Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de Filosofia, Programa de Pós-Graduação em Filosofia, 2014. / Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-10-21T18:46:41Z No. of bitstreams: 1 2014_RicardoLindemann.pdf: 1112704 bytes, checksum: ff38bbd6d8a7cc25a177bff194080092 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2014-10-21T19:12:18Z (GMT) No. of bitstreams: 1 2014_RicardoLindemann.pdf: 1112704 bytes, checksum: ff38bbd6d8a7cc25a177bff194080092 (MD5) / Made available in DSpace on 2014-10-21T19:12:18Z (GMT). No. of bitstreams: 1 2014_RicardoLindemann.pdf: 1112704 bytes, checksum: ff38bbd6d8a7cc25a177bff194080092 (MD5) / Este trabalho tem como objetivo investigar a relação entre Platonismo e Cristianismo em Migalhas Filosóficas de Kierkegaard, mostrando que a diferença entre os modelos do Platonismo e do Cristianismo, apontadas pelo autor, na relação Mestre e Discípulona mesma obra, assinada por seu pseudônimo Johannes Climacus, não implica que tais modelos sejam essencial e mutuamente excludentes, mas que são passíveis de uma reconciliação. Para tanto, a partir do Platonismo e suas teorias interdependentes de Reminiscência e Metempsicose, será sustentado que a diferença supramencionada é, em certa medida, artificialmente criada ou exageradamente radicalizada pelo autor, e setentará evidenciar eventuais incompatibilidades do Cristianismo assim ‘inventado’ por Climacus com o Cristianismo primitivo (sugerindo pesquisa em Orígenes) e tradicional,bem como alguns dos mais relevantes pontos em comum deste último com o Platonismo, particularmente o Princípio da Imanência. ______________________________________________________________________________ ABSTRACT / This work has the object to investigate the relation between Platonism and Christianityin Kierkegaard’s Philosophical Fragments, showing that the difference between thePlatonist and the Christian Models, pointed by the author, in the master and disciplerelationship in the same work, signed by the pseudonymous of Johannes Climacus, notimply that such models were essentially and mutually exclusives, but that they couldhave a possible reconciliation. To do such, from the Platonism and its interdependenttheories of Recollection and Metempsychosis, it will be sustained that the differencementioned above is, in certain measure, artificially created or too much radicalized bythe author, and it will be tried to show evidence of eventual incompatibilities betweenthe Christianity so ‘invented’ by Climacus and the Early (suggesting research in Origen)and Traditional Christianity, as well as some of the most relevant common pointsbetween the latter and Platonism, particularly the Principle of Immanence.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de Filosofia, Programa de Pós-Graduação em Filosofia, 2013. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-09-02T13:53:23Z No. of bitstreams: 1 2013_ArthurBartholoGomes.pdf: 1133542 bytes, checksum: 2c63e6e33db6ad21f9d4d19fe988bea5 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-09-02T14:02:50Z (GMT) No. of bitstreams: 1 2013_ArthurBartholoGomes.pdf: 1133542 bytes, checksum: 2c63e6e33db6ad21f9d4d19fe988bea5 (MD5) / Made available in DSpace on 2013-09-02T14:02:50Z (GMT). No. of bitstreams: 1 2013_ArthurBartholoGomes.pdf: 1133542 bytes, checksum: 2c63e6e33db6ad21f9d4d19fe988bea5 (MD5) / Esta dissertação trata do problema da repetição em Kierkegaard do ponto de vista daquilo que ele concebe como sendo o estético. Tanto as articulações do significado deste conceito dentro da obra A Repetição, quanto o significado do estético nesta e em outras obras, serão trabalhados no sentido de aproximar aquilo que, no texto, aparece associado de maneira apenas indireta. A tarefa, portanto, exige uma exposição detalhada da ideia de repetição em toda a sua abrangência tal como Kierkegaard apresentou, bem como o significado do estético e como a repetição abre seus limites para o religioso enquanto uma postura existencial que a ultrapassa. A colisão entre o estético e o religioso, a partir da qual o poético aparece como uma forma de realização da repetição, consiste, portanto, na ideia central deste trabalho e no tema chave, em que seus elementos deverão ser desenvolvidos tanto em seus aspectos divergentes quanto convergentes. ______________________________________________________________________________ ABSTRACT / This dissertation intents to see the problem of repetition in Kierkegaard from that point of view which he conceives to be aesthetical. Both the meaning of this concept inside the book Repetition, as well as the meaning of the aesthetic on this matter in this text and in other writings, will be developed in order to bring together what appears linked in the text only in an indirect manner. The task altogether requires a detailed exposition of the idea of repetition in all its complexity as was shown by Kierkegaard, as well as the meaning of the aesthetical and the limits opened by repetition towards the religious as an existential posture that surpasses it. The collision between the aesthetical end the religious, from which the poetical appears as a way of realizing repetition, consists, for that matter, in the main idea of this work and its key-theme, in which its elements shall be developed in both its divergents and convergent aspects.

