Cette recherche est une exploration des concepts de temps et de possible, au travers d'une conceptualité kierkegaardienne. Le point de départ est le moment d'une naissance qui, lorsque rapporté sur la question de la création de l'univers, impose d'emblée d'explorer le concept d'infini actuel, clarifié à l'aide de Cantor. L'Origine objective du monde est rapportée sur une décision subjective de l'individu. L'éternel retour comme thèse cosmologique est rejetée et resituée comme thèse existentielle et éthique, tout comme l'hypothèse de Dieu n'a un sens existentiel que comme condition de la passion, ce qui impose de revisiter la vérité comme subjectivité plutôt que comme objectivité ou adéquation entre la pensée et la chose. En conséquence, non seulement la réalité mais aussi la possibilité, qui correspond à l'avenir, est motivateur existentiel, c'est-à-dire moteur pour l'action.

Le présent mémoire a pour objectif de faire ressortir la notion d'authenticité dans les œuvres de Sôren Kierkegaard et de Friedrich Nietzsche. Comme la notion d'authenticité n'est pas explicitement un "thème" des philosophies de Kierkegaard et de Nietzsche, nous constituons d'abord une grille d'analyse qui vise à éclairer le sens littéral du mot authenticité, ainsi que son sens philosophique. À la lumière de cette analyse, nous concluons que la notion d'authenticité est parente des concepts d'être et de vérité, et qu'elle peut être clairement définie à partir de ceux-ci. C'est sur cette base que nous définissons la notion d'authenticité chez Kierkegaard, en partant de concepts tels l'instant, le devenir, le temporel, l'éternel et la foi. Enfin, de la même manière qu'avec Kierkegaard, nous définissons la notion d'authenticité chez Nietzsche, en partant de concepts tels la vérité, le nihilisme, la volonté de puissance, l'éternel retour et le fatum.

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M.A. / This mini-dissertation focuses on the writing of the Church of England missionary bishop, John Armstrong and his wife, Frances Armstrong, revealed in their travel journal and diaries. John wrote Notes from South Africa and Frances wrote ,Journal of our Voyage to South Africa 1854 and Journal Port Elizabeth South Africa 1854. This discussion focuses on the imperial encounter as well as on the differences and commonalities in male and female writing revealed in the Armstrong texts ...

The work of physician-turned-writer Walker Percy marks an important development in the history of Southern literature. The author's first novel, The Moviegoer, moves beyond previous consideration of what it meant to be a native of the region by capturing the mindset of modernity rooted in the philosophical movement of existentialism. Embracing the work of S²ren Kierkegaard allows Percy to articulate how his protagonist, Binx Bolling, moves towards a sense of purpose in life. Previously adrift due to the contending forces present in the modern mind, the author indicates how an existentially active individual can achieve a sense of direction through the work of not only Kierkegaard, but also Gabriel Marcel. There are certain phenomena present in the text that allow one to temporarily achieve some sense of solace within an inscrutably secularized existence. However, Percy indicates that the modern individual must ultimately find significance through an intersubjective engagement with another. / by Bryan Salgado. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011.

This thesis examines the schisms in the antebellum Baptist and Methodist Churches regarding slavery. It was these internal ruptures in both denominations that helped influence life in the slave community. The slave narratives of Henry Bibb, William Wells Brown, Frederick Douglass and Harriet Jacobs reveal the impact the schisms had on master-slave relations and slave religious instruction. Moreover, the internal rupture in both denominations over the South‟s peculiar institution was instrumental in spawning a pro-slavery Christianity. This pro-slavery Christianity proved crucial in extending and strengthening white hegemony. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

Made available in DSpace on 2016-04-27T17:27:32Z (GMT). No. of bitstreams: 1 Luiz Gustavo Onisto de Freitas.pdf: 421965 bytes, checksum: 0a620bf0f13a606499a62e0b8e0c6be1 (MD5) Previous issue date: 2010-05-21 / This work is a study of cinema of the Swedish director Ingmar Bergman second point of view of the concepts of Danish philosopher Soeren Aabye Kierkegaard. According to an ethical axis common to both authors, it is observed how the cinematographic language used by Bergman presents important concepts of Kierkegaardian philosophy, like despair, anguish, faith and paradox / Este trabalho consiste em um estudo do cinema do diretor sueco Ingmar Bergman segundo o ponto de vista dos conceitos do filósofo dinamarquês Soeren Aabye Kierkegaard. De acordo com um eixo ético comum aos dois autores, observa-se como a linguagem cinematográfica utilizada por Bergman apresenta conceitos importantes da filosofia kierkegaardiana, como o desespero, a angústia, o paradoxo e a fé

