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This thesis seeks to identify, explain, and differentiate the problems of existential doubt and the burden of choice in today’s world versus the previous epochs of human existence. It will attempt to discern the relevant differences in the types of existential doubt, illustrate how these differences came about, and analyze the strength of a potential solution to these problems. My aim is to critique Dreyfus and Kelly’s portrayal and solution to these problems in a way that can further promulgate discussion on an increasingly relevant topic in philosophy, mental health, and science. The conclusion will provide a novel understanding of contemporary nihilism that might be of use in combating this epidemic.

Trata-se de mostrar alguns argumentos, desenvolvidos por Ludwig Wittgenstein nos seus últimos escritos, contra uma espécie de investida cética que pretende colocar em suspensão a certeza que temos a respeito da existência do mundo. Para tanto, procuramos, primeiramente, a partir da exegese do parágrafo 308 de Da Certeza, explorar a relação estabelecida entre os conceitos de dúvida, saber e certeza a fim de esclarecer a concepção de que a dúvida apenas pode ser aplicada sobre proposições empíricas e jamais sobre proposições gramaticais. Em segundo lugar, mostramos que, ao entender que a dúvida ( o ato de duvidar) sobre qualquer coisa faz sentido apenas quando aceitamos um sistema de proposições, Wittgenstein a (o) coloca como dependente da estabilidade da gramática de nossa linguagem. Nesse sentido, buscamos elucidar a maneira como o filósofo caracteriza a lógica demonstrando-a, de um lado, como algo constante um quadro de referência que possibilita o curso das proposições relacionadas à experiência e, de outro, como algo inconstante que comporta fissuras, quebras e até desmoronamento. Por fim, desenvolvemos a ideia de que essa precária condição de nossa gramática não impede que confiemos nela e que, unicamente por conta disso, possamos dizer que algumas proposições fundamentam nossos jogos de linguagem. É nesse sentido que o cético, ao tentar colocar uma proposição fundante em nossos jogos tal qual o mundo existe em dúvida, suspende sem perceber a fluência do jogo assertivo que pretende estabelecer e, por que não dizer, sua lógica. / This work aims to show some arguments, developed by Ludwig Wittgenstein in his later writings, against a kind of skeptical assault that wants to put in suspension our assurance about the existence of the world. First, we should clarify the conception that a doubt can only be applied on empirical propositions and never on grammatical ones, from the relationship established between the concepts of doubt, know and certainty. Secondly, we aim to show that by identifying that raising a question makes sense only when we accept a system of propositions, Wittgenstein puts it as dependent on the stability of our grammar. Accordingly, we seek to elucidate how the philosopher characterizes grammar as something stable, on one hand as a reference framework which enables the course of the propositions that refer to the experience and, on the other, as something unstable that can crack, break and even collapse. Finally, we developed the idea that this precarious condition of our grammar does not prevent us to trust her and solely because of that we can say that some propositions underlie our language games. In this sense, the skeptic, when trying to put a founding proposition for our language games like \"the world exists\" in doubt, suspend without notice the fluency of the assertive game he intended to stablish, its consistency and, for that matter, its logic.

