Es ist eine geschichtsträchtige Zeit. Napoleon Bonaparte, Zar Alexander I. von Russland, König Friedrich Wilhelm III. von Preußen, Graf zu Sayn-Wittgenstein, Ludwig Graf Yorck von Wartenburg und viele andere höchste Politiker und Militärs waren 1813, nach Napoleons Rückzug aus Russland, in Radeberg zu Lage-Sondierungen, Gelände-Besichtigungen und hochrangigen Gesprächen. Nur knapp sind Radeberg und Lotzdorf direkten militärischen Kämpfen entgangen, trotzdem waren die Schäden durch Belagerungen, Requirierungen, Plünderungen u. ä. unvorstellbar.... Dabei spielte der Sandberg, gelegen zwischen Radeberg und Lotzdorf am „Lotzdorfer Zacken“ und die höchste Erhebung im Radeberger Gebiet, eine besondere Rolle, denn Napoleon kam mit seinem Stab von Dresden, um von hier aus das Terrain für die Vorbereitung einer Schlacht zu sondieren.

Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: The problem explored in this study concerns authenticity, and can be formulated as the question: 'How does one become oneself? In order to answer this query, related issues must be addressed, for example: the nature of consciousness/ self-awareness; the individual's relationship to society; the meaning of existence, and so forth. The reply's of three thinkers, Kierkegaard, Sartre and Jung, will be discussed in this investigation. They have been selected for several reasons: Each of their respective theories addresses issues that are generally pertinent in contemporary society, such as: the alienation and dissociation of individuals from each other and themselves through mass-mindedness and the impersonal nature of state and religious institutions; the anxiety that many experience due to, firstly, a lack of confidence in the abovementioned institutions and, secondly, a loss of trust in existing (political, religious, moral, social) life-strategies, because these often fail to give a convincing sense of meaning and purpose to life. Each of the three thinkers places the 'self at the center of their philosophy, and addresses many similar themes which share between them a family resemblance that admits of comparison. The theories are presented in an order that · allows for a dialectical approach to the problem of self: Kierkegaard's fundamentally Christian theory is presented as thesis, and Sartre's atheistic position as anti-thesis. Jung's theory of the psyche is presented as synthesis, because it is antimetaphysical, but nevertheless claims to prove empirically that a convincing religious/ spiritual experience is the key ingredient for authenticity. The outcome of the enquiry will show that the three thinkers point from different directions towards the same basic conceptualization of the 'self: The self is both a project and a goal or, to put it differently, a journey and a destination, the goal/destination being the synthesis of the various disparate and conflicting elements that influence or make up the personality. The study as a whole echoes the three individual approaches in describing the condition of modem man as a malady or sickness, which is the lack of authenticity, of which the symptoms are falsehood, anxiety, alienation, crippled relationships, lack of responsibility and adaptibility, and perhaps, on a larger scale, issues such as social/ political injustice and conflict. The cure for this malady is an enhancement of consciousness/ awareness that is known as 'the self. The self is seen as a 'becoming' and a choice, a dynamic synthesis, something which is not given and cannot be taken for granted, but must be actively striven for. The study outlines and explores the nature and value of such a project towards the self. / AFRIKAANSE OPSOMMING: Hierdie studie beskou die probleem van outentisiteit, wat as die vraag, 'Hoe word ek myself?', gestel kan word. Om hierdie vraag te beantwoord, moet verdere kwessies, soos byvoorbeeld die aard van (self)bewussyn, die verhouding waarin die indivudu tot die samelewing staan, en die betekenis van 'bestaan' ( eksistensie ), ook aangespreek word. Die voorstelle van drie denkers, Kierkegaard, Sartre and Jung, word bespreek in hierdie tesis. Die drie is vir verskeie redes uitgesoek: Elkeen van hulle spreek pertinente kwessies rondom die modeme samelewing aan, byvoorbeeld: individue se vervreemding en verwydering van hulself en ander weens die massa-mentaliteit en onpersoonlike aard van staats- en godsdienstige instellings; die angs en spanning wat baie ervaar as gevolg van 'n gebrek aan vertroue in bogenoemde instellings, asook 'n gebrekkige geloof in bestaande (politiese, godsdienstige, more le, so