Orientador: Fátima Regina Rodrigues Évora / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Huimanas / Made available in DSpace on 2018-08-16T11:47:50Z (GMT). No. of bitstreams: 1 Cecon_Kleber_D.pdf: 1520746 bytes, checksum: 5b636b8430205a01ac329dd3d8a5814a (MD5) Previous issue date: 2010 / Resumo: O objetivo dessa tese é analisar a filosofia mecânica de Robert Boyle, visando mostrar a compatibilidade entre o seu pensamento químico e mecanicista. Apesar de não poder ser provada por experimentos alquímicos, a filosofia mecânica de Boyle é corroborada por eles e os mesmos tiveram grande importância na refutação das formas substanciais e qualidades reais da escolástica. Os experimentos alquímicos tornam-se importantes na medida em que é necessário elucidar como eles são usados na defesa do mecanicismo boyleano. Visando auxiliar a compreensão dos mesmos, foram analisados aqueles que Boyle julgava mais aptos para esse fim, assim como a tradução química para a correspondente linguagem da química contemporânea / Abstract: The goal of this thesis is to demonstrate that there is no opposition between Robert Boyle's alchemy and mechanicism. Despite the fact that Boyle's mechanical philosophy cannot be proved by alchemical experiments, it is supported theoretically by them and they had great importance in the refutation of the scholastic's substantial forms and real qualities. The alchemical experiments are important since is necessary to elucidate how they were used to defend the boylean mechanicism. In order to better comprehend these experiments, some of them, which Boyle judged to be the most suitable for the task, were selected and chemically translated into modern chemical language / Doutorado / Filosofia / Doutor em Filosofia

Orientador: Elisabeth Bauch Zimmermann / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:07:36Z (GMT). No. of bitstreams: 1 Zanatta_MariaCecilia_M.pdf: 1501616 bytes, checksum: 734e8edc11754f019e326f0e22610e78 (MD5) Previous issue date: 2010 / Resumo: Dentre os teóricos que buscaram uma visão mais abrangente de ser humano em relação às manifestações culturais de todos os tempos, C. G. Jung (1875-1961), foi quem se dedicou ao estudo da alma humana através de imagens de sonhos, mitos e símbolos da cultura, por acreditar que a atuação do inconsciente se dá através de várias formas de expressão. O processo de criação segundo Jung diz respeito à tradução feita pelo artista de imagens primordiais, vindas espontaneamente do inconsciente, para a linguagem do presente. Ao criar uma obra de arte, o artista transforma sua conexão com o inconsciente em algo acessível a todos, possibilitando que cada um de nós possa também estar reconectando consigo mesmo. Desta forma é que é considerado que o cinema pode atuar como fonte de projeção e transformação interna do indivíduo. O cinema, como qualquer forma de expressão humana, oferece total condição para que elementos culturais se expressem, mesmo quando utiliza elementos arcaicos da cultura que não se alinham aos transmitidos pela tradição corrente. Este é o caso da alquimia e por este motivo ela foi escolhida como foco do trabalho. O desafio proposto foi olhar para o cinema procurando por estes elementos e o resultado foi uma forma de resgate da antiga alquimia em produções humanas atuais. Nesta dissertação analiso quatro filmes como ilustração da discussão principal: A Festa de Babette, Navigator, uma Odisséia no Tempo, Um Beijo Roubado e Stalker. Foi utilizada uma abordagem que, ao mesmo tempo em que procura identificar uma imagem dentro do imaginário tradicional, pretende ser respeitosa no que diz respeito à dimensão simbólica inatingível da obra de arte / Abstract: Among the theoreticians that sought a wider view of the human being in relation to worldwide cultural manifestations, C. G. Jung (1875-1961), chose the study of the human soul through dreams, myths and cultural symbols, because he believed the unconscious acted through several expression forms. The Cinema, as other forms of human expression, offers a good medium for the expression of cultural elements, even when it uses archaic elements that are dissimilar to those transmitted through tradition. This is also the case of Alchemy, which therefore was chosen as the focal point of this Dissertation. We revisited, thus, alchemy through moving pictures. According to Jung, the creative process is related to the translation, made by the artist, of primordial images, spontaneously originated in the unconscious, to the contemporary language. When an artist creates a work of art, she transforms her connection to the unconscious into something accessible to everyone, making it possible for us to also reconnect to our own selves. In that way, we can consider the cinema as a source of projection and internal transformation of the individual. In this dissertation I discuss alchemy through the illustrative analysis of four movies: "Bebette's Feast", "Navigator, a Medieval Odissey", "My Blueberry Nights" and "Stalker". The approach used was to search for images of the movie within the traditional imaginary at the same time as due respect was paid to the unattainable symbolic dimension of the works of art / Mestrado / Mestre em Multimeios

This thesis is based on several chapters, which, after introducing the basic information, go deeper into the topic and develop it further. In the introduction, I am interested in the genesis of terms used in the work. I analyze their different etymology and geographical use and understanding. Here is a section dealing with the background of rosicrucianism, which freely translates into prominent figures and central writings. The work concludes with introducing the orders and their current activities on the territory of the Czech Republic.

