[pt] A presente dissertação pretende investigar os diálogos entre a pintura oitocentista e a subjetividade moderna, explorando como a modulação subjetiva do século XIX se torna visível na produção artística do período em questão ao mesmo tempo que também produz impactos no campo da arte. Partindo de Michel Foucault, que ensina a questionar o que é visto como inevitável, esta pesquisa compreende que a forma que estamos e nos relacionamos com o mundo não é natural, mas histórica, e que a experiência subjetiva do homem moderno, caracterizado pela sua interioridade psicológica, reverbera em diversas produções humanas — entre as quais a arte, sobretudo a pintura, ocupa um lugar de especial destaque. Sem estabelecer causas e consequências diretas, este trabalho tem como objetivo construir relações entre a pintura e as maneiras de perceber e experimentar o mundo que são produzidas na Modernidade, investigando como as novas possibilidades no campo artístico podem ser compreendidas tanto como produtos quanto como produtoras de uma nova experiência de ser sujeito. / [en] The present work intends to investigate the possible dialogues between 19th century painting and modern subjectivity, exploring how the subjective modulation of the 19th century became visible in the artistic production of the period, while also creating impact in the field of art. Starting with Michel Foucault, who teaches to question what is seen as inevitable, this research understands that the way we are and relate to the world is not natural, but historical, and that the subjective experience of the modern man, characterized by his psychological interiority , reverberates in several human productions — among which art, especially painting, occupies a special place. Without establishing direct causes and consequences, this work aims to build a relationship between painting and the ways of perceiving and experiencing the world that are produced in Modernity, investigating how the new possibilities in the artistic field can be understood both as products and as producers of a new experience of being a subject.

During the Modernist period, generally defined between the years 1890 and 1945, artists were attempting to break away from previous forms and styles. For example, writers like Henry James and Virginia Woolf sought to change the novel by exploring the consciousness of characters, while playing with the ideas of time and space to create the present moment. The thesis explores the modernist techniques used by James and Woolf, but also connects the work of the writers with the architecture of Frank Lloyd Wright. Using Joseph Frank's theory of spatial form, my work explores the similarities between Wright's designs of private residences with the design of space in the novel. All three artists, I argue, are working with spatial form, blending interior with exterior, to provide the reader and the dweller with the opportunity to experience an organic unity, which ultimately results in a freezing of the moment. In addition to Frank's theory, I also incorporate Stanley Fish and Reader Response theory and William James's Principles of Psychology. The reader and the dweller must actively engage with the structure, whether a text or the home, to develop and realize the possibilities of spatial form. Also, William James's ideas about the mind and consciousness influenced Henry James and Virginia Woolf, especially in their focus on character, rather than description. I have chosen James's The Turn of the Screw and The Wings of the Dove along with Woolf's To the Lighthouse and The Waves to study with Wright's Prairie and Usonian residences. Each chapter looks at one novel and Wright's corresponding work during approximately the same time period. By connecting literature and architecture, the thesis provides new ways of thinking about the two disciplines, especially concerning interiority and consciousness. James, Woolf, and Wright are all experimenting with time and space to create a unified experience, and the striking parallels between their work deserves more attention.