si ale) lewensstrategiee wat nie meer daarin slaag om sin of rede aan die lewe te gee nie. Elkeen van die drie denkers plaas die 'self sentraal tot hulle filosofie, en spreek temas aan wat onderling familie-ooreenkomste vertoon, en daarom onderlinge vergelyking toelaat. Die teoriee word aangebied in 'n volgorde wat 'n dialekti~se aanslag tot die probleem moontlik maak: Kierkegaard se Christelike teorie word as tese aangebied, en Sartre se ateistiese posisie as anti-tese. Jung se teorie van die psige word as sintese voorgehou, want, alhoewel dit geen metafisiese aansprake maak nie, beskou dit 'n oortuigende religieuse/ geestelike ervaring as die hoofbestandeel vir outentisiteit. Die gevolgtrekking van die ondersoek sal wys dat die drie denkers vanuit verskillende rigtings na dieselfde konsepsie van die 'self wys: Die self is sowel 'n projek as 'n doel, of, anders gestel, 'n reis en 'n bestemming. Die doel/ bestemming is 'n sintese van die verskillende, onderling botsend~ elemente waaruit die self bestaan en waardeur dit beinvloed word. Die studie in geheel volg die voorbeeld van die drie denkers deur die modeme mens se 'toestand' as 'n soort siekte te beskryf. Die simptome van hierdie siekte, of gebrek aan outentisiteit, is valsheid, angs, vervreemding, gebrekkige verhoudings, die afwesigheid van persoonlike verantwoordelikheid en aanpasbaarheid, en ook miskien kwessies soos sosiale en politiese onreg en konflik. Die remedie vir so 'n siekte is die 'self: 'n verheldering en intensifisering van bewussyn, wat gesien kan word as 'n 'wording' en 'n keuse, 'n dinamiese sintese, iets wat nie as voor-die-hand-liggend beskou kan word nie, maar wat aktief nagestreef moet word. Hierdie studie ondersoek die aard en waarde van so 'n projek gerig op die self

Thèse réalisée en cotutelle avec la Freie Universität Berlin. La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Ce travail aborde l’aspect spécifiquement compositionnel du phénomène wagnérien en France dans les dernières décennies du XIXe siècle, par le biais d’une étude de cas centrée sur l’opéra Le Roi Arthus d’Ernest Chausson (1855-1899). Exceptionnellement bien documenté grâce à de nombreuses sources dont une bonne part sont inédites (brouillons et esquisses du livret et de la partition, correspondance, etc.), cet opéra composé de 1886 à 1895 et créé en 1903 au Théâtre de la Monnaie de Bruxelles offre en effet un aperçu privilégié de la relation complexe qu’entretiennent les compositeurs français de cette époque avec l’imposante figure de Wagner. La question de l’influence wagnérienne dans Le Roi Arthus est abordée ici dans le cadre d’une démarche appliquant, dans une perspective historique, la méthode sémiologique développée par Jean Molino et Jean-Jacques Nattiez. L’analyse de la genèse, de la version finale et de la réception de l’oeuvre au moment de sa création permet d’obtenir une vue d’ensemble inédite des rapports s’établissant entre l’opéra de Chausson et les drames lyriques de Wagner, en particulier Tristan und Isolde. Il en ressort que des premières esquisses à la création de l’opéra, Le Roi Arthus a évolué dans une dialectique complexe avec un modèle à la fois craint et admiré. Ardent wagnérien dès son plus jeune âge, Chausson ne souhaite pas pour autant devenir un épigone de Wagner. Sur les conseils d’Henri Duparc, il déploie donc de grands efforts pour « déwagnériser » le livret du Roi Arthus, qu’il rédige lui-même à partir d’un sujet mythique rappelant fortement Wagner. La version finale du livret, si elle présente encore quelques points de contact avec Tristan und Isolde et Der Ring des Nibelungen, incarne cependant une vision du monde très éloignée de celle de Wagner, et dans laquelle des valeurs comme l’honneur et la fidélité l’emportent sur un amour interdit apparaissant condamné d’avance. Cette dramaturgie aux antipodes de celle de Tristan s’appuie, paradoxalement, sur des références musicales wagnériennes que Chausson intègre et précise graduellement au fil de la genèse de la partition, et dont la mise en oeuvre souligne habilement tout ce qui sépare Lancelot et Genièvre, amants dépareillés, du couple indissociable formé par Tristan et Isolde. Dans cet opéra conçu, mais jusqu’à un certain point seulement, dans l’ombre de Wagner, ce sont les ressemblances musicales et surtout dramatiques avec Tristan und Isolde qui ont le plus frappé les critiques des premières représentations, donnant lieu à une réception où la question de l’influence wagnérienne occupe une place prépondérante. Mais si tous les recenseurs abordent cette question, ils le