伍國文. / 手稿本(cops. 2 & 3複印本) / Thesis (M.A.)--香港中文大學硏究院哲學學部. / Shou gao ben (cops. 2 & 3 fu yin ben) / Includes bibliographical references: leaves 215-220. / Wu Guowen. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan zhe xue xue bu. / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 卡西勒的符號形式哲學的大概 --- p.7 / Chapter 第一節 --- 理論的基礎──超驗的觀念論 --- p.7 / Chapter 第二節 --- 從「理性批判」到「文化批判」 --- p.9 / Chapter 第三節 --- 形式與符號的概念 --- p.13 / Chapter 第四節 --- 人是符號的動物 --- p.20 / Chapter 第五節 --- 摹本說的駁斥 --- p.26 / Chapter 第六節 --- 文化形式的系統 --- p.35 / Chapter 第三章 --- 卡西勒的神話理論的要點 --- p.55 / Chapter 第一節 --- 引言 --- p.55 / Chapter 第二節 --- 神話是否可以被了解 --- p.57 / Chapter 第三節 --- 神話起源的理論 --- p.66 / Chapter 第四節 --- 神話的根柢和創造神話的心靈能力 --- p.79 / Chapter 第五節 --- 神話的基本體驗 --- p.88 / Chapter 第六節 --- 神話的空間、時間和數字觀念 --- p.94 / Chapter 第七節 --- 神話的思想方式 --- p.115 / Chapter 第八節 --- 神的觀念的發展 --- p.129 / Chapter 第九節 --- 神話的功能 --- p.137 / Chapter 第十節 --- 神話意識的發展 --- p.141 / Chapter 第十一節 --- 神話和其他文化形式的關係 --- p.149 / Chapter 第十二節 --- 神話和宗教及語言的比較 --- p.155 / Chapter 第十三節 --- 神話對現代的影响´إ─政治神話 --- p.164 / Chapter 第四章 --- 卡西勒的神話理論的批評 --- p.199 / 參考資料 --- p.215

Cheung Ching-yuen. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 118-123). / Abstracts in English and Chinese. / Chapter Chapter One --- Introduction --- p.5 / Chapter I --- The Study of Man --- p.8 / Chapter II --- Philosophical Anthropology and other Sciences of Man --- p.11 / Chapter III --- Max Scheler and Philosophical Anthropology --- p.17 / Chapter Chapter Two --- Scheler's Concept of Person --- p.29 / Chapter I --- The Concepts of Person --- p.30 / Chapter II --- Scheler's Ethical Personalism --- p.40 / Chapter III --- "Person, Community and World" --- p.48 / Chapter Chapter Three --- Scheler's Concept of Man --- p.54 / Chapter I --- The Concepts of Man --- p.55 / Chapter II --- Man as ens amans --- p.71 / Chapter III --- Spirit and Life --- p.90 / Chapter Chapter Four --- Conclusion --- p.102 / Note --- p.107 / Bibliography --- p.118

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The study traces Arnold Schoenberg's spiritual journey as he moves from his oratorio Die Jakobsleiter, through his nonmusical drama Der biblische Weg to the opera Moses und Aron. These works span the years from approximately 1915 to 1933, the period which coincides not only with Schoenberg's religious shift from Lutheranism to Judaism but also with the appearance of his early dodecaphonic works. It is argued that the works of this period, the religious shift and his conception of twelve-tone serialism are all deeply and inextricably connected. This study, with support from Schoenberg's writings, postulates that twelve tone serialism, the technique with which the name of Schoenberg is associated, was not an inevitable solution to the chromatic saturation of musical composition at the end of the nineteenth century, but that it was shaped by the composer's spiritual needs and by the fact that he lived in Europe during one of the most turbulent periods of her history. The dissertation approaches the topic from the perspective of Schoenberg, the assimilated Jewish artist in late-Romantic Vienna, who moves through various stages of eclectic religious beliefs, arriving finally at an acceptance of the monotheistic concept of the Jewish God. Various correspondences emerge between Schoenberg's religion and his music: the artist/genius as prophet whose mission it is to elevate the people; the idea of progress and the artist's obligation to create new art; the God Idea and prayer as it relates to the musical Idea (the Gedanke) and ultimately the idea of One God, the Mosaic Law and the Twelve-tone Row. / Thesis (Ph.D.)-University of Natal, Durban, 1998.

There is no abstract available for this thesis.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-05-02T13:09:57Z No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2016-05-02T15:24:13Z (GMT) No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / Made available in DSpace on 2016-05-02T15:24:13Z (GMT). No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / O presente procura concretizar a tradução para o português brasileiro de um total de 19 poemas de Robert Frost, de acordo com um projeto de integração dos elementos formais mais característicos de sua poesia na tradução. Para tanto, uma análise da escansão dos versos em inglês é empreendida, tomando por base a obra de Pires-de-Mello (PIRES-DE-MELLO, 2001), para que possa ser feita uma comparação entre as formas de escansão de poesia nas línguas inglesa e portuguesa. A proposta baseia-se na ideia de tradução do ritmo do texto literário de Meschonnic (MESCHONNIC, 1999) e na incorporação de elementos estrangeiros ao texto traduzido de Berman (BERMAN, 2012). Uma apresentação do poeta e de sua obra é feita inicialmente, a ver quais são as características que o definem e que deverão, certamente, ser mantidas quando de uma tradução de seus textos. Entre a apresentação e a análise, uma seção é dedicada à discussão sobre a intradutibilidade da poesia, argumentando em seu favor, ainda que admitindo, como apresentado ao final do trabalho, a possibilidade de uma intradutibilidade tópica ou circunstancial, segundo o termo cunhado por Mário Laranjeira (LARANJEIRA, 1993). _______________________________________________________________________________________________________ ABSTRACT / This study seeks to present a translation into Brazilian Portuguese of 19 poems by Robert Frost, pursuant to a project whose aim is to integrate the formal elements most characteristic of his work into the translated texts. To that intent, the poems have been analysed as to their metrical patterns with the book by Pires-de-Mello (PIRES-DE-MELLO, 2001) as a parametre for comparison. The proposal is based on the idea of translation of rhythm in literary texts by Meschonnic (MESCHONNIC, 1999) and on the ncorporation of foreign elements into the translation by Berman (BERMAN, 2012). With that in mind, a presentation of the poet is made and his work, so that the main characteristics of his poetry, the ones that should be retained in translation can be brought to the fore. Between this introduction and the analysis of formal elements, a discussion on the supposed untranslatability of poetry is included, arguing against it, despite admitting the possibility raised by Mario Laranjeira (LARANJEIRA, 1993) of topical or circumstantial unstranslatability in poetry.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished