O presente texto tem por objetivo compreender a pintura de Wassily Kandinsky a partir da metafísica do belo de Arthur Schopenhauer, especialmente a partir da relação entre pintura e música estabelecida pelo pintor.

Este artigo procura situar aspectos importantes da leitura de Schopenhauer acerca da filosofia de Kant, especialmente no que concerne ao Esquematismo Transcendental. Schopenhauer promove uma revisão dos principais conceitos presentes na obra de Kant, ao mesmo tempo em que promove uma crítica do conteúdo do pensamento do filósofo de Könnisberg, preenchendo o que julga serem lacunas importantes do pensamento kantiano e investindo diretamente contra aquilo que considera os seus equívocos.

Freud relates to the notion of beyond-the-man through a double movement, if we consider the direct satisfaction of the Triebe in contrast to the possibility of refining the targets of the drives. On the one hand, the analyst accepts the idea of Nietzsche that sublimation is precisely the means by which occurs the refinement of the targets of the impulses, but simultaneously reaffirms Schopenhauer's idea that suffering is the background of all life, has the constant voltage of the drive is (...) precisely the phenomenon that strains us and propels us forward: it is the difference between the actual pleasure obtained by satisfaction with the expected pleasure that comes the factor that drives. This does not allow the body to park in any of the previously established forms of satisfaction, but instead will cause this organism in their psychic context, claim a state of profound satisfaction, which is, however, hampered by the force of resistances that the process of repression still keeps active and by the difficulties inherent in human interaction and conflict between desires and capabilities. (shrink)