font sous des angles variant en fonction de facteurs extérieurs à l’oeuvre, comme leur formation antérieure, leur propre position face à Wagner et les liens qu’ils ont entretenus avec Chausson alors qu’il était encore vivant. Au-delà des connaissances qu’elle permet d’acquérir sur l’oeuvre, et plus particulièrement sur sa genèse, l’étude du Roi Arthus dans une triple perspective poïétique, immanente et esthésique s’ouvre donc sur un portrait du rôle central joué par le « Maître de Bayreuth » dans l’imaginaire musical de la fin du XIXe siècle, tout en jetant les bases d’une synthèse encore à faire des stratégies créatrices employées par les compositeurs d’opéra français face au modèle de Wagner. / This thesis examines the compositional aspect of Wagnerism in France during the final decades of the 19th century, through a case study of Ernest Chausson’s (1855-1899) opera Le Roi Arthus. Exceptionally well documented thanks to a large number of sources, most of which are unpublished (drafts and sketches of the libretto and score, correspondence, etc.), this opera, composed between 1886 and 1895 and premiered at the Théâtre de la Monnaie in Brussels in 1903, in fact allows a remarkable glimpse into the relationship between French composers of the period and the imposing figure of Wagner. The question of Wagnerian influence in Le Roi Arthus is here approached through a methodology that applies the semiotic model developed by Jean-Jacques Nattiez and Jean Molino in a historical perspective. An analysis of the genesis of the opera, its final version and the reception of its premiere provides a fresh overall view of the connection between Chausson’s opera and Wagner’s music dramas, particularly Tristan und Isolde. What emerges is a complex dialectic between Le Roi Arthus—from the first sketches to the opera’s premiere—and a model that provoked both disquiet and admiration. Though an ardent Wagnerian from an early age, Chausson did not want to merely become an epigone of the German composer. Following advice from Henri Duparc, Chausson therefore expended considerable effort in “dewagnerizing” the libretto of Le Roi Arthus, which he wrote himself, based on a mythical subject strongly reminiscent of Wagner. The final version of the libretto, while it maintains some links with Tristan und Isolde and Der Ring des Nibelungen, otherwise projects a worldview quite unlike Wagner’s, in which values such as honor and fidelity outweigh a forbidden love that seems doomed from the start. Paradoxically, this un-Tristanesque dramatic setup rests in part on Wagnerian musical references that Chausson integrated and honed gradually as he composed the score, and whose treatment cleverly underscores what separates Lancelot and Genièvre, poorly matched lovers, from the integrated couple formed by Tristan and Isolde. In this opera conceived, but only up to a point, in Wagner’s shadow, the musical and especially dramatic resemblances with Tristan und Isolde are what have most struck the critics of the first performances, which has given rise to a reception where the question of Wagnerian influence dominates. However, even though all critics touched on this question, they did so from points of view that vary according to factors extrinsic to the work, such as their own prior training, their personal positions on Wagner and the relationships they had had with Chausson during his lifetime. Beyond the knowledge it allows us to gain on the work itself, and more particularly on its early development, the study of Le Roi Arthus from poietic, immanent and esthesic perspectives opens onto an understanding of the central role played by the “Bayreuth Master” in late 19th-century musical imagination, while creating the basis necessary to undertake a new synthesis of the creative strategies used by composers of French opera faced with the Wagnerian model.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand in partial fulfilment of the requirements for the degree of Master of Arts, Johannesburg, 2017 / Set within a revisionist and feminist context, this thesis seeks to draw parallels in the autobiographical texts of Harriet Jacobs’ Incidents in the Life of a Slave Girl (1861) written by an African American ex-enslaved and Schizophrene (2011) penned by Bhanu Kapil, a British born Asian American, a descendant of a generation that live (d) through/with ‘what happened in a particular country on a particular day in August 14th 1947’ (Quaid). These literary representations will constitute the corpus of this research paper as it attempts to examine how these