Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.

<p>Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.Av analysen kan Michelle sammanfatta att om hon skulle starta en kvartett i framtiden för till exempel lansering skulle hon ha en kvartett redan färdig och redo för repetition innan start av liknande projekt. Momentet att hitta potentiella medlemmar till stråkkvartetten på så kort tid är orimligt och även om hon hittade medlemmar till kvartetten så skulle det inte hålla i längden. Efter att Michelle fått erfarenhet av personer som inte hållit de muntliga avtal som faktiskt gjordes kommer hon lägga mer tid på att finna rätt personer. Dessutom hade alla de punkter angående mål, promotion och avtal diskuteras med kvartetten detaljerat för att allihop ska få en likvärdig respekt och förståelse i det samarbete som komma skall. Inget bör vara otydligt.  Hon kan också sammanfatta att om arrangerande av sådan typ av musik som inte är anpassat för stråkkvartetter, också kräver omsorg. Då detta tillfälle dyker upp nästa gång kommer hon att ha genomgått denna process tidigt under arbetets gång för att det ska finnas tid över att kunna gå tillbaka i arrangemangen för reflektion.</p>

This dissertation explores the relevance of recent studies of Aristotle’s comic theory to the central dramatists of early modern England, Ben Jonson and William Shakespeare. Applications of the Poetics to Renaissance English drama tend to treat Aristotle’s theory historically, as a set of concepts mediated to England by continental redactions. But these often conflated the Poetics’ focus on literary form with the Renaissance’s predominant interest in literature’s rhetorical effect, reducing Aristotle’s genuinely speculative theory to a series of often pedantic literary prescriptions. Recent scholarship has both undone these misinterpretations and developed the comic theory latent in the Poetics. Ironically, these studies make Jonson’s and Shakespeare’s comedy look much more Aristotelian than do Renaissance ones. So rather than taking the Poetics simply as a possible source for each dramatist, I read it primarily as a literary theory that, when reinvigorated by modern scholarship, can explain structures and effects arrived at practically by these dramatists. Three recent hypotheses are especially pertinent to Jonson and Shakespeare: that comic hoaxes aim to expose comic error, which is for Aristotle a deviation from the mean of virtue; that “righteous indignation” is the comic emotion equivalent to the “pity and fear” of tragedy; and that catharsis is a clarification, rather than purgation, of reason and emotion. In light of these, I offer detailed readings of four plays that demonstrate these authors’ comic range: from Jonson’s satirical Every Man Out of His Humour to the almost farcical Epicoene, and from Shakespeare’s romantic Much Ado About Nothing to the tragicomic Measure for Measure. These plays demonstrate a variety of ways in which catharsis, the end of drama, results directly from the comic hoax and involves both the audience’s and characters’ experience of indignation and their comprehension of its relationship to the emotions of envy and pity. In each case, Aristotle’s incisive but flexible theoretical framework enables an explanation of the emotional pain present in the these “comedies of affliction” and reveals remarkable similarities between dramatists usually described as direct opposites.

O trabalho propõe-se a analisar os romances Nada (1945), de Carmen Laforet e Tiempo de Silencio (1962), de Luis Martín-Santos para examinar o traço singular da construção de ambas obras, qual seja, a apropriação das séries de gravuras Los Caprichos e Los Desastres de la Guerra de Goya. Em Nada, abordamos a integração do aspecto monstruoso ao espaço romanesco, o apagamento da fronteira entre o mundo onírico e o real, a representação fragmentária e a diluição dos limites entre o passado da matéria narrada e o tempo da narração. Em Tiempo de Silencio, analisamos os procedimentos de redução do espaço, o uso do extracampo, da animalização e de imagens expansivas, caracterizados pela apropriação de imagens, procedimentos e temas provenientes do universo goyesco. A partir da análise desses elementos, observamos que, ao incorporarem as gravuras na composição desses dois romances, os autores criam uma dimensão ampliada do horror da guerra e, ao mesmo tempo, sugerem uma interpretação da história contemporânea como um movimento de continuidade do \"desastre espanhol\", desde o século XIX até o pós-guerra civil espanhola. / The proposed study aims at analyzing the novels Nothing (1945), written by Carmen Laforet, and Time of Silence (1962), by Luis Martín-Santos, in order to examine both works construction singularity; that is to say, the appropriation of the engravings series of Goya\'s The Caprices and The disasters of the war. In Nada, we deal with the integration from the monstrous aspect to the novelistic space, the suppression of the frontier between the oneiric and the real worlds, the fragmented representation and the dilution of the limits between the subject matter narrated and the time of narration. In Time of Silence, we analyze the procedures of space reduction, the use of field work, of animalization and expansive images characterized by the representation appropriation, procedures and themes provided by the Goyan universe. Taking the analysis of these elements into consideration, we observe that the authors, through the pictures incorporation within the composition of these two novels, create an amplified dimension of the horror of war, and at the same time, they suggest an interpretation of contemporary history as a continuity movement of the \"Spanish disaster\" since 19th Century up to the Spanish civil post-war.

