[pt] O presente trabalho analisa as figurações e o sentido do conceito de eternidade na obra de Jorge Luis Borges. No primeiro capítulo, destaca os principais símbolos borgianos atrelados ao conceito (a palavra, o nada, o eu, os animais, etc.); no segundo, as principais refutações do tempo, encontradas nos ensaios do autor; no terceiro e último capítulo, examina de que maneira o conceito de eternidade se vincula ao próprio fazer literário do escritor e à sua concepção de literatura. Tal análise quer proporcionar um novo enfoque sobre o trabalho do autor argentino, frizando, por trás de sua obsessão por labirintos, por enigmas e pelo problema do tempo, sua busca pelo centro, ou pela solução do enigma do tempo, vislumbrada, através da arte literária, no conceito de eternidade. Além disso, deseja analisar a relação ambígua que o autor mantinha com o conceito de eternidade, que via, ora como uma quimera que o homem deve abandonar para fazer parte do mundo, ora como um objetivo impossível que, somente através da literatura, pode ter algum significado para os homens. / [en] The present document analyzes the figurations and the meaning of the concept of eternity in the work of Jorge Luis Borges. In the first chapter, it points out the main borgesian symbols linked to the concept (the word, the nothing, the I, the animals, etc.); in the second chapter, the main refutations of time, found in the author´s essays; in the third and last chapter, it examines in what way the concept of eternity is related to the writer´s process of literary creation and to his very concept of literature. Such analysis means to offer a new approach towards the argentine author´s work, emphasizing, behind his obsession with labyrinths, enigmas and with the problem of time, his search for the center, or for the solution of the enigma of time, seen, through literary art, in the concept of eternity. Apart from that, it wishes to analyze the ambiguous relation the author maintained with the concept of eternity, seeing it at times as a dream that man should abandon to be part of the real world and, at other times, as an impossible goal that, only through literature, could have any meaning to men.

Si la philosophie d’Emmanuel Levinas fut souvent présentée comme une philosophie de l’éthique, et fut identifiée à des notions telles que le visage, autrui ou la responsabilité, cette thèse vise à démontrer que ces notions se comprennent à partir d'un primat accorde au temps, voire d’une métaphysique de la temporalité. Il s’agira d'établir que la philosophie levinassienne inaugure une nouvelle philosophie du temps que nous pouvons qualifier de « discontinuiste », s’opposant aux pensées de la continuité comme la philosophie bergsonienne de la durée et husserlienne du flux. La constitution de la subjectivité par émergence et distinction d’avec l'existence atemporelle, encore nommée « l'il y a », son rapport au monde comme sa rencontre avec autrui ne se comprennent qu’à l’aune de leur temporalisation. Toutefois, cette structuration temporelle du sujet et de l’altérité invite à dégager différents types de temporalité et à spécifier l’essentielle dialectique entre le temps et l’autre. / If Emmanuel Levinas' philosophy has often been introduced as a philosophy of ethics, determined by famous notions such as the face, the other or the responsibility, this thesis aims at demonstrating that these notions can be understood thanks to the primacy of time, and to a metaphysics of temporality. The goal lies in explaining how Levinas' philosophy ushers a philosophy of time that we can qualify as « discontinuist », opposed to Bergson's philosophy of duration and Husserl's theory of time flow. Subjectivity is processed through a distinction with the atemporal existence or the « there is », the connection to the world and relations to the others can be appreciated thanks to the notion of temporalisation.However this temporal structuration of the subject and the otherness encourages us to make several distinctions between different types of temporality and to consider the essential dialectic between time and the other.

Thesis (MPhil (Ancient Studies)--University of Stellenbosch, 2008. / A particular motif in Egyptian art is that of avians. This is frequently depicted in a significant number and variety of visual sources from the tomb of Tutankhamun (KV 62) (1336-1327 BC) and other find contexts throughout Egyptian history from c. 3000 BC, but is little understood. The motif mostly depicts an avian creature with wings outstretched, talons grasping the Egyptian hieroglyph symbol for eternity (shen). In some instances the avian’s falcon or vulture body or parts of the body is/are replaced with parts of another creature, namely that of a snake, cobra, ram, human, duck, or a hieroglyph sign. A study was undertaken to assess how and why this avian motif was composed and what the function in Egyptian culture was. A manual search of published material for relevant visual sources depicting specific versions of the avian motif was undertaken and selected sources were indexed into a representative graphical database including one hundred and ninety-one items. Textual sources (academic literature and literature from ancient Egypt) were then consulted to support and/or expand on the iconographic, symbolic, and functional aspects of the motif: - At the iconographic level, the historical development and ‘structural dynamics’ of the motif are investigated to deduce the artistic rules that applied to its creation. - At the symbolic level, the symbolic meaning of the artwork is ascertained by theorizing on the meaning of the motif and its parts in an Egyptian context. - At the functional level, the function of the artwork is ascertained by investigating how the motif’s symbolism was intended to be applied to benefit the individual. The results of this research is that the avian motif developed over time according to strict artistic rules; that it symbolized the king, eternity and protection; and that its function was to protect the king in all phases of his existence in a political and mythological context in order to ensure that the he would attain an eternal life in the afterlife. In the mind of the ancient Egyptian this was achieved through the transference of the avian motif’s magical qualities to the user. The intended outcome of this study is to highlight the avian motif’s importance in the context of the ancient Egyptian culture.

