Hace algún tiempo ya, decidimos, con un grupo de amigos, formar un círculo de lectura sobre Kierkegaard. Elegimos, para nuestro propósito, El instante. La elección fue motivada por lo seductor del título que a unos evocaba reflexiones sobre la naturaleza de la temporalidad al estilo de Heidegger o Agustín y a otros, más familiarizados con el pensamiento del danés, prometía una discusión sobre la importancia de la acción presente -donde "instante" podía interpretarse como un "¡ya!"- articulada en alguna propuesta ética. En razón de estas expectativas, el libro resultó bastante desilusionante: si bien se tematizaban tanto la temporalidad como la acción, la discusión presentada se enmarcaba en el ámbito de la religión y valores cristianos, y parecía dirigirse al individuo sin ninguna mediación del ámbito social.

S’il était possible de résumer le contenu d’un mémoire de maîtrise en moins de cent cinquante mots, cela signifierait qu’un très grand nombre de mots, de lignes, de paragraphes et de chapitres seraient, à toutes fins utiles, inutiles et superflus. Le résumé afficherait alors fièrement le résultat obtenu au terme d’une démarche dont on pourrait enfin se débarrasser. Tout le monde y gagnerait : l’auteur serait d’autant plus léger qu’il n’aurait plus à traîner son boulet et quiconque ne s’intéresse qu’au positif apprendrait en moins de temps qu’il n’en faut pour crier « ciseaux » que la question du fondement, ici abordée à partir du Concept d’angoisse et à la manière de Kierkegaard, est inséparable, entre autres choses, de la pseudonymie, de l’ambiance, de la dialectique et de l’interprétation.

The Austrian army played a crucial role in Napoleon's decisive defeat during the War of the Sixth Coalition. Often considered a staid, hidebound institution, the army showed considerable adaptation in a time that witnessed a revolution in the art of war. In particular, changes made after defeat in the War of the Fifth Coalition demonstrate the modernity of the army. It embraced the key features of the new revolutionary way of war, including mass mobilization, a strategy of annihilation, and tactics based on deep echelonment, mobility, and the flexible use of varied formations. While the Austrians did not achieve the compromise peace they desired in 1814, this represented a political failing rather than a military one. Nevertheless, the Austrian army was critical in securing the century of general European peace that lasted until the dawn of the Great War.

La Méditation sur la liberté inspirée de Kierkegaard et de Kundera s’interroge d’un point de vue existentiel sur la liberté. Elle cherche à comprendre pourquoi face à un choix un individu ne considère pas tous les possibles comme possibles. Sa première partie est basée sur Le concept d’angoisse, simple éclaircissement psychologique préalable au problème du péché originel par Kierkegaard et sa deuxième partie, ayant pour base théorique la première, s’appuie sur deux romans de Kundera : L’Immortalité et L’insoutenable légèreté de l’être. C’est à travers ces trois textes que la réflexion se développe autour de l’angoisse, qui rend possible la liberté, et de la légèreté, qui est un terme employé pour désigner le moment où l’homme se retrouve face à tous les possibles qui s’offrent à lui.

Le double objectif de cette étude est d'examiner le rôle crucial joué par le concept de sujet dans les pensées d'Adorno et de Kierkegaard et de ressaisir les enjeux de la critique adornienne de la théorie kierkegaardienne du sujet. Pour ce faire, l'étude engage son investigation sur trois fronts. D'abord, elle s'attache à examiner la présentation kierkegaardienne de la théorie du sujet dans le Post-scriptum aux Miettes philosophiques. Ensuite, elle analyse sa critique immanente à l'intérieur de l' Habilitationsschrift d'Adorno: Kierkegaard. Construction de l'esthétique. Dans la conclusion, elle opère un retour dialectique sur les deux sections antérieures et fait voir que, si Kierkegaard et Adorno misent sur le sujet comme force de résistance face à l'oppression exercée par la totalité sociale, ils signalent l'inanité de tout volontarisme politique.

