El arte de existir comprendiendo. Un análisis a través de la "Filosofía del límite", las artes "in itinere" y la danza
What is the way of being of that being which, insofar as it is human, only exists through understanding?, what is the way in which humans are situated in being, prior to confronting being as an object which must be understood?, does this way have something to do with the experimentation which may be...
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| Formato: | text (thesis) |
| Lenguaje: | spa |
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Universidad de La Rioja (España)
2021
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| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaites?codigo=286289 |
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| Sumario: | What is the way of being of that being which, insofar as it is human, only exists through understanding?, what is the way in which humans are situated in being, prior to confronting being as an object which must be understood?, does this way have something to do with the experimentation which may be found in art and, more concretely, the art of movement? These questions are analysed and debated throughout eight chapters in a methodical discussion which takes its origin from the notion of limit in the philosophy of Eugenio Trías (1942-2013).
In order to answers these questions, an exhaustive analysis of the philosophy of the limit is offered in the central chapters of this work. Throughout the investigation, several intermediary milestones, in the form of comprehensions, are consolidated. These are of two types. On the one hand, we have found connections between the philosophy of the limit and other philosophies. The most relevant (but not the only) example is that of the phenomenology of the body developed by Merleau-Ponty. On the other hand, we have crystallized the relevant comprehensions in the form of notions such as affective disposition, which is necessary for human beings to experience art in an authentic way (and, ultimately, to live ethically), and the aesthetic-hermeneutic circle and aesthetical-hermeneutic spiral (in these cases, we have made reference to the universal dynamic of human comprehension and communication).
These intermediary milestones resonate in the final part of the investigation, where we have tried to create a symphony (Trías) with notes we discovered earlier in such a way that the final melody sounds harmonious and pleasant (in sum, beautiful). Or rather, we may consider this final part as a dance in which the steps which were correctly learned in the course of the investigation which constituted the rehearsal. The lyrics of this final melody tell us of the need to permanently orientate ourselves towards the horizon offered to us by the limit so that we may experience art in an authentic way and also so that we may, above all, attain a way of living which is more ethical (free and just). This implies, we argue, a specific affective disposition whose essence we attempt to determine in this investigation. |
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