La question d’un monde créé sans commencement ou, comme on le dit souvent, le problème de « l’éternité du monde », a été l’occasion d’une vive controverse entre les penseurs latins du XIIIe siècle, dont saint Thomas d’Aquin. Nonobstant sa foi avérée en une création avec un commencement, Thomas, théologien et philosophe catholique, s’est interrogé tout au long de sa carrière : « Aurait-il été possible que Dieu créât un monde sans commencement ? » Cette persévérance est suffisamment paradoxale pour attirer l’attention, d’autant que Thomas, en sa réponse, s’opposait à la grande majorité de ses contemporains.Après une courte partie introductive qui brosse à grands traits et sans prétention le contexte historique, sont donc présentés les onze textes thomasiens traitant de la durée du monde, et spécialement de la possibilité d’un monde créé sans commencement, en leur langue latine ainsi qu’en une traduction française originale. Puis sont analysés les arguments présentés par Thomas, et les questions qu’ils peuvent soulever. Si les rapports entre la philosophie et la foi, comme entre la philosophie et la science, entrent en ligne de compte, les notions de causalité naturelle et de causalité volontaire, de fini et d’infini, de création divine et d’action humaine, de temps et d’éternité, de démonstration rationnelle et d’argument de convenance, constituent le cœur de cette élucidation philosophique.Au terme de la démarche, il apparaît que, pour saint Thomas d’Aquin, si le monde, en fait, a été créé avec un commencement (c’est pour lui une certitude de foi), en droit il aurait pu être créé sans aucun commencement (et c’est pour lui une affirmation légitime de la raison). / The question of a world created without beginning or, as is often said, the problem of « the eternity of the world », was the occasion of a controversy between the latin thinkers of the thirteenth century, including St. Thomas Aquinas. Despite his unquestionable faith in a creation with a beginning, Thomas, catholic theologian and philosopher, wondered throughout his life : « Would it have been possible that God created a world without beginning ? » This perseverance is paradoxical enough to attract attention, especially as Thomas, in his reply, was opposed to the vast majority of his contemporaries.After a short and unpretentious introduction that describes historical context, eleven thomasians texts dealing with the duration of the world are presented, and especially the possibility of a world created without beginning, in the original latin and in a new french translation. Then the arguments given by Thomas are analyzed, as well as the issues they may raise. If the relationship between philosophy and faith, and between philosophy and science, are taken into account, the concepts of natural causality and voluntary causality, finite and infinite, divine creation and human action, time and eternity, rational demonstration and argument of convenience, are the heart of this philosophical elucidation.At the end of the process, it appears that, for Aquinas, if the world, in fact, was created with a beginning (this is for him a certainty of faith), nevertheless it could have been created without a beginning (and this is for him a legitimate statement of reason).

La thèse consiste en une nouvelle traduction du livre VIII de la Physique d’Aristote, suivie d’un commentaire linéaire et problématisé du traité. Ce travail propose de repérer et d’analyser aussi bien les difficultés d’interprétation que les problèmes philosophiques internes au système aristotélicien en prenant appui sur les apports de la riche littérature secondaire et en se nourrissant de l’exégèse ancienne grecque et arabe. Il montre que le livre VIII est consacré de bout en bout à la question de l’éternité du mouvement et est susceptible de trois interprétations très différentes en fonction de la manière dont on identifie la nature de cette éternité. Après avoir présenté la première lecture, commune à la tradition néoplatonicienne (Philopon et Simplicius) et à la première réception arabe du traité (Fārābī, Ibn Bāǧǧa et le jeune Averroès), puis la seconde interprétation, propre à l’Averroès tardif, cette recherche met à distance ces deux interprétations historiques pour déployer une nouvelle lecture, « sous-déterminée », du traité, plus fidèle à sa lettre. / The dissertation consists of a new translation of the eighth book of Aristotle’s Physics followed by a linear and analytical commentary of the treatise. Based on a study of the contemporary secondary literature and a close examination of the Greek and Arabic exegesis, the aim of this work is to identify and analyse the difficulties of interpretation as well as the philosophical problems that arise inside the Aristotelian system. It demonstrates that Book VIII is all the way long a study of the eternity of motion and gives rise to three very different interpretations according to the way one understands the nature of this eternity. After a presentation of the first reading of the treatise, common to the Neoplatonist tradition (Philoponus and Simplicius) and the first Arabic reception of the text (Fārābī, Ibn Bāǧǧa and the young Averroes), and of the second reading, specific to the late works of Averroes, this research distances itself from both historical interpretations and develops a new reading of the treatise closer to the Aristotelian text.