No description available.

The objective of this dissertation, inspired by performance experience, was to establish the similarities in the use of recitative style in the music of Claudio Monteverdi and Giuseppe Verdi. To achieve this objective, their use of recitative style was examined through comparative analysis of four scenes from their operas: “Arianna's Lament” from L'Arianna and “Disprezzata regina” from L'incoronazione di Poppea by Monteverdi, and “Condotta ell'era in ceppi” from Il trovatore and “Judgment Scene” from Aida by Verdi. The examination of the similarities included a discussion of the following: (a) the historical influences and cultural backgrounds of the composers; (b) general similarities in their compositional approaches to recitative style; (c) comparable characteristics of the dramatic recitative style in the early Baroque monody and in Verdi's operas; (d) similarities in musical characterization and expression of affective and emotional content through stylistic musical devices; (e) similarities in the composers' approaches to vocal and acting issues with special emphasis on the problems of diction; and (f) some related performance-practice issues. A discussion of the poetic lament and the influence of its form and content on musical setting was also a part of this research. The comparative research revealed numerous similarities in the historical circumstances influencing Monteverdi's and Verdi's choice of musical styles; their motivation; formal and stylistic characteristics of their dramatic recitative scenes; their choice of libretto; their use of the elements of lament; their musical treatment of emotional content of the text; and their prerogatives in vocal and acting issues. Numerous similar characteristics were also established regarding vibrato, tempo, rhythm, and ornamentation in the performance practice of the early Baroque recitative soliloquy and Verdi's dramatic recitative scenes. The similarities of the four scenes' functions, topics, form, and characterization through devices of musical style indicated a fundamental continuity in the development of Italian opera from its inception to the end of the nineteenth century.

Academisch proefschrift--Amsterdam. / "Stellingen": [3] p. inserted. "Lijst van verkort geciteerde literatuur": p. 379-380.

