In this dissertation on Hilary Putnam's philosophy, I investigate his development regarding meaning and necessity, in particular mathematical necessity. Putnam has been a leading American philosopher since the end of the 1950s, becoming famous in the 1960s within the school of analytic philosophy, associated in particular with the philosophy of science and the philosophy of language. Under the influence of W.V. Quine, Putnam challenged the logical positivism/empiricism that had become strong in America after World War II, with influential exponents such as Rudolf Carnap and Hans Reichenbach. Putnam agreed with Quine that there are no absolute a priori truths. In particular, he was critical of the notion of truth by convention. Instead he developed a notion of relative a priori truth, that is, a notion of necessary truth with respect to a body of knowledge, or a conceptual scheme. Putnam's position on necessity has developed over the years and has always been connected to his important contributions to the philosophy of meaning. I study Hilary Putnam's development through an early phase of scientific realism, a middle phase of internal realism, and his later position of a natural or commonsense realism. I challenge some of Putnam’s ideas on mathematical necessity, although I have largely defended his views against some other contemporary major philosophers; for instance, I defend his conceptual relativism, his conceptual pluralism, as well as his analysis of the realism/anti-realism debate.

Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (leaves 285-298).

Thesis (M.A.)--Miami University, Dept. of Theatre, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 68).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A tese analisa a obra de Rubem Fonseca e Pedro Juan Gutiérrez sob o ponto de vista da abjeção, do nojo, do choque e do trauma, suas aproximações e diferenças, partindo das várias noções de realismo até chegar ao realismo sujo, termo cunhado para designar toda uma a geração de jovens escritores americanos e latino-americanos, surgidos a partir dos anos 80. Aborda ainda as estratégias utilizadas por Fonseca (nas décadas de 60, 70 e 80) e Gutiérrez (nos anos 90 e 00) para lidar com a ditadura, respectivamente no Brasil e em Cuba, traçando um breve panorama do cenário literário cubano contemporâneo. Por fim, o trabalho discute o realismo vazio, que se caracteriza pela perda da fé nas utopias. O trabalho se apóia nas categorias teóricas utilizadas por Hal Foster, Julia Kristeva e Mário Perniola. / The thesis analyses Rubem Fonsecas and Pedro Juan Gutiérrezs fiction under the point of view of abjection, disgust, shock and trauma, their similarities and differences, starting with the different notions of Realism and reaching dirty realism expression used to identify a generation of young American and Latinamerican writers that started to publish in the 1980s. It also broaches the strategies to deal with dictatorship in Brazil and in Cuba, drawing a brief map of the contemporary Cuban literary scenario. Finally, the work discusses the empty realism, which is marked by the loss of the faith in the Utopia. The project is supported by the theoretical categories used by Hal Foster, Julia Kristeva and Mário Perniola.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A tese analisa a obra de Rubem Fonseca e Pedro Juan Gutiérrez sob o ponto de vista da abjeção, do nojo, do choque e do trauma, suas aproximações e diferenças, partindo das várias noções de realismo até chegar ao realismo sujo, termo cunhado para designar toda uma a geração de jovens escritores americanos e latino-americanos, surgidos a partir dos anos 80. Aborda ainda as estratégias utilizadas por Fonseca (nas décadas de 60, 70 e 80) e Gutiérrez (nos anos 90 e 00) para lidar com a ditadura, respectivamente no Brasil e em Cuba, traçando um breve panorama do cenário literário cubano contemporâneo. Por fim, o trabalho discute o realismo vazio, que se caracteriza pela perda da fé nas utopias. O trabalho se apóia nas categorias teóricas utilizadas por Hal Foster, Julia Kristeva e Mário Perniola. / The thesis analyses Rubem Fonsecas and Pedro Juan Gutiérrezs fiction under the point of view of abjection, disgust, shock and trauma, their similarities and differences, starting with the different notions of Realism and reaching dirty realism expression used to identify a generation of young American and Latinamerican writers that started to publish in the 1980s. It also broaches the strategies to deal with dictatorship in Brazil and in Cuba, drawing a brief map of the contemporary Cuban literary scenario. Finally, the work discusses the empty realism, which is marked by the loss of the faith in the Utopia. The project is supported by the theoretical categories used by Hal Foster, Julia Kristeva and Mário Perniola.

The great strategic distrust between the two world largest economic and military powers is one of the most debated topics in contemporary international relations. This thesis question if the current hegemon view its new competitor as an offensive or defensive realist state and which policies should consequently be taken. China’s policy of peaceful coexistence and the U.S attempt of global integration may not be fully compatible and the thesis illuminates the contradicting notions of China Confucius values and how they are visible in its foreign policy rhetoric. The thesis conclude by stating that the China’s ambitions in not seen as following the guidelines of a defensive realist state in the eye of the United States and that China’s so called unique characteristics and values are mere rhetoric that does not seem to shape its current foreign policy. The U.S response is so far a passive containment by increasing cooperation with other actors in the region as a balancing act while simultaneously cautiously engage and try to influence China to adopt policies fitting a global player and work for peaceful solutions to international problems. Thus China is not seen as either a friend or a foe but is currently viewed as being in a grey area of competitor and cooperator.