Made available in DSpace on 2014-07-29T16:29:28Z (GMT). No. of bitstreams: 1 Alessandra_Carlos.pdf: 1101209 bytes, checksum: 6903ad43290be98993449306912ad584 (MD5) Previous issue date: 2011-06-27 / This is a study of William Faulkner s works concerning the saga Yonapatawpha. The works were read from the themes of time and memory. We made a theoretical trajectory over time and noted the conception assumed in the 18th century novel, which has a singular and linear time, and in modern novel, in which time is singular/plural. We consider the narrative, in a general way, as a poetic solution to the aporetic of time and we point to the bond that the literary work has with the world and with the reader. For that we made a trajectory on the threefold character of mimesis, based on considerations of Paul Ricoeur. In this sense, firstly, we point out the relationship of the saga and the weaving of the plot with the history of the southern United States. This demonstration has assumed the intersection between fiction and history, for they, taken together, have the power to refiguring time. Secondly, we analyzed the novel The sound and the fury. At this point, we confined ourselves to discussions of Gerard Genette and Robert Humphrey, for beyond grasping the refiguration of time in the weaving of the plot, we wanted to seize it in the level of the immanent structure of the narrative. We have used the assumption that the narrative incorporated the concept of structure of social sciences, and focusing on the concept of structure, concurrency, that we kept the relationship between fiction and history. At this point, we demonstrate that the concept singular/plural time was mimicked in the immanent structure of the narrative. Finally, we bring to evidence that the relationship between time and memory points to the historical issues and to metaphysical questions, and to eternity, which is, for Plato and Augustine, the opposite of time of living, of experience. Moreover, we put into evidence that both history and eternity also incorporate the concept of singular/plural time. We return to the ideas of Ricoeur and undertake a discussion on the level of mimesis III, through dialogue with major critics of the Faulknerian work. We did our reading seeking convergence between the works The sound and the fury and Absalom, Absalom. From our reading, this convergence occurs in the interest of the Quentin for the history of Sutpen s family. These works, without releasing from the most linear aspects of time, explore the hierarchical levels which constitute the depth and the complexity of temporal experience. We finish the demonstration of the character of the threefold character of mimesis, and the levels of critical reading of a text which should point to two ways: to the configuration level of the work and to the world that this configuration protrudes out of itself, which is a world vision related to a temporal experience, which has its roots in the aporiae of St. Augustine, that is, in great contrast between the distentio and the intentio animi. / Este trabalho é um estudo da obra de William Faulkner concernente à Saga de Yonapatawpha. As obras foram lidas a partir das temáticas tempo e memória. Fizemos um percurso teórico sobre o tempo e evidenciamos a concepção pressuposta no romance do século XVIII, que é a de um tempo singular e linear, e no romance moderno, que é singular/plural. Consideramos a narrativa de um modo geral como uma solução poética para a aporética do tempo e apontamos para o vínculo que a obra literária tem com o mundo e com o leitor. Para isso, fizemos um percurso sobre o caráter tríplice da mimese, com base nas considerações de Paul Ricoeur. Nesse sentido, apontamos, em primeiro lugar, a relação da saga, da tessitura da intriga, com a história do sul dos Estados Unidos. Essa demonstração tem pressuposto o entrecruzamento entre a ficção e a história, pois elas, consideradas conjuntamente, têm o poder de refigurar o tempo. Em segundo lugar, fizemos uma análise da obra O som e a fúria. Nesse ponto, nos ativemos às discussões de Gerard Genette e de Robert Humphrey, pois, além de apreendermos a refiguração do tempo na tessitura da intriga, quisemos apreendê-lo no nível da estrutura imanente da narrativa. Valemo-nos do pressuposto de que a narrativa incorporou o conceito de estrutura das ciências sociais e é com foco no conceito de estrutura, de simultaneidade, que mantivemos a relação entre a ficção e a história. Nesse ponto, demonstramos que a concepção de tempo singular/plural foi mimetizada na estrutura imanente da narrativa. Finalmente, evidenciamos que a relação entre tempo e memória aponta para as questões históricas e para questões metafísicas, para a eternidade que é, para Platão e Agostinho, o oposto do tempo da vivência, da experiência. Além disso, evidenciamos que tanto a história quanto a eternidade também incorporam a concepção de tempo singular/plural. Retomamos as ideias de Ricoeur e empreendemos uma discussão no nível de mimese III, mediante o diálogo com grandes críticos da obra faulkneriana. Fizemos a nossa leitura buscando a convergência entre as obras O som e a fúria e Absalão, Absalão. Segundo nossa leitura, essa convergência dá-se no interesse de Quentin pela história da família de Sutpen. Essas obras, sem se libertarem dos aspectos mais lineares do tempo, exploram os níveis hierárquicos que constituem a profundidade e a complexidade da experiência temporal. Finalizamos a demonstração do caráter tríplice da mimese, bem como os níveis de leitura crítica de um texto que devem apontar para dois caminhos: para o nível de configuração da obra e para o mundo que essa configuração projeta para fora de si, que é uma visão de mundo relacionada a uma experiência temporal, que tem suas raízes nas aporias de Santo Agostinho, ou seja, na grande oposição entre a distentio e a intentio animi.