The present dissertation has the intention to establish how measured Sartre obtains to surpass the solipsism of the conscience, interpreting the registers that compose the phenomenological concept of Looking at, in The Being and the Nothing. After to define the concept of solipsism, will be in evidence the problem that it implies and that, according to Sartre, is originated from the notion of Cartesian Cogito. It is manifested the construction of conceptual-description of the notion of Looking at and the paper that this concept plays in the measure that offers a not cognitive evidence of the Other s existence. There are evaluated the contributions and obstacles of the concept s use of Looking at in the Sartrean attempt of overcoming the solipsism. Concluding, it is verified the reach of this Cogito extended , as Sartre calls to the experience of Looking at. From a phenomenological point of view, it results evident that the solipsism is a false problem and that the Other exists without no doubt. Ontologically, is more difficult to have this certainty, therefore Sartre does not resign to the starting point of Cogito. / O texto discute em que medida Sartre consegue superar o solipsismo da consciência, interpretando os registros que compõem o conceito fenomenológico de Olhar, em O Ser e o Nada. Após definir o conceito de solipsismo, ficará em evidência a problemática que este implica e que, segundo Sartre, origina-se da noção de Cogito cartesiano. Mostra-se a construção histórico-conceitual da noção de Olhar e o papel que este conceito joga na medida que oferece uma evidência não cognitiva da existência do Outro. Avaliam-se as contribuições e malogros do uso do conceito de Olhar na tentativa sartreana de superação do solipsismo. Em conclusão, indica-se o alcance desse Cogito ampliado , como Sartre chama à experiência do Olhar. Fenomenologicamente, a existência do Outro resulta evidente. Porém, não se dá a mesma certeza no nível ontológico. Isso exigiria sair do Cogito, como ponto de partida do filosofar, mas Sartre não abre mão dessa perspectiva.

This study investigates certain existential themes found in the work of Austrian director Michael Haneke. As such the focus is on the existential philosophy of Martin Heidegger, specifcally Heidegger’s notion of Being as always being-towards-death. There are six flms under discussion – the three flms comprising his Vergletscherung-trilogie (Der Siebente Kontinent, Benny’s Video and 71 Fragmente einer Chronologie des Zufalls), and his later flms Funny Games, La Pianiste, and Caché. Michael Haneke has been lauded as “Austria’s most esteemed and most controversial active flmmaker” (Frey 2003:1), a director whose work transgresses the boundaries of mainstream flm in terms of both its form and content. In fact, the director argues, he is responsible for “rap[ing] the spectator to independence”. Haneke’s work features a solid measure of existential themes, examining the alienation and isolation of the individual, the despair brought on by the monotony of modern society, and the seeming meaninglessness of man’s existence. This study aims to show that much of Haneke’s existential thought can be drawn back to Heidegger’s concept of Being, and the various ways in which Being is constituted. Focusing particularly on the notion of Being as being-towards-death, two other constitutive elements are also included – Being as always being-in-the-world and Being as always being-with-others. Being-in-the-world is examined on two fronts, looking at Haneke’s treatment of the public space, and of the domestic setting of the home. Beingwith- others is likewise elucidated in terms of the perspective Haneke offers on society as Heidegger’s Das Man, and the more intimate relationships within the family unit. By coupling these elements with Heidegger’s notions of thrownness, anxiety and the nothing, this study thus investigates how Haneke’s rendition of being-in-the-world and being-withothers inevitably, and fundamentally, means being-towards-death. / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted

Tato práce je vícevrstevným zamyšlením nad tématem prázdnoty. Její prvotní inspirací jsou Bondyho úvahy na toto téma. Nejde o to, ukazovat na neukazatelné, či popisovat nepopsatelné, to by byla spíše filosofická statistika; prázdnota je tu primárně chápána spíše na způsob krajního horizontu, jehož bytostné připuštění zakládá možnost pravého setkání podobném smyslu uvažuje nad souvislostí prázdnoty a milosti a otevírá možnost chápat prázdnotu nikoliv jako axiologickou neurčenost, ale právě jako horizont zvláštního setkání se světem. Takto nahlížená prázdnota otevírá bytostnou plnost a zároveň braných souvislostí těchto myšlenek o mezích ontologie - Plótínovou koncepcí emanační ontologie, či se substanční ontologií ze Spinozovy Protože se v průběhu tohoto rozboru dostává do popředí problém statického a předsudečného chápání ontologické substance (která takové vlastnosti nemůže mít, vyjdeme jako krajního ontologického horizontu), otevírá se otázka původu tohoto problému; v Myšlení vnějšku) a Berďajevem následuje hodnocení možnosti ontologii, což je přeneseně otevření otázky vztahu moci a ontologie či prolínání mocenského hlediska do ontologické úvahy (prázdnota by v yslu představovala zřeknutí se moci). Druhá kapitola práce se návazně zabývá formami zřeknutí se tohoto mocenského hlediska, coby praktikovaného...

Made available in DSpace on 2016-04-27T17:27:20Z (GMT). No. of bitstreams: 1 Silvio Moreira Barbosa Junior.pdf: 458094 bytes, checksum: 12f90be7301736f9b6f3e79d4952c0ad (MD5) Previous issue date: 2007-10-23 / This work follows the way in wich Martin Heidegger surpasses the proposition of a Phylo sophic Antropology through his project of a Fundamental Ontology. The Phylosophic Antropology he has in sight is the one of Max Scheler, and the specific problem from wich he takes over is the constitution of a unitary idea of man. Through the analisys of existence, Heidegger shows that so the detrmined object determined by the Phylosophic Antropology, the man, as the way of adressing the question about it, wields within the domain of Traditional Metaphysisc and, by this interven tion, are not capable to offer the desired unity. The modus operandi of Phylosophic Antropology underlines a indetermined character of the questio about man that it ignores on it importance, dealing this indetermination of what man is as an obstacle to be overcomed. This work stabilishes this indetermination, made present in the question for the unity of man with the structural unity of Dasein put uncoverd in anguish. Through this relation it s shown not only the reason why Phylosophic Antropology can not offer a unitary idea of man, but also the way in wich Fundamental Ontology overdoes the proposal of a Phylosophic Antropology / Este trabalho acompanha o modo pelo qual Martin Heidegger supera a proposta de uma antropologia filosófica a partir do seu projeto de ontologia fundamental. A antropologia filosófica que tem em vista é a de Max Scheler, e o problema específico do qual parte é o problema em se constituir uma idéia unitária de homem. Através da analise da existência, Heidegger mostra que tanto o objeto determinado pela antropologia filosófica, o homem, quanto o modo de dirigir a pergunta sobre ele, exercem-se dentro do âmbito da metafísica tradicional e, em decorrência disto, não são capazes de oferecer a unidade almejada. O modo de operar da antropologia filosófica evidencia um caráter indeterminado na pergunta sobre o homem, que ela ignora em sua importância, tratando a indeterminação do que seja o homem como obstáculo a ser superado. Este trabalho relacionará esta indeterminação, feita patente na pergunta pela unidade do homem, com a unidade estrutural do Dasein posto a descoberto na angústia. Através desta relação fica patente não só porque a antropologia não pode oferecer uma idéia unitária de homem, como o modo pelo qual a ontologia fundamental supera a proposta de uma antropologia filosófica