Ce travail présente la première traduction française, assortie de notes et précédée d’une introduction détaillée, d’un roman à clef néo-latin intitulé Peruviana (1644), qui transpose au Pérou les intrigues politiques et sentimentales du Royaume de France au temps de Louis XIII. Son auteur, Claude-Barthélemy Morisot (12 avril 1592 - 22 octobre 1661), était un parlementaire dijonnais appartenant à un cercle de “libertins érudits” de la République des Lettres de la première moitié du XVIIème siècle, auteur d’ouvrages savants et de cet unique roman.L’étude en trois parties servant d’introduction offre d’abord une contextualisation de cette fiction romanesque et de son auteur, livrant les premières clefs nécessaires à la lecture ; puis une analyse narratologique aborde les enjeux littéraires et l’exploitation des sources, notamment antiques : la confrontation des référents et de la structuration de l’intrigue met en évidence la double portée, stéganographique et politique, de ce roman, que la fin de l’étude tentera d’élucider. Il apparaîtra alors que l’auteur, par le jeu de l’analogie et de la métaphore que permet le principe du roman à clef, a envisagé son œuvre comme une utopie où les mécanismes historiques, entrant en concordance avec ceux du Cosmos, pourraient être appréhendés et harmonisés par l’application d’un art bienveillant, prenant en compte tous les aspects et tous les états de la matière sociale afin de guider celle-ci vers un accomplissement proche de l’idéal. Cette lecture alchimique révèle que tout le roman est une métaphore de l’Œuvre, dont l’artisan serait le Poète, mettant au service de l’humanité à venir ce fruit de sa sagesse. / This dissertation is the first translation of a Neo-Latin roman à clef entitled Peruviana (1644) which transposes to Peru the political and sentimental intrigues that took place in France under Louis XIII. This edition is accompanied with notes and preceded by a detailed introduction. The author of Peruviana, Claude-Barthélemy Morisot (April 12, 1592 – October 22, 1661), was a native of Dijon and belonged to a group of libertine scholars from the Republic of Letters during the first half of the 17th century. He is the author of several scholarly works, but Peruviana is his only novel.The first part of the introduction provides contextual elements about the narrative and its author, while also giving some of the keys to read the novel. The second part consists of a narratological analysis which deals with its literary issues and the use of sources – especially classical literature ; the confrontation between the referents and the structure of the plot highlights the steganographic and political dimension of this novel, a point on which third part of this study sheds light.It then becomes clear that thanks to the use of analogy and metaphor – which are characteristic devices of romans à clefs – the author conceived his work as a utopia in which the historical mechanisms reflecting those of the Cosmos might be apprehended and harmonized through a benevolent art that would take into account all the aspects and states of the social Materia(l) in order to lead it to an (almost) ideal fulfilment. This alchemical reading reveals that the entire novel is a metaphor of the Magnum Opus, whose architect would be the Poet offering the product of his wisdom to the future of mankind.