Nas últimas décadas, o campo religioso brasileiro tem passado por grandes transformações, com rápido declínio numérico católico, expansão pentecostal e dos sem religião, avanço do pluralismo religioso e da concorrência inter-religiosa. O acelerado crescimento do pentecostalismo a partir dos anos 80 resultou na reação católica para tentar recuperar terreno e influência e barrar o avanço dos concorrentes. Influenciadas por crenças e práticas de origem pentecostal, a Renovação Carismática Católica e as Novas Comunidades Carismáticas de Vida e de Aliança assumiram, no contexto pós Concílio Vaticano II, o protagonismo dessa reação. Elas procuram tornar o catolicismo mais atraente e mais presente no cotidiano dos brasileiros, por meio do uso evangelístico dos meios de comunicação de massa, da música, da literatura e de outras artes, de novas linguagens, da racionalização organizacional, do ativismo político, de intenso trabalho de evangelização, de promoção de cursos de formação de fiéis e de evangelistas, de releitura e resgate da tradição católica, da criação de comunidades e grupos de oração e do trabalho em rede, do apelo à conversão individual, dos cultos emocionais, das ações terapêuticas e das promessas de cura e de libertação do sofrimento e dos problemas. Procuram incentivar vocações, desenvolver carismas conforme o carisma da comunidade e, em especial, formar católicos militantes defensores da fé, da Igreja e da tradição católicas, de valores morais e visão de mundo católicos. Considerando os esforços evangelísticos e organizacionais envidados pelo catolicismo carismático, seu contexto de atuação e referências teóricas das sociologias da religião, da modernidade e da socialização, efetuei pesquisa e análise do material religioso usado por Renovação Carismática Católica e Comunidade Eucaristós para a formação de seus membros e realizei entrevistas, sobretudo, com agentes da equipe de formação. Esses grupos consideram as experiências epifânicas e místicas, que tanto impactam neófitos, insuficientes para formar militantes leigos. Por isso, afinados com as autoridades eclesiais, enfatizam o processo de formação doutrinário e moral individual e coletivo nas comunidades para assegurar a eficácia da socialização religiosa e as competências espirituais e seculares de sua militância. Verifiquei que tal socialização se caracteriza por um processo de reordenação biográfica da trajetória pessoal visando garantir continuidade e correspondência entre o projeto da missão comunitária e a missão pessoal. / In the last decades, the Brazilian religious field has undergone great transformations, with rapid Catholic numerical decline, Pentecostal and non-religious expansion, advancement of religious pluralism, intense religious competition. The accelerated growth of Pentecostalism since the 1980s has resulted in the Catholic reaction to try to regain ground and influence as well as to stop the advance of their competitors. Influenced by beliefs and practices of Pentecostal origin, the Catholic Charismatic Renewal and the New Charismatic Communities of Life and Covenant, in the post Vatican Council context, took the lead of this reaction. They seek to make Catholicism more attractive and more present in the daily lives of Brazilians, through the evangelistic use of mass media, music, literature and other arts, new parlance, organizational rationalization, political activism, intense work of evangelization, the promotion of formation courses for the faithful and evangelists, reinterpretation and reviving the Catholic tradition, creating communities and groups of prayer,appeal to individual conversion, emotional cults, therapeutic actions and promises of healing and freedom from suffering and problems. They seek to encourage the search for personal vocations, to develop charisms according to the Charism of the community, particularly to form Catholic militants who should defend their faith, the Catholic Church and tradition, Catholic values and worldview. Considering the evangelistic and organizational efforts made by charismatic Catholicism, its context of action and theoretical references of the sociologies of religion, modernity and socialization, I have carried out research and analysis of the religious material used by Catholic Charismatic Renewal and Eucaristós Community for the formation of its members and conducted interviews, especially with members of the formation team. These groups consider the epiphanic and mystical experiences that so much impact \"neophytes\", insufficient to form lay militants. Therefore, in tune with ecclesial authorities, they emphasize the process of individual and collective doctrinal and moral formation in communities to ensure the effectiveness of religious socialization and the spiritual and secular competencies of their militancy. I verified that this socialization is characterized by a process of biographical reordering of the personal trajectory in order to guarantee continuity and correspondence between the project of the community mission and their personal mission.

