xviii, 293 p. : ill., music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The synthetic, historically sensitive, analytic method of this dissertation illuminates relationships between pattern and meaning in François Couperin's Pièces de Clavecin --character pieces firmly rooted in traditions of literary portraiture. The method combines aspects of Schenkerian analysis, Gjerdingen's style-sensitive schema, Larson's theory of musical forces, and Lakoff and Johnson's cognitive metaphor theory. It suggests that manipulation of recognizable musical patterns--the manner with which patterns are realized or even withheld--and their narrative contexts may give rise to responses heard as metaphorically reflecting Couperin's evocative titles. Two questions motivate this investigation: Why the virtual absence of François Couperin from modern theoretical discourse? How does musical meaning arise with Couperin's musical portraits? After describing my analytic method, I illustrate its application with several short examples. I then offer two in-depth case studies of different formal structures: an extended theme and variations and an independent binary piece. My findings relate pattern to musical "vocabularies", to context and expressive meaning, and to the theory and practice of music analysis. The focus on pattern illuminates the interaction of vocabularies in Couperin's music--including those of the seventeenth-century French keyboard tradition, the emerging Italian galant style, and the increasingly tonal "high styles" of eighteenth-century church, chamber, and court music. It illustrates how patterns contribute to expression and affect--as well as how they interact with ideas, concepts, or images associated with Couperin's evocative titles. Pattern-based analyses demonstrate that different contexts can give the same pattern different meanings--supporting (rather than contradicting, as others have suggested) the argument that music can have meaning; instead of a single meaning, we encounter a plurality of possibilities. The synthetic analytic approach of this dissertation is ideal for Couperin's music in particular but also for the galant style in general. Moreover, the combination of methods itself illuminates the power and meaning of each individual contributing element. and exemplifies the advantages of (and flexibility inherent to) an analytic method consonant with Lakoff and Johnson's cognitive metaphor theory, suggesting the analytic potential of a synthetic approach for an even broader set of styles. / Committee in charge: Steven Larson, Co-Chairperson, Music; Stephen Rodgers, Co-Chairperson, Music; Lori Kruckenberg, Member, Music; Marc Vanscheeuwijck, Member, Music; Mark Johnson, Outside Member, Philosophy

Orientador: Roberto Romano da Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-12T17:34:31Z (GMT). No. of bitstreams: 1 Santos_VladimirChavesdos_D.pdf: 12643860 bytes, checksum: 7a30a4264d109e7a94a4670dd143f977 (MD5) Previous issue date: 2009 / Resumo: A Scienza Nuova de Vico responde em grande medida as principais carências da ciência moderna apontadas por ele em seus primeiros textos de perfil anticartesiano. Nela encontra-se uma tópica dos fatos humanos; um exame histórico do senso comum; uma ciência ativa; e um estilo que confere eloqüência à ciência. Para Vico, a faculdade criativa por excelência é o engenho. Esse em todos seus aspectos é a faculdade operante na Scienza Nuova / Abstract: The Vico's New Science is a responde to his evaluation witc regard to the modern science, above all the Cartesian philosophy. It contains topics of human facts, a historical inquiry of common sensc, an active science and an eloquent scientific language. According to Vico, the wit is the human faculty to invent. The New Science intends to be a wity work / Doutorado / Filosofia / Doutor em Filosofia

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Qu'ils soient composés par des explorateurs, des membres du clergé ou des diplomates, les écrits de la Nouvelle-France ont une forte portée rhétorique. Les fonctions qui leur sont attribuées, voire les motifs de rédaction de ces textes, sont généralement d'ordres politique, religieux ou économique. L'expression de ces fonctions ponctue la narration et se dessine de différentes façons. Dans la « Lettre XII » de l'Histoire de l'Amérique septentrionale, Bacqueville de La Potherie se présente comme un témoin cohérent et lucide des circonstances entourant la Grande paix de Montréal de 1701. L'auteur rend compte des événements diplomatiques ayant mené à la signature de ce traité entre les nations autochtones alliées, les Iroquois et les Français. L'exclusion de La Potherie aux pourparlers de paix est la pierre angulaire .de notre recherche. En effet, les notions de conflit des codes et de scénographie révèlent l'ethos d'un narrateur sensé, sincère et sympathique. Dans notre mémoire, elles dévoilent un narrateur éclairé qui connaît le sujet traité. La première notion est le résultat du métissage entre des éléments référentiels antérieurs au texte et des éléments nouveaux qui y sont intégrés. La scénographie détermine les codes d'écriture que l'énonciateur choisit ou non de transgresser : elle est à la fois la provenance du discours et ce qui rend possible et essentiel ce discours, ce qui le légitime. Dans l'ouvrage, la scénographie du diplomate français créée par l'auteur relève de la fiction, mais elle s'inscrit dans la narration d'un fait historique, voire la signature d'un traité de paix. Tous ces éléments divergents contribuent à construire son ethos en organisant une « négociation » entre une scénographie de l'homme politique éclairé et la scène générique de l'historien traditionnel. Nous démontrons que la lettre dessine l'ethos d'un narrateur qui se fait valoir auprès de son destinataire, le ministre Jérôme Phélyppeaux de Pontchartrain. Avec son œuvre, l'auteur espère peut-être que ce dirigeant français exerce une pression sur le gouverneur de la Nouvelle-France, Louis-Hector de Callières, et insiste pour que ce dernier l'intègre aux pourparlers. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : scénographie, ethos, conflit des codes, Bacqueville de La Potherie, grande paix de Montréal, rhétorique.