陳景元(1035宋仁宗景祐元年—1094哲宗紹聖元年)為北宋著名的陳摶學派內丹道士，他的著作具有非常豐富的思想內涵。本研究著重於陳景元的身心修煉，運用「以經解經」為研究方法，而非從思想史的角度切入，能仔細地研究陳景元的思想脈絡，得以補充前輩學者的論點，推論出陳景元的思想體系各處的內丹特質之研究結果。因此在闡述道論及心論後，本文將著重歸納陳景元內丹核心的精、氣、神。 道論主要解釋道德之體用說法，說明陳景元如何通過道德解釋宇宙的生成，以及其與他的身心修煉的關係。同時也解釋了仁義禮樂與修煉五臟之氣的關係，描述陳景元如何從一個道士的角度解釋道論與道德，外在的行為和體內修煉之關係，及其與身心修煉的關聯。 其次，本文說明心的概念，以靈府、靈台、性、思慮等解說陳景元的心論內容。說明陳景元如何解釋性，和個人偏心的原因。討論陳景元心論的架構，和如何使心不散佚能量。然而，陳述達到心不散佚能量的運行，包含的性命雙修理念。 既明白修心為首要目的，也了解到透過修身才能達到其目標。而陳景元修身方法的一個關鍵是「精」。本文解釋陳景元的精與萬物生成的關係。文中描述腎中之精與其身心修煉的關係，能補充及鍊養身體的各種部位，如關節、韌帶等，此對心靈修煉的影響及協助。 「精」為一切的原質，而「氣」為一切的內容。說明元氣、純陽、純陰、魂魄、天地之氣、清濁等乃是宇宙變化的原因及方法，以及調和「氣」在陳景元身心修煉關鍵位置。將探討如何讓天地之氣能通於身心而達到沖和的修煉論，及陳景元的氣論與情緒的關係等的各個方面的聯繫。 「氣」為變化的內容，而「神」是道之作用，說明五臟之神、神鬼神帝、神明、神與精、神與心、神與魂魄、神與玄等的思想理念。闡明神與萬物生死變化之關係，而此變化的能量與心靈中能力的聯繫。描寫透過身心修煉調和身心之平衡，達到精氣神之養神、鍊形、養氣工夫論。 總和來說，本研究解釋陳景元的精、氣、神的身心修煉，說明陳景元道的內容，與入道的工夫論，詮釋陳景元的道論、心論、氣論、養氣、煉形、養神的精氣神內丹身心修煉的思想。 / Chen Jing Yuan (1035-1094) is a renowned inner alchemic Doaist priest who lived during the Song dynasty and his works are rich with substance. In this paper I primarily discuss Chen Jing Yuan’s practice of balancing the mind and body through using Chen Jing Yuan’s works to analyze his thought system rather than a historical approach to the subject. In this way, on the shoulders of past scholars, this paper delves deeper into the thought of Chen Jing Yuan and its inner alchemic properties, providing a more complete understanding of his though. In light of the fact that Chen Jing Yuan in an inn alchemic Doaist priest, this paper’s chapter thus focus on the nucleus of inner alchemic thought or “Jing”, “Qi” “Shen”. The first chapter discusses “DaoDe” in Chen Jing Yuan’s thought system. Analyzing how from “DaoDe” this world comes into to being and through “DaoDe” one then can thus return to this beginning. This is done through practice and balancing the mind and heart. In balancing the mind and heart, one must balance the flow of energy through the five organs, and this chapter also discusses the relationship between the organs and the “five virtues”. Next this paper discusses the mind through the concepts of “Ling-Fu”, “Ling-Tai”, one’s “Nature” and thought and how thought becomes to be. Thus analyzing how thought affects one’s body and how one through practice one can prevent thought from blocking the flow of energy. This is the major focus of Chen Jung Yuan’s practice. Even though the mind is the main focus of practice, the body must also simultaneously be improved for one to return to “Dao”. This chapter discusses the essence of the body (sperm and eggs), and how this essence is also simultaneously the essence of everything. So this chapter discusses the role of the essence or “Jing” in Chen Jing Yuan’s practice, thus discussing this practice and its relationship to and its effects on the joints, organs, digestion etc. So “Jing” is the essence of all things and “Qi” is the substance of all things. This paper thus sheds light on the concepts on the difference concepts associated with “Qi” in Chen Jing Yuan’s thought. Shedding light on how if one improves the digestion of nutrition from food and absorption of energy from the air the energy within the body thus attains its natural flow, thus becoming in tune with change. “Qi” is the substance and energy of all things and “Shen” is the main principle of balance in change. This paper analyses the different concepts associated with “Shen” in Chen Jing Yuan’s thought and discusses how this balance acts in the creation of things. Also this paper discusses how one cultivates “Shen”, thus through this balancing the relationship between the mind and the body and becoming one with change. This paper thus discusses how one attains balance in and balance between the mind and body and how through the practice of inner alchemic Daoism this balance is actualized and “JingQiShen” is attained.

