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The relationship between choir and sublime in the conception of tragedy Friedrich Schiller

Grant number: 16/08902-1
Support type:Scholarships in Brazil - Scientific Initiation
Effective date (Start): August 01, 2016
Effective date (End): July 31, 2017
Field of knowledge:Humanities - Philosophy - History of Philosophy
Principal researcher:Marcio Benchimol Barros
Grantee:Bárbara Ferrario Lulli
Home Institution: Faculdade de Filosofia e Ciências (FFC). Universidade Estadual Paulista (UNESP). Campus de Marília. Marília , SP, Brazil


This study aims to present the development of philosophical aesthetic thought of Friedrich Schiller (1759-1805) about the tragedy from the two elements relationship: the tragic chorus and the sublime. Regarding the tragic art, Schiller attached great importance to the feeling of the sublime by it triggered, so, according to the philosopher, the sublime is able to raise man on the antagonism imposed on it during modernity. This theme is first presented by Schiller in The Sublime, written in 1793, where the author converses with the Kantian philosophy in order to explain this aesthetic enjoyment. However, in 1801, to meet his works in a single edition, public Schiller On the Sublime, a possible reformulation of the same text, but with a different approach. In the latter, preferably Schiller emphasizes the human condition before the split caused by modernity and attributes to test the neohumanist character designed by the Weimar Classicism. Given the purpose of making the free man of this impasse, the philosopher incorporated into its design Tragedy of the element that gave rise to the Greek tragedies, namely the choir, exposed in On the Use of the Chorus in Tragedy (1803), which develops the function of recovering the reflection and allow the front balance to strong sensible representations of Tragedy, causing so your viewer remains clear passions and strengthen them, preparing then for feeling the tragedy, the sublime. We intend, therefore, to the analysis of the relationship that the choir develops with the sublime in order to consolidate its aesthetic enjoyment allowing Tragedy reach their order to make the free man of modern antagonism (AU)

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