This thesis examines the extent to which Ibn Khaldun can legitimately be considered a founding father of sociology. To pursue this research, Khaldun's theoretical framework will be compared with four Western scholars: Auguste Comte, Emile Durkheim, Giambattista Vico, and Ludwig Gumplowicz. This paper begins with an Introduction (Chapter I), followed by a general overview of Khaldun's work (Chapter II). Next, Khaldun's work is compared to that of Auguste Comte (Chapter III), Emile Durkheim (Chapter IV), Ludwig Gumplowicz (Chapter V) and Giambattista Vico (Chapter VI). In each of these chapters, Khaldun is compared and contrasted to the other social theorist, illustrating their similarities and considering their differences. Finally, in Chapter VII, I put forth conclusions that consider the extent to which Khaldun can validly be considered a founding father of sociology.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is the result of research work linked to the Graduate Program in Modern and Contemporary Philosophy of the Federal University of Uberlandia, the work is embodied in the Research Line "Social and Political Philosophy." The theme of the research was to investigate the concept of wisdom in poetic magnum opus of Giambattista Vico (1668-1744). The problem formulation of the research allowed a brief investigation of the philosophical context in which the works of Vico caught the debate on the formation of civil society, but especially the man who is. The Neapolitan philosopher runs through the history of philosophy and aims to discover the true wisdom of the ancients from its method elucidated here. This research topic is covered in the second chapter, which discusses Vico's arguments about the wisdom of men in dark times and fabulous. The third chapter presents the method of philosophical-philological of Vico, that based upon the concept of poetic wisdom examines the wisdom of Homer, or the discovery of the true Homer. In short, the dissertation allows further discussion of the philosophical assumptions of the history of nations that can be known with the approach of fables, which were responsible for the preservation of the first human ideas born in the world of gentility. / Esta dissertação é o resultado do trabalho de pesquisa vinculado ao Programa de Pós-Graduação em Filosofia Moderna e Contemporânea da Universidade Federal de Uberlândia; o trabalho está inscrito na Linha de Pesquisa Filosofia Social e Política . O tema da pesquisa foi a investigação do conceito de sabedoria poética na obra magna de Giambattista Vico (1668-1744). A formulação do problema da pesquisa permitiu uma breve investigação sobre o contexto filosófico com o qual as obras de Vico travaram o debate relativo à formação da sociedade civil, mas, sobretudo do homem que a constitui. O filósofo napolitano percorre a história da filosofia e se propõe a descobrir a verdadeira sabedoria dos antigos a partir do seu método aqui elucidado. Este tópico da pesquisa é contemplado no segundo capítulo, onde se discute os argumentos de Vico a respeito da sabedoria humana nos tempos obscuros e fabulosos. O terceiro capítulo apresenta a aplicação do método de investigação filosófica-filológica de Vico, que embasado no conceito de sabedoria poética analisa a sabedoria de Homero, ou, a descoberta do verdadeiro Homero. Em suma, a dissertação permite o aprofundamento da discussão dos pressupostos filosóficos da História das Nações que podem ser conhecidos com a abordagem das fábulas, que foram responsáveis pela preservação das primeiras idéias humanas nascidas no mundo da gentilidade. / Mestre em Filosofia

Dans le cadre d’une approche philosophique et épistémologique, qui privilège le point de vue rhétorique sur l’argumentation et la ligne de pensée Aristote-Vico-Perelman, la thèse essaye d’analyser la construction de la subjectivité dans le discours argumentatif. Je cherche à montrer qu’il est possible de tracer une théorie de l’argumentation dans laquelle subjective n’est pas synonyme de fallacieuse.<p>En général, la thèse analyse le rôle de celui qui parle et de celui qui écoute dans l’argumentation et dans tous les discours. Je vais soutenir est que la dimension personnelle n’est pas un élément qu’il faut supprimer mais, au contraire, un élément essentiel du discours argumentatif.<p><p>Une approche rhétorique au problème du sujet se base sur une intuition fondamentale de la rhétorique d’Aristote .Comme nous le savons, dans le premier livre de la Rhétorique, Aristote affirme que le discours (logos) est composé (synkeimai) de trois éléments :l’orateur, le sujet traité et l’auditoire .Au même temps la rhétorique est composée des trois éléments :Logos, Pathos et Ethos. La pratique linguistique inclut la dimension émotive, l’orateur et l’auditoire, qui sont des éléments discursifs. De même, l’ethos et le pathos ne sont pas des moyens de preuves irrationnelles ou des fallacies. On verra que cette idée implique un système philosophique et épistémologique assez différent du système normativiste des théories contemporaines :cela implique de revenir sur le concept de rationalité et sur le rapport entre la rationalité, la praxis et son incertitude essentielle.<p><p>Pour question de temps, la thèse ne parle pas de pathos. Elle s’occupe de l’ethos soit du point de vue de celui qui parle (Partie I) soit du point de vue de l’auditoire (Partie II).<p><p>Dans la première partie, on analyse la question de la rationalité rhétorique et des paralogismes et les définitions historiques de la dimension personnelle de l’argumentation (ethos, personne, ad hominem).<p><p>Dans la deuxième, on analyse le rapport entre la dimension personnelle, le sens commun, la vérité, la certitude et la fides.<p>En conclusion, on soutiendra que l’ethos est soit une pistis technique de la rhétorique, soit une des conditions préalables du discours même.<p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley's views of the perfect contingency of the world and on Vico's theories of truth and ingenium. A reading of Diderot's critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu's aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as a pre-cinematic effects that represent the non-material, non-causal deep structure of reality.