This study considers the visual representation of the alchemical idea of the philosopher’s stone (lapis philosophorum) in the Harry Potter films: Harry Potter and the Philosopher’s Stone (Columbus 2001), Harry Potter and the Chamber of Secrets (Columbus 2002), Harry Potter and the Prisoner of Azkaban (Cuaron 2004), Harry Potter and the Goblet of Fire (Newell 2005), andHarry Potter and the Order of the Phoenix (Yates 2007). The lapis philosophorum was believed to turn base metals into gold and produce an Elixir of Life. As such, it is envisioned as the ultimate alchemical idea, and this study emphasises how the lapis can function as a signifier for an alchemical worldview within the Harry Potter films. Because the concept and symbolism of the Harry Potter films is largely based on JK Rowling’s (1997; 1998; 1999; 2000; 2003; 2005; 2007) original novels, this study provides a detailed comparison of how alchemical imagery is used in the novels and contrasts this with the visual imagery of the films. This study undertakes a hermeneutic analysis of the transmission of alchemical ideals from the literary to the visual medium. It also provides a detailed analysis of interrelated visual icons in the Harry Potter films that represent the idea of the lapis as an embodiment of alchemical perfection. In addition, by studying the interplay between alchemical imagery in the Harry Potter novels and films, and comparing the worldviews represented by each, this study is able to analyse the dynamics of the hermeneutic process. This study concludes with a consideration of how alchemical theory relates to the discipline of hermeneutics, how it influences the process of interpretation, and ultimately the relationship between the alchemical worldview and current perspectives on authorship. / Dissertation (MA)--University of Pretoria, 2008. / Visual Arts / unrestricted

Opus Alchemicum explores the fabrication of “reality” upon imagination, and the affective relation between ideas and matter in the built environment. Like an alchemic experiment, through the manipulation of real facts and their transformation into myth, stories, rituals and objects, the project tries to demonstrate how myths are not just produced but also produce “real” by creating a collective understanding and a pattern of relations, roles and ideas. This project’s attempt is to reveal the mechanisms of reality in an act of analogy. The role of architecture, buildings and objects is investigated in its transfigured correspondent. Myths are both constructed and revealed as the language code of a discourse. The result is a work of alchemy, a product of imagination as a path of understanding. The project starts with traveling to Romania as a study case, in a journey where encounters and empathy win over maps and scheduled visits. What I bring back with me is a series of situations, assemblages, a pattern of history, places, culture and affections belonging to the very present of Romania.These situations are plunged in another larger assemblage, the European one, with Sweden as a partaker. In this country’s desires and metamorphoses we can discover those myths that belong and affect our culture and our spaces.  Opus Alchemicum is a tale about myths, behavior and built environment. About Romania, or somewhere else. About ruins and gold. About invisible values and material affects. About a vanished land, about desire and nostalgia. About displacement, diaspora and costumes. About migration. About a journey and the gas station at the mid of the road. About metamorphoses, gypsy palaces and dowries. About matter, produced, traded and extinguished. About Prussian Blue and honey. About a tower, a fountain and a secret garden. About the alchemic process of making reality out of ideas. / Opus Alchemicum utforskar fabricering av verklighet genom fantasi, den affektiva relationen mellan ide och materia i en bygg omgivning. Ett alkemiskt experiment, genom manipulation av verkliga fakta och deras transformation till myter, berättelser, ritualer och objekt, försöker detta projekt att påvisa hur myter inte bara är producerade utan hur de också producerar en ”verklighet” genom att skapa en