Orientador : Oswaldo Giacoia Junior / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T06:20:19Z (GMT). No. of bitstreams: 1 Paula_MarcioGimenesde_D.pdf: 686730 bytes, checksum: 2ad1ca2ae3bb70d249830b23d3371324 (MD5) Previous issue date: 2005 / Resumo: O objetivo deste trabalho é analisar a questão do indivíduo e da comunidade no interior da crítica de Kierkegaard (1813-1855) à cristandade. Tal polêmica revela uma face religiosa ou teológica, mas antes reflete uma crítica filosófica, que pode ser melhor observada pela perspectiva da filosofia da religião. O autor dinamarquês caracteriza-se por ser essencialmente um pós-hegeliano, tanto em sua cronologia quanto em sua temática. Dessa forma, pretende-se abordá-lo aqui enquanto tal, ainda que guardando delimitações específicas. As considerações introdutórias fornecem, notadamente a partir da interpretação de Karl Löwith, o ambiente filosófico e histórico dos pós-hegelianos críticos da cristandade (e do cristianismo). Dentre esses pensadores, destaca-se a figura de Kierkegaard. O primeiro capítulo tem por meta analisar o problema da verdade objetiva no cristianismo. Para tanto, será especialmente analisada a primeira parte da obra kierkegaardiana Post-Scriptum às Migalhas Filosóficas, uma vez que nela tal problema é proposto. O segundo capítulo analisará a questão do indivíduo e do universal dentro da obra kierkegaardiana. A obra selecionada como principal foco de tal análise é o Livro sobre Adler. Como encadeamento orgânico dessa temática, o terceiro capítulo coloca, a propósito da dialética entre o indivíduo e o comunitário na obra de Kierkegaard, questões centrais do cristianismo como: martírio, apostolado, genialidade e heroísmo. Tais questões serão analisadas especialmente através de uma leitura e interpretação dos Dois pequenos tratados ético-religiosos e do discurso As preocupações dos pagãos. O quarto capítulo pretende avaliar a polêmica kierkegaardiana contra a cristandade propriamente dita. Aborda-se aqui especialmente os artigos de A Pátria, O Instante e o discurso A imutabilidade de Deus. O intuito é demonstrar o quanto a polêmica kierkegaardiana contra a cristandade foi preparada no decorrer de toda a obra e dotada de uma teleologia própria e específica. Por fim, as relações dialéticas entre a comunidade e o indivíduo na obra kierkegaardiana são retomadas nas considerações finais, que pretendem ser uma análise organizada das idéias de Kierkegaard, notadamente em matéria de crítica da cristandade e em filosofia da religião / Abstract: The purpose of this research is to study the question concerning the individual and the community in Kierkegaard¿s works (1813-1855), specially in his criticism of Christendom. There is in this polemic a religiosous and theological face, but there is a philosophical criticism too, that can be better analysed second the perspective of philosophy of religion. The danish author is a post hegelian in his cronology and thematic. In this way, his interpretion is researched here, with these previous delimitations. The introduction give, second Karl Löwith¿s interpretation, the philosophical and historical context of the post hegelianism and his criticism on the question of Christendom (and Christianity). Kierkegaard is one of these thinkers. The first chapter analyses the problem concerning objective true in Christianity. This question is researched in the first part of Concluding Unscientific Post-Scriptum to Philosophical Fragments, where it is firstly proposed. The second chapter studies the question concerning the individual and the universal in Kierkegaard¿s works. The work analyses specially for this question is The Book on Adler. In the same way and thematic, the third chapter studies, in this discussion between individual and comunity in Kierkegaard¿s works, central questions of the Christianity: questions like martyr, apostle, genius and heroi. These problems will be analyses specially in Two Minor Ethico-religious essays and in the discurse The worries of the heathen. The fourth chapter analyses the polemic against the Christendom. The works specially researched here are the articles of The Fatherland, The Moment and the discourse The changelessness of God. The aim is to prove that the kierkegaardian polemic with the Christendom was a specially objective. This research is concluded, with the analyses of the dialetical relations between community and individual in Kierkegaard¿s works. Many Kierkegaard¿s works was used here. Otherwise, the aim of this research is to study in an organizated form, the Kierkegaard¿s conceptions, specially about his Christendom cristicism and his philosophy of religion / Doutorado / Filosofia / Doutor em Filosofia

Traditional scholarship has stated that the serpent and ophicleide (as well as their successor, the tuba) were developed and added to the standard orchestra to add a bass voice to the brass, allowing a tonal compass to match a similar downward expansion in the strings and woodwinds. A closer reading of the earliest scores calling for these instruments reveals a more coloristic purpose, related to timbre as much as to compass. Indeed, the fact that composers rarely wrote for serpent and ophicleide makes two points: it proves them to be inadequate choices as a brass bass, and when they were called for, they had an expressive, often descriptive purpose. Despite his conservative musical education supervised by Carl Friedrich Zelter, the seventeen-year-old Mendelssohn, under the influence of A. B. Marx, used the Corno inglese di basso, an upright version of the serpent, in his Overture to A Midsummer Night's Dream to give a more rustic flavor to Bottom's ass-braying. Even when the English bass horn functioned as a bass voice, it was playing in contexts that were descriptive, where it often demonstrated its musical inadequacy. Berlioz's descriptive writing for the serpent and ophicleide are well known. A remarkable feature which Symphonie fantastique shares with works by the other composers is the confidence Berlioz showed in the ophicleide's functional independence by occasionally giving it an arpeggiated figure while the rest of the orchestra sustains the chord. Wagner's writing for the serpent and ophicleide in Rienzi follows the less imaginative conventions of French grand opera. In Der fliegende Holländer the ophicleide, while not used as descriptively as Mendelssohn and Berlioz, nevertheless contributes significantly to Wagner's emerging focus on the inner lives of his characters and expressive commentary on the stage action. Tubists should consider the expressive implications and the unique timbre of these instruments when performing works originally written for the forerunners of the tuba.