Banca de DEFESA: FLÁVIO ROCHA DE DEUS

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
STUDENT : FLÁVIO ROCHA DE DEUS
DATE: 14/02/2025
TIME: 14:00
LOCAL: https://conferenciaweb.rnp.br/sala/vinicius-dos-santos
TITLE:

Albert Camus, Metaphysical Revolt, Modernity, Artistic Creation

KEY WORDS:

Albert Camus, Metaphysical Revolt, Modernity, Artistic Creation

PAGES: 175
BIG AREA: Ciências Humanas
AREA: Filosofia
SUMMARY:

This work contributes to Camusian studies by exploring the complexity of metaphysical revolt through the taxonomy of its yes and no, highlighting its ethical, aesthetic, historical and metaphysical aspects. Initially, we analyze the meaning of yes and no as movements intrinsic to revolt and their relationship with the creation of values through the imposition of limits arising from human experience. Then, based on Camus's commentary on Scheler, we distinguish Camusian revolt from resentment: the latter, purely reactive and destructive; the former, articulating a solidary ethics based on reason and sensitivity. At the same time, we advance in the specialized literature by explaining Camus's Hegelian Occidentalism in the historical conception of revolt and, through Deleuzian categories, we demonstrate that Camusian absurdism differs from nihilistic philosophies, proposing to overcome them. To better understand the metaphysics of the theory of revolt, we instrumentally compared Camus’s epistemology with Kantian theory of knowledge and made explicit the distinction between the empirical face of revolt and its metaphysical aspect. We then introduced the concept of “theogonic resentment” to identify the No of metaphysical revolt, characterized by the denial of the absurd and the tension between the rejection of the created world and dependence on divine transcendence. Philosophers and writers such as Epicurus, Lucretius, Sade, Milton, Baudelaire, and Dostoevsky helped us analyze the dangers of misdirected revolts. Finally, we integrated the research by organizing the foundations of Camus' theory of art, present in his youthful essay Art and Communion (1931) and in the ideas presented in his mature essay The Rebel (1951): in this analysis, we verified how the most diverse artistic languages (architecture, music, sculpture, painting, literature and theater) dialogue with the general theory of art as rebellion proposed by Camus. What we highlighted, to highlight the nature of the Yes, is that for Camus art is a metaphysical demand for unity, in which men, rejecting the world as it is, without wishing to escape it, simultaneously exalt and deny reality, highlighting the role of art as a form of affirmation and overcoming of the absurd. Here, artistic creation emerges as a creator of universes where man can reign and effectively know

COMMITTEE MEMBERS:
Presidente - 2335536 - VINICIUS DOS SANTOS
Interno - 2367419 - JARLEE OLIVEIRA SILVA SALVIANO
Externo à Instituição - JUAN BLANCO ILARI