autobiographies draw attention to and break the notion of prevailing dominant geographies of oppression. In both texts, the authors juxtapose appropriation and hegemony with an alternative literary geographic narrative that seeks to recuperate the liminal (black) body and psyche. This research paper will seek to explore the multiple and interrelated ways in which both authors employ certain strategic mechanisms to re-appropriate tools of social power, thus exposing the frailties of their respective oppressive histories by disrupting their continued, albeit imagined stronghold on them. In employing their autobiographies as anthropological arsenals, these authors seem to demonstrate the manner in which history has attempted through its numerous sites of oppression not only to construct black victims and mere black bodies but also to un-write and evacuate its untidiness. These autobiographies will be employed to reconstruct and re-imagine the authors but symbolically the collective black body as more than objects but rather as humans with subjectivities and self-assertion. The paper further seeks to understand how these autobiographies tend to a vicious past of slavery and partition and how they translate these memories, remembering the depth of their experiences whilst also being haunted by their contemporary echoes. An accent will be given to the ambivalence, perversions and anxieties of these autobiographies. / XL2018

Despite Tristan’s place as a cornerstone of the operatic repertory, there has been surprisingly little scholarship on King Mark, whom scholars often overlook in favour of the title characters. This study examines Wagner’s adaptation of his source, the Tristan of Gottfried von Strassburg, to construct a character that represents the courtly chivalric society of the opera in opposition to the new order represented in Tristan’s passionate pursuit of love and, ultimately, of death. Building on literary scholarship of the Tristan tradition, this study explores issues of duality and decline in Mark’s character and the elements of his chivalric friendship with Tristan within the homosocial constructs of the courts. Through his use of traditional operatic lament form, associative orchestration, and text expression, Wagner constructs a king who is more nuanced that any of his predecessors: one cleansed by tragedy and capable of forgiveness.

Esta tese objetiva investigar a questão do mal a partir da visão hegeliana, schellinguiana e kierkegaardiana, tomando como referência principal o tema da queda a qual pressupõe um estado original de felicidade e perfeição do ser humano no paraíso (Gn 3) e que foi perdido em vista da transgressão à norma estabelecida por Deus de não se poder comer do fruto da árvore do bem e do mal. Para Hegel, nunca houve esse estado originário de felicidade, e por isso, tanto o bem quanto o mal devem ser estudados a partir da visão no qual o homem está inserido, a história universal. O homem, segundo Hegel, é espírito e como tal, na sua origem ainda não é o que deve ser, não tem consciência de si, não se sabe como espírito, assim, nesse registro, é mau, e deve fazer o seu percurso na história para efetivar esse seu dever ser, na dualidade bem e mal, e chegar ao estado de reconciliação. Para Hegel, se se quiser ficar no âmbito da metáfora do paraíso, este é uma conquista alcançada pelo próprio homem que se alça de seu estado de animalidade para efetivar-se como espírito. Hegel não tem uma obra especifica sobre o tema do mal e da conciliação, mas ele é tratado em diversas de suas obras, principalmente na “Fenomenologia do espírito”, “Lições sobre a filosofia da história” nos cursos berlinenses de 1821, 1824, 1827 e 1831, compilados na obra “Lições sobre filosofia da religião”. O mal está entrelaçado com o livre arbítrio (Willkür). Schelling investiga a questão do mal em muitas de suas obras, mas esta tese se centraliza em “Filosofia e religião” (1804), “Investigações filosóficas sobre a essência da liberdade humana e os objetos a ela conexos” (1809) e “Preleções privadas de Stuttgart” (1810). Nessas obras, o mal está imbricado com as questões do fundamento, da liberdade e do livre arbítrio. A redenção humana se efetiva na relação amorosa do homem com Deus. O tema do mal, em Kierkegaard, é abordado, principalmente em “O conceito de angústia” a partir da perspectiva do observador psicológico que adentra na alma humana e ali analisa a possibilidade e a efetivação do mal (pecado hereditário) que acessa em cada indivíduo do mesmo modo como ingressara em Adão, isto é, por meio de um salto. O