se propose ici de réévaluer les notions de pensée poétique et de pensée mythique en adoptantle point de vue des poètes de la Renaissance et de l’âge baroque, qui identifièrent l’une et l’autre à la pensée ingénieuse productrice de métaphores, de figures et de fictions. Mais il faut remonter aux sources antiques pour pouvoir rendre compte de l’active polysémie des anciennes méthodes d’interprétation des mythes qui, loin de séparer les points de vue de la physique, de la morale et de la théologie, les associaient en une « science poétique » qui faisait la synthèse de tous les savoirs du monde, et qui est désormais une science fossile
The old dispute between the Philosopher and the Poet, which leads to the dichotomy betweenLogos and Mythos, can be turned into a settlement as long as one changes one’s viewpoint. WhilePlato only considered their difference as a source of discord and division, Aristotle drew from it aPoetic and a Rhetoric, the Renaissance poets a Poetical Philosophy, and Vico a language’sAnthropology and an Archeology of the Thought. What is considered by the Moderns to be a « wildthinking » was seen by the Ancients as an archaic wisdom, expressed through figures and« translating the voices of nature into the language of gods ».The purpose here is to reassess the concepts of Poetic and Mythic thought by adopting theviewpoint of the poets of the Renaissance and the Baroque era. Those cleary identified these twospecific thinkings with the wit’s power to produce metaphors, figures and fictions. In order to achievethis research, it is important to revisit the antic sources, so as to enlight the effective polysemysupporting the ancient ways used to interpret myths. Far from categorising the stance of the physics,the morals and the theology, the Ancients used to gather them into a comprehensive « poeticscience » : it reunited the synthesis of all knowledge but has become a fossilised science

Notre recherche porte sur l’analyse d’un processus spécifique d’apprentissage par le concept d’ingegno du philosophe napolitain Giambattista Vico : La pratique du débat de l’Ecole Gelugpa du bouddhisme tibétain. Dans une première partie, à travers une anthropologie de son geste et de son imaginaire, nous présentons le déploiement de l’ingegno et la dimension transdisciplinaire de cette pratique traditionnelle de formation. Dans une deuxième partie, nous utilisons l’outil AT9 pour faire une lecture herméneutique de l’imaginaire de moines tibétains pratiquant le débat. A travers les projections de soi que constituent les AT9 réalisés, nous cherchons les traces des projections des apprentissages et leur dimension transdisciplinaire. Nous concluons ou plutôt offrons aux praticiens transdisciplinaires, la mise en débat d’un outil transdisciplinaire transformateur des pratiques de formation telles que les nôtres se sont métamorphosées au long cours de notre apprentissage de chercheur
Our research focuses on the analysis of a specific process of learning: The concept of ingegno by the Neapolitan philosopher Giambattista Vico: The practice of the debate of the Gelugpa School of Tibetan Buddhism. In the first section, through an anthropology of its gesture and its imagination, we present the deployment of ingegno and transdisciplinary dimension of this traditional practice of education. In the second section, we use the tool AT9 to do a hermeneutic reading from the imagination of the Tibetan monks in the process of discussions. Through the projections themselves, that constitute the AT9 realized, we looked for traces of projections of learning and their transdisciplinary dimension. It is concluded, or rather offered to the transdisciplinary practitioners, the debate of a transforming tool of the transdisciplinary training practices, such as ours have been transformed during the course of our learning researcher

Tese de mestrado em Teoria da Literaura apresentada à Faculdade de Letras da Universidade de Lisboa, 2008
Esta dissertação estuda o papel da poesia no método e na estrutura da Ciência Nova, de Giambattista Vico. Considerada a chave-mestra da obra, a poesia é relacionada com o conceito de sabedoria poética, a partir do qual Vico constrói uma teoria das origens poéticas da humanidade. Perceber como se articula a teoria das origens de Vico com o propósito de fundar uma nova ciência é um dos principais objectivos deste estudo. Argumentar-se-á que a novidade da Ciência se encontra no seu método e numa forma de conhecimento que pode ser vista como poética.
This dissertation studies the role of poetry in the method and structure of Giambattista Vico's New Science. Considered the work's master key, poetry is related to the concept of poetic wisdom, which Vico uses to build his theory of the poetic origins of mankind. Understanding how to articulate Vico's theory of origins with the goal of founding a new science is one of this study's main objectives. It will be argued that the newness of the Science lies in its method as well as in a form of knowledge that can be regarded as poetic.

Tese de doutoramento, Estudos de Literatura e de Cultura (Teoria da Literatura), Universidade de Lisboa, Faculdade de Letras, 2015
Esta tese discute a Scienza nuova de Giambattista Vico, o filme Viaggio in Italia de Roberto Rossellini e o romance À la recherche du temps perdu de Marcel Proust. As três obras são relacionadas por meio de uma noção viconiana de “família”, enquanto pequena comunidade onde se contam as primeiras histórias sobre o mundo. O objectivo da tese é formar uma família de autores e obras que, embora aparentemente distantes, se encontram unidos por questões e tópicos comuns, nomeadamente a ideia de que investigar os princípios de indivíduos, casais ou nações é narrar a sua história.
This thesis discusses Giambattista Vico’s Scienza nuova, Roberto Rossellini’s film Viaggio in Italia, and Marcel Proust’s novel À la recherche du temps perdu. The three works are related by a vichian notion of “family”, meaning a small comunity where the first stories about the world are told. The aim of the thesis is to form a family of authors and works which, though apparently distant, are brought together by questions and topics they all share, namely the idea that to investigate the principles of individuals, couples or nations is to narrate their history.
Fundação para a Ciência e a Tecnologia (FCT)