AFRIKAANS: Magersfontein, o Magersfontein! vertoon veral twee fasette van die realisme, naamlik kritiese realisme en sosiale realisme, met satire as die medium en ironie as die “Point of view”. Die roman teken nie alleen sekere lyne van die sosiale ontwikkelingspatroon oor geslagte heen nie, maar is ook en veral 'n aanval op bourgeois-eienskappe wat in die ontwikkelingsgang as verwerende en selfs vernietigende elemente voorkom. Sodanige eienskappe is die skyf van die satire. Die roman is gebaseer op die Slag van Magersfontein 1899, en die besoek van 'n TV-span en filmspan wat die beroemde Slag wil laat herbelewe. In gekonstrueerde ironie word die Slag, as die bovlak, teen die projekgangers as prototipes van die nageslagte van die helde van weleer, as die ondervlak gestel. As agtergrond dien die dorre vlaktes van Magersfontein, simbolies van die geestelike dood, dus die malaise van ons tyd. Die steriele karakters wat daarteen beweeg, word nie op tradisionele romanmatige wyse uitgebeeld nie, maar stel as meerkantige figure, 'n tema, 'n denkrigting, 'n groep of ‘n instelling voor, waarin bepaalde bourgeois-eienskappe voorkom wat onder die soeklig van die satire kom. Sodoende belig Leroux die oorsake van die malaise as synde kleinlikheid, selfbedrog, eiewaan, wensdenkery, snobisme, huigelary en hebsug. Die verkrummeling van die aristokrasie, een van die belangrikste oorsake van die toename in bourgeois-elemente, word in Lords Sudden en Se1dom uitgebee1d. Le Grange verteenwoordig die Staat as skepping van 'n vlytige bourgeoisie wat 'n liggaam in die lewe wou roep wat met die organisasie verbonde aan ekonomiese en tegniese vooruitgang, vir hulle tot hulp kon wees. Mr. Shipmaster, wat onder andere die organisasiemens verteenwoordig, kan ironies nie organiseer nie en 1eun a1 meer op die “Staat” dat die vir hom sy 1ewe gemak1i ker kan maak. Die satiriese spot lê in die ontaarding van die staat van ‘n geordende instelling tot ‘n burokrasie en uiteindelik tot ‘n militêre Staat. In Mr. Shipmaster word onder andere getoon hoe by gebrek aan inspanning, die leiersfiguur onder die invloed van ‘n massakultuur wat uit die bourgeoisie se massaproduksie ontstaan het, tot ‘n massamens kan degenereer. Op soortgelyke wyse word die ander karakters in die roman gebruik om op die verwerende elemente te wys. 'n Storm dreig, wat van 'n komende oordee1 getuig en die verskil1ende karakters se reaksie daarop is ook verskillend, net soos by die latere oorstromings. Die bee1d word een van 'n toenemende geeste1ike nood en die wetenskap in die persoon van die Man van Waterwese kom met sy helikopter (Tegniek) om die noodgeteisterdes te red. Die gebrek aan kommunikasie word toonbeeld van verskille in waardes; sy poging is 'n mislukking - hoe kan die wetenskap die taal van die siel in nood ken en verstaan? Intussen vorm 'n meer tussen die koppies waarop die noodgeteisterdes saamdrom. Die meer kan verstaan word as simboo1 van die psigies-herstelde mens. In die stadium tree Aristophanes Pompidous, wat as skrywer in die roman gekonstitueer is, vrywillig na vore om 'n simbo1iese sterwe-tot -die-1ewe te volvoer, ooreenkomstig die Griekse mite van Dionuses. Die waterbee1d is in die Christelike godsdiens ook ten nouste verbonde aan die aflegging van sonde in die Doop as verbond, wat wedergeboorte impliseer. Die boek eindig met die positiewe gedagte dat vo1kome herstel, dus hergeboorte wat herlewing inhou, moont1ik is uit die bee1d van 'n herstelde wêreld waarvan Lord Sudden ‘n visioen het vanuit die ballon. Die eens barre vlaktes van Magersfontein vertoon ten slotte aan hom (en die leser) die beeld van ‘n vrugbare, waterryke vallei. ENGLISH: The novel, Magersfonteint, o Magersfontein! by Etienne Leroux is an example of social realism and of critical realism, with satire as medium and irony as point of view. Thus the novel highlights the direction taken in social development in modern times, and also attacks those bourgeois characteristics that act as corrosive elements in this development. These characteristics form the butt of the satire in the novel. The novel is based on the Battle of Magersfontein 1899, and the attempt of a TV- and filmgroup to re-enact this battle on the actual terrain. Depicting the heroes who took part in the batt1e the author has pitched prototypes of the descendants of these heroes. The barren flats of Magersfontein, symbol of the malaise of our times, form the background against which these sterile characters move, partrayed as they are to represent aspects of borgeois society in themes, philosophies, groups and even institutions. In this manner Leroux exposes the causes for the existing malaise as being pettiness, self-deceit, wishful thinking, snobbery, hypocrisy and greed. The book, however, ends on a positive note, with the possibility of the complete restoration of man in a fleeting glimpse of the once desolate valley now looking fertile, filled with beauty and blessed with rain. / Dissertation (MA)--University of Pretoria, 2013. / Afrikaans / unrestricted