mal, portanto, se pressupõe a si mesmo. Nesse livro e na obra kierkegaardiana, percorre, do início ao fim, o indivíduo, categoria essencial no pensamento do filósofo dinamarquês. O homem, como indivíduo que é, diante de Deus é sempre culpado. É responsável, por tanto, pelo bem e pelo mal que faz. Sua tarefa será a de edificar-se a partir do fundamento do amor. Nesses três autores, o mal é uma transgressão do homem à sua própria humanidade, transgressão à ordem que deveria ser harmoniosa e que será superada, essa transgressão, em Hegel, pela reconciliação, em Schelling e Kierkegaard, pelo amor que é a prática do bem. / This thesis aims to investigate the question of evil from hegelian, schellinguian and kierkegaardian’s vision, with main reference to the theme of the fall which presupposes an original state of happiness and perfection of human being in Paradise (Gen 3) ) and that was lost in view of transgression to the norm established by God not to eat of the fruit of the good and evil tree. To Hegel, there has never been such original state of happiness and, therefore, both good and evil must be studied from the perspective in which man is inserted, the universal history. The man, according to Hegel, is the spirit and as such, in his origin is still not what he should be because he has no self-consciousness, he is not known as a spirit, so in this record, he is bad, and should make his journey in history to make this, his duty to be, in duality good and evil, and reach the State of reconciliation. For Hegel, if want to stay under the metaphor of paradise, this is an achievement attained by man himself who rises from his state of animality to become effective as spirit. Hegel does not have a specific work on the subject of evil and conciliation, but it is treated in several of his works, most notably in "Phenomenology of Spirit," "Lectures on the philosophy of history" in the Berliners courses of 1821, 1824, 1827 e 1831, compiled in the book "Lectures about philosophy of religion." The evil is entwined with the free will (Willkur). Schelling investigates the question of evil in many of his works, but this thesis centers on "Philosophy and Religion" (1804), "Philosophical Investigations about the essence of human freedom and the objects related to it" (1809) and "Stuttgart private Lectures" (1810). In these works, evil is interwoven with the issues of the plea of freedom and free will. The human redemption is realized in the love relationship with God. The theme of evil, in Kierkegaard, is discussed, especially in "The Concept of Dread," from the perspective of psychological observer that enters in the human soul and there analyzes the possibility and realization of evil (inherited sin) that accesses on every individual in the same way as he started in Adam, i.e. through a jump. Evil, therefore, assumed to himself. In this book and in the Kierkegaardian works, it goes, from beginning to the end, the individual, essential category in Danish philosopher's thought. Man as an individual, in the presence of God is always guilty. He is responsible, consequently, for the good and for the evil that he does. His task will be to build from the basis of love. In these three authors, the evil is a transgression of the man to his humanity itself, transgression to the order that should be harmonious and that will be surpassed. This transgression, in Hegel, for the reconciliation, in Schelling and Kierkegaard, for the love that is the practice of the good.

Made available in DSpace on 2014-06-11T19:24:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-02-25Bitstream added on 2014-06-13T19:52:43Z : No. of bitstreams: 1 000755405.pdf: 721229 bytes, checksum: a665c9ee190d3a2675b924dd4bb2c525 (MD5) / As origens da Teoria dos Invariantes na Inglaterra e o Mécanique Analytique de Lagrange (1788), é um trabalho voltado principalmente a entender uma possível influência que levou George Boole em 1841, a escrever o artigo Exposition of a General Theory of Linear Transformations e verificar se a motivação que o fez produzir este trabalho é igual ou diferente da motivação que ele exerceu sobre Arthur Cayley e consequentemente sobre James Joseph Sylvester. O presente trabalho apresenta um estudo das origens da Teoria dos Invariantes, no século XIX na Inglaterra. De acordo com os historiadores da Matemática o marco do início desta Teoria foi a publicação de George Boole em 1841. Assumimos este artigo como referência principal para realizar nossa pesquisa. Analisamos “antes” e “após” esta publicação de 1841. Concluímos que o Mécanique