Georg Büchner, an anomaly in his own century, is frequently viewed as a percursor of Expressionism. With this fact in mind it is the purpose of this thesis to investigate and compare Büchner's Woyzeck and the expressionistic drama Hinkemann by Ernst Toller, noting the same basic theme which, however, gives rise to dissimular solutions. The method of investigating these analogous dramas was essentially one of research into and interpretation of the primary sources. Secondary sources (which were numerous for Büchner but scarce for Toller) were consulted as an aid in the exposition of Woyzeck and Hinkemann as separate plays. There was, however, practically no secondary material available relating directly to the problem under discussion in this work. The conclusions reached were based on private examination of the two dramas. Woyzeck is a poor soldier of the 19th century. Out of love for his "wife" he allows himself to be used as subject for a doctor's scientific experiments. Despite Woyzeck's care and passionate love for her, Marie succumbs to the desires of the sensual drum major. Thus Woyzeck not only experiences physical abuse, but also mental anguish as a result of Marie's infidelity. Through this lonely, senseless suffering his values are put into question. Woyzeck despairs of life and expresses his total rejection of the world by murdering Marie and then by drowning himself. Hinkemann, also a common soldier, returns home from the First World War emasculated by a bullet. Fearing the loss of his wife's love and respect, he too stoops to the level of an animal to compensate for his sexual incapacity. Desiring to provide her a few pleasures, Hinkemann hires himself out to a showman who utilises him in a repulsive circus act. However, his sensual wife, like Marie, also proves unfaithful. Her seducer, Grosshahn, causes Hinkemann's prime suffering by causing him to believe that Grete laughed at him in his debased condition. Although finally convinced that she did not laugh, Hinkemann, like his counterpart Woyzeck, fails to see any good purpose in the world and gives up. He no longer has the strength to struggle and asks his wife to leave him. But Grete, afraid to live alone, commits suicide. Hinkemann goes on existing. Thus the basic pattern is the same in both: Woyzeck and Hinkemann, two soldiers in the prime of life, allow themselves to be misused for the sake of a woman's love. Both lose this love which alone gives, their life meaning. Forced into total isolation by an evil and loveless world, both Woyzeck and Hinkemann no longer see any purpose in life, but the reaction of each is different. Woyzeck reacts violently to this discovery of the lack of good purpose in the universe. Out of vengeance he wants to hurt the world that has hurt him. He ends in complete, active nihilism. Hinkemann, a man weakened by fate, reacts less violently: he comes to a passive acceptance of meaninglessness in the world. For him, struggle is in vain. Thus there is a difference in solution, resulting from an important distinction which lies at the core of these plays. Büchner here deals with one basic theme: isolation ultimately leading to nihilism. Toller, in addition, deals with the problem of the complete man. The loss of either the animal or the spiritual aspect of man's nature renders him ridiculous. And for Toller, it is this ridicule which isolates man. Thus his play is more complex, it has ramifications of the problem which Büchner does not explore. Also contributing to the dissimilar solutions are the authors' different views of life. Woyzeck's nihilistic end is entirely in consonance with Büchner's fatalistic and utterly hopeless view of life. Similarly, Hinkemann's pessimistic resignation corresponds to Toller's poignant disillusionment (but not complete despair) with mankind. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Several interpretations in performances, recordings, and publications of Giuseppe Verdi's Messa da Requiem raise issues concerning the relationship between these readings and the composer's intention. Understanding Verdi's tempo and phrasing in the Requiem is of crucial importance in rediscovering his intention. Knowing that Verdi's metronome markings were not merely performance suggestions but that they actually reflected his final decision is equally important. Unlike his operas, fast tempos are not introduced suddenly in the Requiem; rather, where tempo changes occur gradually from one section to the next, thereby maintaining the music's overall character. Verdi's phrasing is very subtle, and unconventional, because one sign may have multiple meanings. Compounding this complication are the many editorial errors in the published editions. David Rosen, in his critical edition, corrected many of these errors, and made additional editorial suggestions, but there are still numerous places where determining correct phrasing, as well as tempo fluctuations, knowledge of Verdi's use of signs and symbols is difficult.