Uppsatsen är en litteraturvetenskaplig analys av Marianne Fredrikssons roman Simon och ekarna utifrån genren magisk realism. Uppsatsens syfte är att undersöka och diskutera hur romanens övernaturliga element samspelar och kontrasterar med romanens realistiska element, samt hur romanen passar in i den magiskt realistiska traditionen. Detta görs främst utifrån Wendy B. Faris fem kriterier för magiskt realistisk litteratur, samt hennes begrepp avfokalisering. I uppsatsens analysdel sker en genomgång av samtliga fem kriterier som diskuteras i förhållande till romanens handling och tematik. Uppsatsen förhåller sig också till Talia E. Crocketts artikel om användningen av textuell tystnad för att beskriva Förintelsen i Simon och ekarna, och finner att den magiska realismen liksom den textuella tystnaden används för att hantera och beskriva det obeskrivliga. Uppsatsen finner vidare att Simon och ekarna placerar sig i den magiskt realistiska traditionen genom sin sammanblandning av gammal folktro, övernaturliga element och realistiska stil.

[pt] O objetivo da tese é analisar na prosa contemporânea, dentro das propostas realistas que têm sido recorrentes na literatura brasileira, uma vertente que vem sendo denominada como realismo íntimo. A hipótese é de que autores cujas obras se inscrevem dentro dessa linha de força que vem se apresentando na novíssima literatura brasileira, como Daniel Galera e Carol Bensimon, buscam possibilidades de escrita que vão além da representação e descrição de espaços, situações e indivíduos, almejando a construção de uma narração e ambientação que transcenda a simples simulação de uma realidade física, usando, para tanto, estratégias distintas, que fazem com que o exterior atue, ao mesmo tempo, como reflexo interior e elemento revelador do universo íntimo dos personagens. No realismo íntimo, é a intimidade que constrói os cenários e, simultaneamente, é a partir do contato com o fora que se desvela o interior desses personagens. A partir da leitura e análise dos textos de ficção e de dispositivos teóricos tão contemporâneos quanto as próprias obras literárias em questão, o que se pretende é compreender as estratégias narrativas utilizadas, analisando de que modo o realismo íntimo se aproxima ou se distancia de outras abordagens relacionadas a uma (im)possível representação da realidade, assim como investigar sua correlação com a tradição realista que pode ser identificada em diferentes momentos da literatura brasileira. / [en] The aim of this thesis is to investigate in the contemporary prose, within the realistic proposals that have been recurrent in the Brazilian literature, a field that has been called intimate realism. The hypothesis is that authors whose works fit within this line of force that has been presented in the latest Brazilian literature, such as Daniel Galera and Carol Bensimon, seek possibilities of writing which go beyond the representation and description of spaces, situations and individuals, aiming the development of realistic narrative and setting, transcending the simple simulation of a physical reality, using different strategies to achieve this – strategies which make possible that the exterior operate at the same time as a reflection of the interior and a revealing element of the inner universe of the characters. The intimate realism is the one in which intimacy builds the scenarios and the contact with the outside world reveals the interior of the characters. From the reading and analysis of the texts of fiction and theoretical devices as contemporary as the literary works in question, the objective is to understand the narrative strategies used, analyzing how intimate realism approaches or distances itself from other approaches related to a(n) (im)possible representation of reality, as well as to investigate its correlation with the realistic tradition that can be identified in different moments throughout Brazilian literature.

Syftet med denna uppsats är att analysera hur våld som skildras i film kan laddas med olika grader av realism och fiktion genom olika teman, tekniker och dramaturgi m.m. Den avser att undersöka hur dessa laddningar påverkar hur vi som mottagare uppfattar våldsskildringar, vad vi läser ut av dem och hur relationen mellan realism och icke-realism kan förstärka våra upplevelser av våldet.Genom att analysera skräckfilmerna Suspiria (1977) regisserad av Dario Argento och Day of the Dead (1985) av George A. Romero får vi en inblick i hur våldsskildringar inom skräckfilmsgenren kan ta olika former och påverkas av kontexten. Filmerna representerar viktiga verk av två av sin tids mest framstående regissörer inom genren och har sedan de släpptes levt vidare som kulturella avtryck inom den västerländska populärkulturen.Metoden består av kvalitativa analyser där filmernas handling presenteras för att ge en förståelse förde sammanhang som omgärdar de utvalda våldsskildringarna som lyfts fram. Därefter tolkas våldsskildringarna och deras kontext med stöd i semiotisk teori utifrån en tänkt tittares perspektiv. I analysen diskuteras hur narratologiska och tekniska tillvägagångssätt, material och miljöer kan påverka hur en tittare uppfattar våldet som mer eller mindre realistiskt/icke-realistiskt.