Mao, Yina. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 67-73). / Abstracts in English and Chinese. / List of Tables --- p.2 / List of Figures --- p.3 / Abstract --- p.4 / 摘要 --- p.5 / Acknowledgement --- p.6 / Chapter 1. --- Introduction --- p.7 / Chapter 2. --- Theories and hypotheses --- p.10 / Chapter 2.1 --- actors and third parties --- p.10 / Chapter 2.1.1 --- Belief in a just world --- p.10 / Chapter 2.1.2 --- Threat to the belief in a just world --- p.13 / Chapter 2.1.3 --- Maintenance of the belief in a just world --- p.14 / Chapter 2.1.4 --- Current research focus and the research gap --- p.15 / Chapter 2.1.5 --- Actors and third parties --- p.17 / Chapter 2.1.6 --- Hypothesis development --- p.22 / Chapter 2.2. --- Heuristic cues --- p.27 / Chapter 2.3 --- Multiple strategies --- p.29 / Chapter 2.3.1 --- Co-occurrence of strategies --- p.29 / Chapter 3. --- Method --- p.37 / Chapter 3.1 --- Research design --- p.37 / Chapter 3.2 --- Scenarios --- p.38 / Chapter 3.3 --- Pilot study --- p.40 / Chapter 3.3.1 --- Measurements --- p.40 / Chapter 3.3.2 --- Description of the sample --- p.43 / Chapter 3.3.3 --- Analysis --- p.43 / Chapter 3.3.4 --- Adjustments --- p.45 / Chapter 3.4 --- Power analysis --- p.45 / Chapter 3.5 --- Main study --- p.47 / Chapter 3.6 --- results --- p.48 / Chapter 4. --- Conclusions and implications --- p.58 / References --- p.67 / Appendix: Questionnaire used in this study (Chinese version) based on scenario 1 --- p.74

Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 186-192). Also available for download via the World Wide Web; free to University of Oregon users.

My research considers one way in which contemporary sculptural art practice might reinterpret sculpture and painting, primarily from Catholicism as represented in Italian and Spanish Renaissance and Baroque art. The themes that are explored include: faith and doubt, divinity and human nature, miracles and materials. How can sculptural practice delve into the nature of faith and doubt through materials and processes, interpretative strategies, and a consideration of contexts? Can any sense of faith or belief in the unphysical be evoked in audiences through this practice-led research? The research employs inductive means and methodologies that are fundamentally practice-led and iterative. Rather than starting with a problem-based enquiry, a careful analysis of existing artworks, primarily by the painter Michelangelo Merisi da Caravaggio and the sculptor Gian Lorenzo Bernini, was undertaken. This study has led to the production of creative work that in turn has initiated further questions and more sculptural objects. The production of sculptural artefacts creates a snowballing effect that is a self-reflective, investigative cycle. This method draws upon the sculptural process itself and takes into account external and contextual considerations. My studio-based investigations have given rise to the sculptural work. These case studies reinforce an understanding that methods that are primarily based on the assessment of haptic means relating to touch, sight and other sensory perceptions can contribute to knowledge in meaningful and unique ways. The iterative process used in this research has thematic and metaphoric parallels to the ways in which Catholic stories are retold, interpreted, and examined – narratives that have themselves been continuously readapted to suit changing contexts and intended audiences. Such narratives have been disseminated throughout the history of Christianity, and continue to be circulated in modern-day Christianity. In our post-enlightenment world, the core theme of incredulity, as imagined through art, is explored. To this end, and to make wider connections with this enquiry, philosophical writings regarding ideas of truth and subjectivity, particularly the work of Søren Kierkegaard, are investigated. The historical sculpture and painting referenced and utilised as source material are themselves reinterpretations of pre-existing narratives and stories. This research strives to explore and expose the correlative relationship that exists between understandings of past and present day contexts and employs an examination of both historical and contemporary art works and practitioners. Rather than perceiving this research project primarily in the context of other contemporary art practices, the main focus is on how European artists from the early 17th century wrestled with imagining and imaging these stories and, in that context, how the same narratives might be reinterpreted today. A selection of contemporary artists has been used throughout the research in order to help situate this work within a contemporary cultural context. The primary output from the research is a selection of three sculptural groupings, referred to as case studies, presented in chronological order, taken from the larger body of sculptural artefacts created over the course of the entire research project. The three selected case studies encapsulate the key findings and principle discoveries. The case studies are supplemented by photographs of installed site-specific work, as well as the contextual and critical analysis contained in this thesis.

Thesis (M. Div.)--International School of Theology, 1986. / Includes bibliographical references (leaves 118-123).

Thesis (Ph.D.)--University of Melbourne, Dept. of English, 2006. / Typescript. Includes bibliographical references (leaves 323-367).