The final chapter of Spinoza’s Ethics has elicited numerous interpretations, and in this work, I discuss Jonathan Bennett’s and Harry Wolfson’s. Bennett claims that the doctrine of blessedness is unintelligible, while Wolfson claims that Spinoza’s account of blessedness actually defends traditional, medieval views of the immortality of the soul. I find neither of these acceptable accounts for the reasons presented below, and I have a simple alternative explanation for this doctrine. Essentially, I argue that by ‘blessedness’ Spinoza means being happy with being virtuous. In my reading of the Ethics, Spinoza first offers the account that we should help others in order to help ourselves, and then he explains that we should enjoy doing so, and he writes that being happy with this is called ‘blessedness.’

The final chapter of Spinoza’s Ethics has elicited numerous interpretations, and in this work, I discuss Jonathan Bennett’s and Harry Wolfson’s. Bennett claims that the doctrine of blessedness is unintelligible, while Wolfson claims that Spinoza’s account of blessedness actually defends traditional, medieval views of the immortality of the soul. I find neither of these acceptable accounts for the reasons presented below, and I have a simple alternative explanation for this doctrine. Essentially, I argue that by ‘blessedness’ Spinoza means being happy with being virtuous. In my reading of the Ethics, Spinoza first offers the account that we should help others in order to help ourselves, and then he explains that we should enjoy doing so, and he writes that being happy with this is called ‘blessedness.’

Ce mémoire s’intéresse aux scènes de danse de trois films du réalisateur hongrois Béla Tarr afin d’en dégager une esthétique du temps. L’analyse des films sera précédée d’une recherche sur la philosophie du temps, centrée autour de l’œuvre Temps et récit de Paul Ricœur, dans laquelle le temps humain est décrit comme un temps raconté. Retraçant sa pensée, nous définirons l’éternité telle qu’exprimée chez Augustin, indissociable d’une expérience spirituelle. Nous examinerons ensuite différents enjeux de l’histoire de la danse au cinéma touchant au récit, à l’attraction et à la spiritualité. Ces recherches préliminaires permettront d’articuler notre analyse entre philosophie et esthétique, et de décrire une temporalité à la fois exprimée intellectuellement par les films et vécue par le spectateur ou la spectatrice. La danse, en construisant un temps de l’immanence qui s’oppose au régime narratif, invite à la contemplation et ouvre sur une expérience ayant des affinités avec la conception augustinienne de l’éternité. / This master’s thesis focuses on the dance scenes from three films by the Hungarian director Béla Tarr, in order to flesh out an aesthetic of time. The films’ analysis will be preceded by a research on the philosophy of time, centered around Paul Ricœur’s work Time and Narrative, in which the human time is described as a narrated time. Tracing his thought, we will define the notion of eternity as conceived by Augustine that is inseparable from a spiritual experience. We will then examine different issues of the history of dance in cinema concerning narrative, attraction and spirituality. This preliminary research will let us articulate our analysis between philosophy and aesthetic in order to describe a temporality expressed both intellectually in the films and lived by the viewer. Dance, while constructing a time of immanence that opposes the narrative regime, invites contemplation and opens an experience that is compatible with the Augustinian conception of eternity.

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