Analytique de Lagrange, foi a principal motivação para George Boole escrever seu trabalho e, certamente, George Boole foi uma grande influência para Arthur Cayley no que condiz com a escolha do assunto “invariantes” bem como o desenvolvimento desta Teoria por Cayley / The origins of the theory of invariants in England and Mécanique Analytique of Lagrange (1788), is a work geared primarily to understand a possible influence that led George Boole in 1841, writing the article Exposition of the General Theory of Linear Transformations and verify that the motivation that did produce this work is equal or different of the motivation that he exerted on Arthur Cayley and James Joseph Sylvester consequently. This paper presents a study of the Invariant Theory origins, in the nineteenth century in England. According to historians of Mathematics the beginning of this Theory was the publication in 1841 of George Boole. We have taken this article as a reference to our research. We have proposed to analyzed before and after this publication, 1841. We conclude that the Mécanique Analytique Lagrange, was the essential motivation for George Boole write his work, and certainly George Boole was a great influence to Arthur Cayley in which matches the choice of subject invariants as well as the development of this Theory by Cayley

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to study, comparatively, the narrative Tristan and Isolde and homonymous Richard Wagner‟s opera. This study, of inter artistic transposition, analyses two versions, namely Tristão e Isolda, by Fernandel Abrantes and O Romance de Tristão e Isolda, by Joseph Bédier (translated by Luis Claudio de Castro e Costa), to build a relationship between both plots, setting, characters and time, to justify the choice of the versions, deriving from a series of recovered fragments as representative of the myth of Tristan. After the text of this research, we offer a literary analysis of Tristan and Isolde opera libretto as well as a brief explanation of the artist‟s composition procedures and a presentation of music critics who have studied Wagner‟s work. In an attempt to show the established proximities between the legend and the opera, we shall analyze comparatively the observations made about the narrative and the opera under the inter artistic transposition concepts. / Este trabalho tem como objetivo o estudo comparatista entre a narrativa Tristão e Isolda e a ópera homônima de Richard Wagner. O estudo de transposição interartes proposto nesta dissertação de mestrado visa analisar literariamente duas versões, a saber, Tristão e Isolda, de Fernandel Abrantes e O Romance de Tristão e Isolda, de Joseph Bédier (tradução de Luis Claudio de Castro e Costa), a fim de relacionar os enredos, espaço, personagens e tempo de ambas, para justificar a escolha das versões, provenientes de vários fragmentos resgatados, como representante do mito de Tristão. Após essa pesquisa, propomos uma análise literária do libreto da ópera Tristão e Isolda, de Wagner, assim como uma breve explicação da construção operística do compositor e uma apresentação de teóricos musicais que se debruçaram sobre essa obra. Em uma tentativa de demonstrar as proximidades estabelecidas pelo compositor entre a lenda e o texto operístico, analisaremos comparativamente as observações feitas sobre o texto literário e o texto operístico sob a luz dos conceitos de transposição interartes. / Mestre em Teoria Literária

Esta tese objetiva investigar a questão do mal a partir da visão hegeliana, schellinguiana e kierkegaardiana, tomando como referência principal o tema da queda a qual pressupõe um estado original de felicidade e perfeição do ser humano no paraíso (Gn 3) e que foi perdido em vista da transgressão à norma estabelecida por Deus de não se poder comer do fruto da árvore do bem e do mal. Para Hegel, nunca houve esse estado originário de felicidade, e por isso, tanto o bem quanto o mal devem ser estudados a partir da visão no qual o homem está inserido, a história universal. O homem, segundo Hegel, é espírito e como tal, na sua origem ainda não é o que deve ser, não tem consciência de si, não se sabe como espírito, assim, nesse registro, é mau, e deve fazer o seu percurso na história para efetivar esse seu dever ser, na dualidade bem e mal, e chegar ao estado de reconciliação. Para Hegel, se se quiser ficar no âmbito da metáfora do paraíso, este é uma conquista alcançada pelo próprio homem que se alça de seu estado de animalidade para efetivar-se como espírito. Hegel não tem uma obra especifica sobre o tema