Made available in DSpace on 2016-04-25T19:20:45Z (GMT). No. of bitstreams: 1 Maria Cristina Mariante Guarnieri.pdf: 1263043 bytes, checksum: 5a8109dd8162f2900b878d027f998959 (MD5) Previous issue date: 2006-12-12 / This thesis studies angst as a religious philosophical concept beside the importance of the religious thinker as a comprehension method for religion. Regarding this, it takes as object the religious thinkers Franz Rosenzweig, Sören A. Kierkegaard and the wise man Qohelet, of the Old Testament, whose reflections indicate the presence of angst. The hypothesis that guides this work is that, in these thinkers, this presence, due to the relationship with the transcendent, manifests itself as conceptual tension which produces knowledge. In view of this hypothesis, the intention is to discuss the possibility of building knowledge from religion itself. Angst, then, is the affection that, in these authors, indicates a tension between immanence and transcendence, realizing the human finitude and the infinite possibility, the absolute lack of meaning and the establishment of a multiplicity of meanings. It is a productive agony that serves as hard task in the search for knowledge. Giving priority to the subjectivity and the concreteness of the existence, the authors here worked make an effort to understand the human being, unique is his or her suffering. The angst as key for thinking about the human condition is born from the perception of its own aporia, discovery starting from the first inquiry about the meaning of life / Essa tese estuda a angústia como conceito filosófico religioso ao lado da importância do pensador religioso como método de compreensão da religião. Para isso, toma como objeto os pensadores religiosos Franz Rosenzweig, Sören A. Kierkegaard e o sábio Qohelet, do Antigo Testamento, cujas reflexões indicam a presença da angústia. A hipótese que norteia este trabalho é que, nesses pensadores, esta presença, devido à relação com o transcendente, manifesta-se como tensão conceitual produtora de conhecimento. Face a essa hipótese, a intenção é discutir a possibilidade de construção do conhecimento a partir da própria religião. A angústia, então, é o afeto que, nestes autores, indica uma tensão entre a imanência e transcendência, entre a constatação da finitude humana e a possibilidade infinita, entre a falta de sentido absoluta e a constatação da multiplicidade de sentidos. Uma agonia produtiva que serve de árdua tarefa na busca do conhecimento. Priorizando a subjetividade e a concretude da existência, os autores aqui trabalhados se esforçam para compreender o humano que é único em seu sofrimento. A angústia como chave de pensamento sobre a condição humana nasce da percepção da própria aporia, descoberta a partir da indagação primeira sobre o sentido da vida

Jean-Baptiste Bodoni (1740-1813) est l’un des imprimeurs les plus célèbres du monde occidental et, pour l’Italie, le dernier représentant de la « Typographie d’Ancien Régime » en même temps que le premier des « modernes ». Il a en effet été le dernier capable de dessiner, graver et fondre lui-même ses caractères, tout en exerçant conjointement l’imprimerie et la librairie. Après lui, l’industrialisation du livre commence : les activités qu'il réunissait dans son entreprise, selon la tradition remontant à la naissance de l’imprimerie, se scindèrent sans retour, tandis que la production imprimée s’adressait désormais à la fois à des marchés plus vastes et à des publics différents et plus larges. Les tirages de masse s'accompagnèrent d'une baisse de la qualité et d'une plus grande banalité du style. Grâce à Angelo Pezzana, directeur de la Bibliothèque de Parme au XIXème siècle, les outils utilisés par Bodoni pour fabriquer les caractères, mais aussi ses archives et une collection complète des volumes produits par son atelier, ont été conservés jusqu’à nos jours. Il est donc possible de reconstruire la vie de Bodoni, en insistant notamment sur ses rapports avec les cours d’Europe et avec le marché de la bibliophilie, sur les conditions et les pratiques de travail dans la fonderie de caractères et dans l’imprimerie, et sur la genèse des ouvrages les plus célèbres. La fortune qui a été la sienne remonte aux décennies qui suivent sa disparition et se prolonge jusqu’à aujourd’hui, où les caractères Bodoni sont utilisés dans les graphismes publicitaires et dans les revues, ainsi que pour les marques de mode. Ils sont, toujours, des symboles de l’élégance, de la simplicité, et en même temps du luxe et de l’italianité. / Giambattista Bodoni (1740-1813) is one of the most famous printers of the western world and, for Italy, the last representative of the "Ancien Régime Typography" at the same time as the first "modern". It has indeed been able to make his own characters while exercising together printing and book trade. After him, the industrialization of the book begins: the activities he met in his company, according to tradition dating back to the birth of printing, divided without return, while print production is now addressed to both larger markets and different and wider audiences. Mass prints were accompanied by a decline in quality and of greater banality of style. With Angelo Pezzana, director of the Library of Parma in the nineteenth century, the tools used by Bodoni for making type, but also its archives and a complete collection of volumes produced by his typography, have been preserved until today. It is therefore possible to reconstruct Bodoni of life, with particular emphasis on its relations with the courts of Europe and the market for bibliophile, on the conditions and labor practices in the foundry of characters and in printing, and the genesis of the most famous works. His fortune follow his death and continues until today, where Bodoni characters are used in graphics and for publications and magazines, as well as for fashion brands. They are always, symbols of elegance, simplicity, and at the same time of the luxury and of the Italian style.

Bibliography: p. leaves 62-68.