Syftet med denna uppsats är att undersöka anledningarna till slaveriets avskaffande på den svenska kolonin St. Barthélemy mellan åren 1813–1847. För att undersöka avskaffandeprocessen har en diskursanalys tillämpats för att belysa de idéer, tankar och influenser som kom att påverka avskaffandet. För detta ändamål har riksdagshandlingar, protokoll, brevkorrespondens, dagstidningar och övrigt källmaterial gåtts igenom.Undersökningens resultat visar att diskursen i Sverige rörande varför den svenska statsmakten valde att avskaffa slaveriet och senare avhända St. Barthélemy tillbaka till Frankrike är mångskiftande och nyanserade. Under sent 1700–tal och tidigt 1800–tal hade de ekonomiska aspekterna av St. Barthélemy som svensk koloni diskuterats och ön kom att betraktas som en belastning för den svenska kronan. Vidare fanns det också under denna tid internationella flöden och påtryckningar, primärt från engelskt håll, vad gäller att avskaffa och frigöra slavar. Dessa påtryckningar hade påverkat svenska politiker och intellektuella. Inte minst präglades också riksdagsdebatten om slaveriets avskaffande på ön St. Barthélemy av ekonomiska, humanitära och internationella influenser. Sammantaget mynnade detta ut i att riksdagen bestämde att slavarna skulle friköpas och år 1847 proklamerade Sverige att slaveriet på den svenska kolonin hade avskaffats.

In 1844, when Kierkegaard published his work, The Concept of Anxiety, under the pseudonym of Vigilius Haufuiensis, it constituted no mean feat for a variety of reasons. Firstly, and perhaps most obviously, was the content of the work. At that time, very little work had been done concerning the experience of anxiety and certainly no single academic work had had this issue as its formal topic. Secondly, the book was an incisive and complex theological and philosophical argument. So much so in fact, that no discussion of Haufuiensis' concept of anxiety is possible without incorporating its theological implications. Thirdly, and certainly as significant as its religious aspect, is the psychology inherent to The Concept of Anxiety. This was as innovative as the philosophical aspect, as is evinced by the pervasive influence it exercised over the development of psychology in the twentieth century. Lastly, but by no means least importantly, is the fact that Haufuiensis' work was an ingenious and derisive attack on Hegelianism, as well as a superb example of the practice of irony. The reason that I make mention of this is to briefly illustrate the depth and complexity of this "little" work. Hence, in this essay, it has been my aim to thoroughly explore all four aspects of the work and to demonstrate how each holds as much significance as the other in considering the work as a whole. In terms of methodology, I have actively refrained from limiting my investigation to one particular approach. Instead, I have endeavoured to explore Haufuiensis' The Concept of Anxiety from a myriad of different angles, including the analytical, existential, theological, linguistic and deconstructive interpretations. Furthermore, in my opinion, any sound investigation of The Concept of Anxiety cannot proceed along the lines of isolating one specific aspect of the work as being of greater significance than any other. This is in contrast to the earlier scholars of Kierkegaard, who tended to categorize him chiefly as a Christian writer, greatly at the expense of all the other facets of his work. The influence of Kierkegaard's work on the existentialist movement is well known and is encapsulated in his being cast as "the father of existentialism". In my opinion, this constitutes yet one more attempt to categorize both the man and his work, and as such constitutes a reductionism and an untenable approach to the work of this important thinker. My motivation in conducting an investigation into Kierkegaard's conception of anxiety is two-fold. Firstly, I am of the opinion that anxiety is a universal and, at the same time, intensely personal experience. As such, The Concept of Anxiety is an indispensable, and often overlooked part of Kierkegaard's philosophy. My second reason is to demonstrate, by simply concentrating on one aspect of Kierkegaard's work, the depth and scope of his corpus. The Concept of Anxiety is notoriously known as being Kierkegaard's most inaccessible work, due chiefly to the difficulty experienced in its interpretation, and the subsequent plethora of misinterpretation. It is my opinion that the principal cause of this problem is the failure on the part of readers to take heed of the fact that Haufuiensis' work is conducted by means of indirect communication and as such is fraught with irony. Finally, my conclusion after examining the conception of anxiety, as put forth by Haufniensis, as well as the reactions and influences it has elicited in the years since its publication, is that the work of the Danish author is as relevant and as important today, as it was upon being published. / Dissertation (MA (Philosophy))--University of Pretoria, 2000. / Philosophy / unrestricted

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