do mal e da conciliação, mas ele é tratado em diversas de suas obras, principalmente na “Fenomenologia do espírito”, “Lições sobre a filosofia da história” nos cursos berlinenses de 1821, 1824, 1827 e 1831, compilados na obra “Lições sobre filosofia da religião”. O mal está entrelaçado com o livre arbítrio (Willkür). Schelling investiga a questão do mal em muitas de suas obras, mas esta tese se centraliza em “Filosofia e religião” (1804), “Investigações filosóficas sobre a essência da liberdade humana e os objetos a ela conexos” (1809) e “Preleções privadas de Stuttgart” (1810). Nessas obras, o mal está imbricado com as questões do fundamento, da liberdade e do livre arbítrio. A redenção humana se efetiva na relação amorosa do homem com Deus. O tema do mal, em Kierkegaard, é abordado, principalmente em “O conceito de angústia” a partir da perspectiva do observador psicológico que adentra na alma humana e ali analisa a possibilidade e a efetivação do mal (pecado hereditário) que acessa em cada indivíduo do mesmo modo como ingressara em Adão, isto é, por meio de um salto. O mal, portanto, se pressupõe a si mesmo. Nesse livro e na obra kierkegaardiana, percorre, do início ao fim, o indivíduo, categoria essencial no pensamento do filósofo dinamarquês. O homem, como indivíduo que é, diante de Deus é sempre culpado. É responsável, por tanto, pelo bem e pelo mal que faz. Sua tarefa será a de edificar-se a partir do fundamento do amor. Nesses três autores, o mal é uma transgressão do homem à sua própria humanidade, transgressão à ordem que deveria ser harmoniosa e que será superada, essa transgressão, em Hegel, pela reconciliação, em Schelling e Kierkegaard, pelo amor que é a prática do bem. / This thesis aims to investigate the question of evil from hegelian, schellinguian and kierkegaardian’s vision, with main reference to the theme of the fall which presupposes an original state of happiness and perfection of human being in Paradise (Gen 3) ) and that was lost in view of transgression to the norm established by God not to eat of the fruit of the good and evil tree. To Hegel, there has never been such original state of happiness and, therefore, both good and evil must be studied from the perspective in which man is inserted, the universal history. The man, according to Hegel, is the spirit and as such, in his origin is still not what he should be because he has no self-consciousness, he is not known as a spirit, so in this record, he is bad, and should make his journey in history to make this, his duty to be, in duality good and evil, and reach the State of reconciliation. For Hegel, if want to stay under the metaphor of paradise, this is an achievement attained by man himself who rises from his state of animality to become effective as spirit. Hegel does not have a specific work on the subject of evil and conciliation, but it is treated in several of his works, most notably in "Phenomenology of Spirit," "Lectures on the philosophy of history" in the Berliners courses of 1821, 1824, 1827 e 1831, compiled in the book "Lectures about philosophy of religion." The evil is entwined with the free will (Willkur). Schelling investigates the question of evil in many of his works, but this thesis centers on "Philosophy and Religion" (1804), "Philosophical Investigations about the essence of human freedom and the objects related to it" (1809) and "Stuttgart private Lectures" (1810). In these works, evil is interwoven with the issues of the plea of freedom and free will. The human redemption is realized in the love relationship with God. The theme of evil, in Kierkegaard, is discussed, especially in "The Concept of Dread," from the perspective of psychological observer that enters in the human soul and there analyzes the possibility and realization of evil (inherited sin) that accesses on every individual in the same way as he started in Adam, i.e. through a jump. Evil, therefore, assumed to himself. In this book and in the Kierkegaardian works, it goes, from beginning to the end, the individual, essential category in Danish philosopher's thought. Man as an individual, in the presence of God is always guilty. He is responsible, consequently, for the good and for the evil that he does. His task will be to build from the basis of love. In these three authors, the evil is a transgression of the man to his humanity itself, transgression to the order that should be harmonious and that will be surpassed. This transgression, in Hegel, for the reconciliation, in Schelling and Kierkegaard, for the love that is the practice of the good.