kollektiv förståelse och ett mönster av relationer, roller och föreställningar. Projektet försöker att avslöja mekanismerna av verklighet i en handling av analogi. Rollen av arkitektur, byggnader och objekt undersöks i sin förvandlade korrespondens. Myter är både konstruerade och avslöjade genom språkkoden för en diskurs. Resultatet är ett verk av alkemi, en produkt av inbillningsförmåga längst en väg för förståelse. Projektet startar med en resa till Rumänien som studie fall, i en färd där möten och empati segrar över kartor och schemalagda möten. Det jag tog med mig tillbaka var en serie av situationer, samlingar och mönster av historien. Platser, kultur och känslor som representerar det nuvarande Rumänien. Situationer som störtar in till ett större sammanhang i form av det Europeiska med Sverige som deltagare. I detta lands önskningar och metamorfoser kan vi upptäcka de myter som tillhör och påverkar vår kultur och dess rum. Opus Alchemicum är en berättelse om myter, beteenden och byggd omgivning. Om Rumänien eller någon annanstans. Om ruiner och guld. Om osynliga värden och materiell inverkan. Om ett försvunnet land av begär och nostalgi. Om förskjutningar, förskingringar och kostymer. Om migration. Om färder och bensinstationen i mitten av resan. Om metamorfoser, romerska palats och hemgifter. Om materia, producerad, handlad och utsläckt. Om preussiskt blått och honung. Om ett torn en fontän och en hemlig trädgård. Om den alkemiska processen av att skapa verklighet genom idéer.

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This is a short study on the iconographic theme of above mentioned painting. The thesis deals with a topic that has not yet been comprehensively processed. Here, the interest of the author given limited period only slightly extends into the next generation (after Savery) in order to show the iconographic context. Based on the new findings, identifies work as the ruler's order, and that puts the painting in new semantic relationships. In conclusion reflects on the circumstances of the work and the possible way of petting into Prague's collections.

Alchemical imagery and ideology is present in many Romantic works of literature, but it has largely been overlooked by literary historians in their contextualization of the time period. The same can be said for mysticism in general, of which alchemy is a subset. This project accounts for alchemy in the works of transcendental philosophers and writers as it contributes to some of the most important conversations of the Romantic time period, particularly the reaction against empirical philosophy and the articulation of creative processes. The transcendental conversation is a transnational one, encompassing Germany, Britain, and America, with its use of alchemy also following this transnational progression. The German idealists developed an epistemology that took from alchemical precepts that in turn informed their spiritual models of genius and the creative process. German idealism largely influenced Romantic conceptions of art and creativity, which then contributed to the Romantic ideal of a poet-prophet. Samuel Taylor Coleridge and Nathaniel Hawthorne further developed their own models of the creative process by incorporating alchemy as an image of the transformation from vision into art. I examine Coleridge's "Kubla Khan" and Hawthorne's "The Artist of the Beautiful" for their alchemical imagery that articulates such a genius ideal. I also found, however, that these two Romantic works express an awareness of artistic limitations and frustration in the face of this ideal, which illustrates the ambiguity these two writers are known for. But alchemy, as a discourse of contradictions and their negotiation, is a site that accommodates the tension between a posited ideal and the reality of actual experience. As such, alchemy, as an underlying ideology to the poet-prophet, allows for flexibility in an artist's identity. Furthermore, as a deeply personal philosophy of transformation, alchemy's image as a work of art suggests the artist's personal investment in the creative process, which is necessary to art's viability in an increasingly materialistic world.