Made available in DSpace on 2016-04-27T17:27:21Z (GMT). No. of bitstreams: 1 Maria Imaculada Azevedo Fernandes.pdf: 367387 bytes, checksum: 9dd533078709cfe62f2fc649b062da79 (MD5) Previous issue date: 2007-10-30 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work has as a purpose to research the question of Augustin interiority through the problem of the knowledge. Both interiority and knowledge represent the key-pieces of Augustin thought and they bring an enigma which we ll be busy in understanding. It refers to the apparently antagonistic form to conciliate the human activity of the knowledge through the cogito of Augustin with the theory of the divine illumination. We ll research which is the statute of knowledge in Augustin thought; what it implies to say that the interiority is, at the same time, the place of the knowledge and the way to God; and if it is possible to conceive the knowledge as a function of the human intellect and an intuition of the contents of ideas coming from God / Esse trabalho tem como objetivo investigar a questão da interioridade agostiniana através do problema do conhecimento. Interioridade e conhecimento representam duas peças-chave do pensamento de Agostinho e trazem um enigma com o qual nos ocuparemos em compreender. Refere-se à forma aparentemente antagônica de conciliar a atividade humana do conhecimento através do cogito agostiniano com a teoria da iluminação divina. Investigaremos qual é o estatuto do conhecimento no pensamento agostiniano; o que implica dizer que a interioridade é, ao mesmo tempo, o lugar do conhecimento e o caminho para Deus; e se é possível conceber o conhecimento como uma função do intelecto humano e uma intuição do conteúdo das idéias vindas de Deus

<p>This essay examines the adaptation of <em>The French Lieutenant’s Woman;</em> proclaiming that it is based on the same core of meaning as the novel. This core, or interiority, of the art work, is the <em>freedom</em> which Sarah Woodruff presents. The interiority is immanent within the novel as well as the film. The freedom that Sarah presents creates <em>gaps in time</em> and is mainly <em>freedom from time</em>. From an exterior perspective though, these art works look different. The exteriority is visualized and described by being denominated as different narrative levels. In the film Mike falls in love with Sarah as an escape from his own time, one that is characterized by more lenient moral views than those prevalent in the Victorian Age. This present-day character is not, of course, in the novel but is invented by Harold Pinter as part of a metaphor for Fowles’ metafictional stance. In the novel, freedom is partly represented by an extradiegetic narrative level and suggested in various comments made by the apparent author of the work: John Fowles. This essay highlights the contrasts between the fictive world (on a hypodiegetic level), and the real world (on a diegetic level). By doing this, this essay suggests a motive for Pinter’s “narrative innovation” as a “brilliant metaphor” for Fowles´ novel. With these contrasts we find that the restraints of a seemingly open society (the 1980s in which Pinter was writing the screenplay) are able to contain an inner, rather implicit, restraint for the individual of the 1980s. The longing for freedom is triggered as soon as man is deprived of freedom, irrespective of how and when. Sarah is an escape from Victorian Age for Charles, at the same time as she is an escape from the 1980s for Mike. On the whole, Sarah is an escape from the linearity of all time. Freedom is immanent with both of the artworks, yet they are completely different, seen from outside.</p><p> </p><p> </p>

This essay examines the adaptation of The French Lieutenant’s Woman; proclaiming that it is based on the same core of meaning as the novel. This core, or interiority, of the art work, is the freedom which Sarah Woodruff presents. The interiority is immanent within the novel as well as the film. The freedom that Sarah presents creates gaps in time and is mainly freedom from time. From an exterior perspective though, these art works look different. The exteriority is visualized and described by being denominated as different narrative levels. In the film Mike falls in love with Sarah as an escape from his own time, one that is characterized by more lenient moral views than those prevalent in the Victorian Age. This present-day character is not, of course, in the novel but is invented by Harold Pinter as part of a metaphor for Fowles’ metafictional stance. In the novel, freedom is partly represented by an extradiegetic narrative level and suggested in various comments made by the apparent author of the work: John Fowles. This essay highlights the contrasts between the fictive world (on a hypodiegetic level), and the real world (on a diegetic level). By doing this, this essay suggests a motive for Pinter’s “narrative innovation” as a “brilliant metaphor” for Fowles´ novel. With these contrasts we find that the restraints of a seemingly open society (the 1980s in which Pinter was writing the screenplay) are able to contain an inner, rather implicit, restraint for the individual of the 1980s. The longing for freedom is triggered as soon as man is deprived of freedom, irrespective of how and when. Sarah is an escape from Victorian Age for Charles, at the same time as she is an escape from the 1980s for Mike. On the whole, Sarah is an escape from the linearity of all time. Freedom is immanent with both of the artworks, yet they are completely different, seen from outside.