Esta tese objetiva investigar a questão do mal a partir da visão hegeliana, schellinguiana e kierkegaardiana, tomando como referência principal o tema da queda a qual pressupõe um estado original de felicidade e perfeição do ser humano no paraíso (Gn 3) e que foi perdido em vista da transgressão à norma estabelecida por Deus de não se poder comer do fruto da árvore do bem e do mal. Para Hegel, nunca houve esse estado originário de felicidade, e por isso, tanto o bem quanto o mal devem ser estudados a partir da visão no qual o homem está inserido, a história universal. O homem, segundo Hegel, é espírito e como tal, na sua origem ainda não é o que deve ser, não tem consciência de si, não se sabe como espírito, assim, nesse registro, é mau, e deve fazer o seu percurso na história para efetivar esse seu dever ser, na dualidade bem e mal, e chegar ao estado de reconciliação. Para Hegel, se se quiser ficar no âmbito da metáfora do paraíso, este é uma conquista alcançada pelo próprio homem que se alça de seu estado de animalidade para efetivar-se como espírito. Hegel não tem uma obra especifica sobre o tema do mal e da conciliação, mas ele é tratado em diversas de suas obras, principalmente na “Fenomenologia do espírito”, “Lições sobre a filosofia da história” nos cursos berlinenses de 1821, 1824, 1827 e 1831, compilados na obra “Lições sobre filosofia da religião”. O mal está entrelaçado com o livre arbítrio (Willkür). Schelling investiga a questão do mal em muitas de suas obras, mas esta tese se centraliza em “Filosofia e religião” (1804), “Investigações filosóficas sobre a essência da liberdade humana e os objetos a ela conexos” (1809) e “Preleções privadas de Stuttgart” (1810). Nessas obras, o mal está imbricado com as questões do fundamento, da liberdade e do livre arbítrio. A redenção humana se efetiva na relação amorosa do homem com Deus. O tema do mal, em Kierkegaard, é abordado, principalmente em “O conceito de angústia” a partir da perspectiva do observador psicológico que adentra na alma humana e ali analisa a possibilidade e a efetivação do mal (pecado hereditário) que acessa em cada indivíduo do mesmo modo como ingressara em Adão, isto é, por meio de um salto. O mal, portanto, se pressupõe a si mesmo. Nesse livro e na obra kierkegaardiana, percorre, do início ao fim, o indivíduo, categoria essencial no pensamento do filósofo dinamarquês. O homem, como indivíduo que é, diante de Deus é sempre culpado. É responsável, por tanto, pelo bem e pelo mal que faz. Sua tarefa será a de edificar-se a partir do fundamento do amor. Nesses três autores, o mal é uma transgressão do homem à sua própria humanidade, transgressão à ordem que deveria ser harmoniosa e que será superada, essa transgressão, em Hegel, pela reconciliação, em Schelling e Kierkegaard, pelo amor que é a prática do bem. / This thesis aims to investigate the question of evil from hegelian, schellinguian and kierkegaardian’s vision, with main reference to the theme of the fall which presupposes an original state of happiness and perfection of human being in Paradise (Gen 3) ) and that was lost in view of transgression to the norm established by God not to eat of the fruit of the good and evil tree. To Hegel, there has never been such original state of happiness and, therefore, both good and evil must be studied from the perspective in which man is inserted, the universal history. The man, according to Hegel, is the spirit and as such, in his origin is still not what he should be because he has no self-consciousness, he is not known as a spirit, so in this record, he is bad, and should make his journey in history to make this, his duty to be, in duality good and evil, and reach the State of reconciliation. For Hegel, if want to stay under the metaphor of paradise, this is an achievement attained by man himself who rises from his state of animality to become effective as spirit. Hegel does not have a specific work on the subject of evil and conciliation, but it is treated in several of his works, most notably in "Phenomenology of Spirit," "Lectures on the philosophy of history" in the Berliners courses of 1821, 1824, 1827 e 1831, compiled in the book "Lectures about philosophy of religion." The evil is entwined with the free will (Willkur). Schelling investigates the question of evil in many of his works, but this thesis centers on "Philosophy and Religion" (1804), "Philosophical Investigations about the essence of human freedom and the objects related to it" (1809) and "Stuttgart private Lectures" (1810). In these works, evil is interwoven with the issues of the plea of freedom and free will. The human redemption is realized in the love relationship with God. The theme of evil, in Kierkegaard, is discussed, especially in "The Concept of Dread," from the perspective of psychological observer that enters in the human soul and there analyzes the possibility and realization of evil (inherited sin) that accesses on every individual in the same way as he started in Adam, i.e. through a jump. Evil, therefore, assumed to himself. In this book and in the Kierkegaardian works, it goes, from beginning to the end, the individual, essential category in Danish philosopher's thought. Man as an individual, in the presence of God is always guilty. He is responsible, consequently, for the good and for the evil that he does. His task will be to build from the basis of love. In these three authors, the evil is a transgression of the man to his humanity itself, transgression to the order that should be harmonious and that will be surpassed. This transgression, in Hegel, for the reconciliation, in Schelling and Kierkegaard, for the love that is the practice of the good.