Magistrinio darbo problematikos formulavimas vadovaujasi prielaida, jog dalis moderniosios filosofijos projektų formavosi kaip reakcija į Vakarų Europos mąstymo tradiciją, kurios formuojantį pagrindą sudarė filosofija. Dėl šios priežasties neatsiejamu šių projektų egzistavimo požymiu laikytina nuosekli filosofijos istorijos kritika, tuo pačiu pateikianti alternatyvius filosofijos supratimo orientyrus. Tokiu radikaliu filosofijos sąjūdžiu, XX a. laikomas egzistencializmas. Magistriniam darbui pasirinktos dvi filosofų figūros: Rosenzweigas ir Heideggeris. Abu filosofai kritiškai reflektavo filosofijos istoriją bei abu pateikė alternatyvius mąstymo projektus. Pagrindiniu Vakarų tradicijos kritikos bei naujo mąstymo suformulavimo svarbiausiu aspektu laikome fundamentalų „pirminių mąstymo prielaidų” perklausimą. Atlikęs tokį perklausimą bei taip atsiribojęs nuo „mąstymo metafizikos”, Rosenzweigas susikuria naujas prieigas prie tikėjimo problematikos. Panaudodamas Johano Wolfgango Geothes profenomeno sampratos bei savo mokytojo – Hermanno Coheno diferencialinės matematikos teorijos idėjas, jis pateikia trijų (metafizinio Dievo, metaloginio pasaulio ir metaetinio žmogaus) profenomenų aprašymą. Metaetinio žmogaus sąmonės struktūros gretinimas su „naujojo mąstymo” (tokį pavadinimą Rosenzweigas pats prisiskiria savo filosofijai) pirminėmis prielaidomis, atveda prie dialoginės (Zwiesprache) apreiškimo (Offenbarung) sąmonės struktūros aprašymo. Tik apreiškimo sąmonei atsiveria pirmapradė... [toliau žr. visą tekstą] / The formulation of theme in this paper is followed the assumption that a part of projects of modern philosophy were generated as a reaction to the tradition of Western Europe thinking, which was influenced by philosophy. That is the reason why coherent criticism of history of philosophy, in the same time giving the perception guides of philosophy, is considered as a concurrent attribute of that project existence. Existentialism of the 20th century is considered as such radical movement of philosophy. Two philosophical figures were chosen from this general context: Rosenzweig and Heidegger. Both thinkers made critical reflections on history of philosophy and both give the alternative projects of thinking. The fundamental reasking of „prime thought assumptions” is considered as an important aspect of main criticism of Western tradition and the formulation of new thinking. After this performed reasking and disassociation from “metaphysics of thought”, Rosenzweig creates new approaches to the faith theme. Using the prophenomenon perception of Johan Wolfgang Geothe and his teachers, Herman Cohen’s ideas about diferencial mathematics theory, he presents description of three prophenomenon (metaphysical God, metalogical world and metaethical man). The comparison of consequence’s structure of metaethical man with prime assumptions of “new thought” (this definition Rosenzweig attributes to his own philosophy) leads to description of dialogical (Zwiesprache) revelational (Offenbarung)... [to full text]

El propósito de este estudio es abordar el concepto de espacio y, en particular, su desocupación, a través de tres obras: Caja Vacía/Metafísica de Jorge Oteiza, Who´s afraid of red, yellow and blue de Barnett Newman y el Pabellón de Alemania de Ludwig Mies van der Rohe. El discurso se construye a través de un transitar sobre la banda de Moebius y en su vaivén y en su doblez aparecen y desparecen imágenes, ideas y textos sobre los que fluye la voluntad de construir una interpretación nueva sobre el objeto descrito. Martin Heidegger, Gilles Deleuze y Gaston Bachelard son los tres sostenes teóricos de esta estructura. Y más cerca y más lejos de este texto siempre se mantiene la difícil tarea de entender cuál es la forma de habitar y de ser (Ich bin) del hombre en la tierra. / The purpose of this study is to address the concept of space and, in particular, its disoccupation through three different pieces of work: Empty/Metaphysical Box by Jorge Oteiza, Who´s afraid of red, yellow and blue by Barnett Newman and German Pavilion by Ludwig Mies van der Rohe. The discourse is constructed through a move on the Moebius band, its swing and double apparition and disappearance of images, ideas and texts which build a new interpretation of the subject matter. Martin Heidegger, Gilles Deleuze and Gaston Bachelard are the three theorists of this structure. The difficult task of understanding what is the way of living and being of man (Ich bin) on earth always remains what is closer and further away from this text.