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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Universidad de La Rioja (España)
2021
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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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Aguirre Oraá, José María (Universidad de La Rioja) |
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Aguirre Oraá, José María (Universidad de La Rioja) Pagola Martínez, Herminia |
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text (thesis) |
| author |
Pagola Martínez, Herminia |
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Pagola Martínez, Herminia El arte de existir comprendiendo. Un análisis a través de la "Filosofía del límite", las artes "in itinere" y la danza |
| author_sort |
Pagola Martínez, Herminia |
| title |
El arte de existir comprendiendo. Un análisis a través de la "Filosofía del límite", las artes "in itinere" y la danza |
| title_short |
El arte de existir comprendiendo. Un análisis a través de la "Filosofía del límite", las artes "in itinere" y la danza |
| title_full |
El arte de existir comprendiendo. Un análisis a través de la "Filosofía del límite", las artes "in itinere" y la danza |
| title_fullStr |
El arte de existir comprendiendo. Un análisis a través de la "Filosofía del límite", las artes "in itinere" y la danza |
| title_full_unstemmed |
El arte de existir comprendiendo. Un análisis a través de la "Filosofía del límite", las artes "in itinere" y la danza |
| title_sort |
el arte de existir comprendiendo. un análisis a través de la "filosofía del límite", las artes "in itinere" y la danza |
| publisher |
Universidad de La Rioja (España) |
| publishDate |
2021 |
| url |
https://dialnet.unirioja.es/servlet/oaites?codigo=286289 |
| work_keys_str_mv |
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1718346693523537920 |
| spelling |
oai-TES00000229842021-03-06El arte de existir comprendiendo. Un análisis a través de la "Filosofía del límite", las artes "in itinere" y la danzaPagola Martínez, HerminiaWhat 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.¿Cuál es la manera de ser de este ser que –en cuanto humano– sólo existe comprendiendo?, ¿cuál es la manera en la que el ser humano está situado en el ser, antes de que este se le oponga como un objeto erigido frente a un sujeto y que hay que comprender?, ¿tiene algo que ver esta manera de ser con la experimentación del arte y, en concreto, de las artes in itinere o artes en movimiento? Son los planteamientos de fondo que a lo largo de ocho capítulos se analizan y se debaten, a través de un recorrido itinerante, pero metódico, que transcurre, en su mayor parte, desde el horizonte que otorga la noción de límite de la filosofía de Eugenio Trías (1942-2013). Para ello, ha sido necesario realizar un exhaustivo análisis de la filosofía del límite por él propuesta tal y como se refleja en los capítulos centrales del trabajo. A lo largo de este recorrido se han ido alcanzando hitos intermedios en forma de comprensiones que han ido consolidando el itinerario emprendido, siendo estas de dos tipos. Por un lado, hemos encontrado conexiones de la filosofía del límite con otras filosofías –el ejemplo más relevante, aunque no el único, es la conexión con la fenomenología del cuerpo de Merleau-Ponty. Por otro, hemos cristalizado estas comprensiones en nociones como la disposición afectiva necesaria en el ser humano para experimentar de manera auténtica el arte (y, en último término, para vivir éticamente) y el círculo estético-hermenéutico y la espiral éstético-hermenéutica, estos dos últimos, haciendo referencia a la dinámica universal de la comprensión y la comunicación en el ser humano. Estos hitos intermedios resuenan al final del trabajo donde se ha intentado crear una sinfonía (Trías) con las notas halladas durante el itinerario, de tal manera que la melodía final suene de manera armónica y agradable (bella, en suma). O bien, podemos considerar esta parte final como una danza con los pasos de baile aprendidos de manera correcta durante el ensayo que ha supuesto la elaboración del trabajo. La letra de esta melodía final se escucha de fondo hablándonos de la necesidad de orientarnos permanentemente hacia el horizonte que el límite nos ofrece, para experimentar (crear y recepcionar) de manera auténtica el arte pero, también, sobre todo, para la consecución de una manera de ser y de vivir más ética (libre y justa). Esto implica, defendemos, una disposición afectiva específica, cuya esencia es la que tratamos de averiguar en este trabajo.Universidad de La Rioja (España)Aguirre Oraá, José María (Universidad de La Rioja)Fernández Guerrero, Olaya (Universidad de La Rioja)2021text (thesis)application/pdfhttps://dialnet.unirioja.es/servlet/oaites?codigo=286289spaLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. 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