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Jane Austen’s novels remain an essential component of the literary canon, but her first published novel, Sense and Sensibility, is frequently neglected. However, in Sense and Sensibility is the genesis of Austen’s technique through which her major characters cultivate and reveal a strong inner life, demonstrated through the character of Elinor Dashwood. This technique is a characteristic she incorporates in each of her succeeding novels. Her approach to literature centers on the interiority of her characters and their ability to change, but it her first novel Austen takes a unique approach. Following the structure of an eighteenth-century sermon, Austen creates a sermon for lay people that centers on the cultivation of a strong interior life.

La présente thèse articule les deux catégories fondamentales de la philosophie de la religion : le « moi » et le « divin », ce en dialogue avec deux interlocuteurs privilégiés, Fichte et Nabert, chez lesquels cette double thématique fut exploitée de manière originale et géniale. Fichte pense le « moi » comme le centre de l'intériorité et de la vie consciente de l'homme qui est une activité incessante vers l'unité de soi. Nabert, quant à lui, part du concept fichtien du « moi » pour élaborer la catégorie du « divin » ; celui-ci apparaît alors comme une demande de la conscience en sa structure fondamentale : elle le reçoit alors qu'il s'affirme à même le« moi». L'examen conjoint de de ces deux pensées apporte, nous cherchons à le montrer, une contribution majeure à la philosophie de la religion contemporaine : elle permet en effet à celle-ci d'avancer dans les réponses aux nombreux défis qu'il lui appartient de relever, soit : la redécouverte de certains préliminaires comme la conscience religieuse, le langage adéquat sur « Dieu », la question critériologique dans la désignation du « divin », le « témoignage » absolu. A cet effet, trois catégories principales sont sollicitées et éprouvées : I'« intériorité » et la place de I'« affectivité » dans l'expérience religieuse, enfin la « vérité » qui polarise toute réflexion philosophique sur la religion. / The present thesis articulates two fundamental categories of the philosophy of religion: the « 1 » and the « divine », it is in the dialogue with two privileged interlocutors, Fichte and Nabert, where this double theme was exploited in an original and brilliant way. Fichte thinks of the « 1 » as the center of the interiority and the conscious lite of a man, which is an incessant activity towards unity of self. Nabert, on his part, starts from the Fichte's concept of the « 1 » and elaborate the category of the « divine »; this last appears as a demand of the consciousness in its fundamental structure: it the « divine » as the one that affirms itself in the « 1 ». The joint examination of these two thoughts brings, as we try to show, a major contribution to the contemporary philosophy of religion. lndeed, this contribution allows philosophy of religion to advance in the answers to many challenges that rise up before it: the rediscovery of certain preliminaries such as the religious consciousness, the adequate language about « Gad », the question about criterion in the designation of the « divine », absolute « testimony ». For that purpose, three main categories are solicited and approved: « interiority » and the place of « affectivity » in religious experience, and finally « truth » which polarizes all philosophical reflection on religion.

UNIVERZITA KARLOVA FILOZOFICKÁ FAKULTA ÚSTAV ROMÁNSKÝCH STUDIÍ Obor: Filologie - románské literatury Specializace: naratologie a španělsky psané literatury ABSTRAKT EN DISERTAČNÍ PRÁCE PhDr. Jerusalem Gago Praha, 2021 THE CONSTRUCTION OF INTERIORITY: NARRATIVE VOICE AND AESTHETIC RENOVATION IN THE SPANISH SHORT STORY OF THE EARLY TWENTIETH CENTURY Abstract: The objective of this thesis is to explore the construction of interiority through its narrative procedures in that of the modernist narrative that appeared at the beginning of the 20th century. The discovery of the voice as a structuring element of the techniques of interiority constitutes one of the main theoretical and methodological axes of the work. Modernism considered as an aesthetics of interiority, a typology of the modernist narrative in five sub- genres, the establishment of a methodology for the specific study of the voice in its five dimensions, as well as the constructive profile of the narrative procedures typical of the modernist narrative, are the novel keys of this work. Keywords: interiority, narrative construction, interior aesthetics, modernism, modernist narrative, narrative voice, voice methodology, discursive structure.