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The conclusion drawn from this study is that the arrangement of material in Absalom, Absalom! is unified and purposeful. The structure evokes that despair that is the common denominator of mankind. It reveals both the bond between men and the separation of men; and though some of the most dramatic episodes in the novel picture the union of men in brotherly love, most of the material and certainly the arrangement of the material emphasize the estrangement of men. In addition, by juxtaposing chapters, each separated from the others by its own structural and thematic qualities, Faulkner places a burden of interpretation on the reader suggestive of the burden of despair that overwhelms the protagonists of the novel.

Esta tese examina os estudos clínico-terapêuticos, laboratoriais e epistemológicos que Wilhelm Reich endereçou, no transcurso de sua obra, ao tema da sensação. Consultaram-se as seguintes fontes de dados: a) artigos, livros, correspondências, diários e transcrições de uma entrevista e de algumas conferências de Reich; b) trabalhos de comentadores da produção reichiana; c) textos de autores que marcaram significativamente as pesquisas de Reich sobre a apreensão sensorial, em particular, Friedrich A. Lange, Henri Bergson, Sigmund Freud e Richard Semon; d) estudos nos campos da História da Ciência e Filosofia da Ciência que permitiram resgatar linhas de investigação e posicionamentos epistemológicos que inspiraram as reflexões reichianas sobre a sensação. Procurou-se apontar quatro áreas de pesquisa que contribuíram para os estudos sensorialistas de Reich: as ciências biológicas e médicas (tais como a Protozoologia e Neurologia), o conhecimento psicológico (particularmente a Psicanálise), uma disciplina fundada pelo próprio autor (a Orgonomia) e a Teoria do Conhecimento (em especial, certa tradição neokantiana). Examinando-se as incursões de Reich por essas áreas, buscou-se identificar os estudiosos e correntes de pensamento que o estimularam em suas pesquisas sobre a dimensão sensorial e examinar as proposições estritamente reichianas de teor clínico, experimental e epistemológico a respeito da sensação. Observou-se que Reich partilhou da concepção de que uma sensorialidade básica se manifestaria em todos os seres vivos. Resgatou-se a tese reichiana de que níveis perceptivos elementares estariam diretamente associados, em organismos vivos, a uma singular força natural (a energia orgone), que o autor julgava ter descoberto e objetivado. Analisou-se a asserção de Reich de que, na produção humana de conhecimento, certas funções perceptivas rudimentares (filogeneticamente arcaicas) seriam continuamente modeladas pela estrutura de caráter (instância construída na relação dialética indivíduo-sociedade). Constatou-se, por fim, que Reich, transitando por diferentes setores do saber e perseguindo rotas investigativas originais, procurou articular dois aspectos extremos do fenômeno sensorial: a sensação como propriedade básica da matéria viva e como ingrediente central da produção humana de conhecimento / This thesis examines the laboratory, clinical therapeutic and epistemological studies that Wilhelm Reich, in the course of his work, dedicated to the subject of sensation. The following resources were consulted: a) articles, books, correspondences, diaries and transcriptions of an interview and of some of Reichs conferences; b) works of Reichs commentators; c) papers from authors that have significantly influenced Reichs research on sensorial apprehension, particularly Friedrich A. Lange, Henri Bergson, Sigmund Freud, and Richard Semon; d) studies in the fields of History of Science and Philosophy of Science that allowed the recovery of lines of investigation and epistemological positionings that have inspired the reichian reflexions on sensation. We tried to indicate four fields of research that have contributed to Reichs sensorial studies: the biological and medical sciences (such as the Protozoology and Neurology), the psychological knowledge (particularly the Psychoanalysis), a discipline created by the author himself (the Orgonomy), and the Theory of Knowledge (specially certain Neokantian tradition). Examining Reichs investigations on these fields, we tried to identify the scholars and currents of thought that have stimulated him in his research on the sensorial dimension and we tried to examine the strictly reichian propositions of clinical, experimental and epistemological content regarding sensation. It was observed that Reich shared the notion that a basic sensoriality would manifest in all living beings. We recovered the reichian thesis that elementary perceptive levels would be directly associated, in living organisms, to a singular natural force (the orgone energy), which the author believed to have discovered and objectified. We analyzed Reichs assertion that in human knowledge production, certain rudimentary perceptive functions (phylogenetically archaic) would be continuously modeled by the structure of character (a sphere built in the dialectic relationship individual-society). Finally, it was verified that Reich, transiting through different sectors of wisdom and chasing original investigative routes, tried to articulate two extreme aspects of the sensorial phenomenon: the sensation as a basic property of the living matter, and as a central ingredient of the human production of knowledge

A pesquisa investiga o desenvolvimento do conceito de caráter no pensamento de Wilhelm Reich. Está baseada numa leitura sistemática e historicizante de seus livros O caráter impulsivo e Análise do caráter. Inicialmente, explicita o contexto em que o conceito foi desenvolvido. Para tanto, compõe uma visão panorâmica da história da caracterologia e uma descrição de alguns usos dessa noção por psicanalistas anteriores ou contemporâneos de Reich. Em seguida, apresenta e discute os significados que o termo caráter adquire ao longo das obras referidas. Ao fazê-lo, reconhece a conexão entre suas reflexões iniciais sobre caráter e a tradição psicanalítica, destaca as particularidades de seu pensamento e observa, por fim, as mudanças que o conceito sofreu, decorrentes das transições teóricas realizadas, mais tarde, por Reich. / The research examines the development of the concept of character in Wilhelm Reichs thought. It is based upon a historical and systematic reading of the authors The impulsive character and Character analysis. At first, it presents the context in wich this concept was brought out, including a brief view of the history of characterology and a description of some uses of this notion by psychoanalysts who preceded Reich and those contemporary to him. Following that, this research reveals and discusses the different meanings that the term character had throughout the authors work. It recognizes the connection between his early reflections on character and the psychoanalytic tradition, it indicates the particularity of his thought, and finally points out the changes in the concept, according to the theoretical transitions performed by Reich.

Lai, Jing Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 90-94). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter One --- p.16 / Chapter Two --- p.41 / Chapter Three --- p.60 / Conclusion --- p.87 / Works Cited --- p.90 / Additional Bibliography --- p.92

Comme les Montaigne, les Pascal, les Nietzsche ou les Cioran, Bataille a écrit dans l'interstice qui lie et sépare l'écrivain, le savant et le philosophe. Comme eux, il a déployé une langue, parmi les plus belles qui soient, mais surtout, il a inquiété son époque, qui demeure en grande partie la nôtre, en maintenant au cœur de son écriture le supplice de la question. Question béante s'il en est, infiniment ouverte, mais pas forcément ni uniquement à la manière provocante d'une plaie ou d'une vulve. Question ouverte, cette fois-ci, non plus seulement sur la noire intériorité de cet étrange mystique « défroqué » qu'a été Bataille, mais aussi et principalement sur le monde immense et diversement coloré qui a fait de Bataille cet esprit si singulier. Car, Bataille était certes un comprachicos, mais les verrues qu'il cultivait sur son visage étaient avant tout celles de ses semblables, c'est-à-dire de l'humanité. Nous aurons donc l'occasion de voir quelle gaya scienza, quelle scienza nuova, quelle science vive Bataille a mise au point pour échapper à la disjonction et à l'isolement des idées éparpillées dans les différentes sciences, ainsi que pour redécouvrir la complexité de l'univers et sa complicité avec l'espèce humaine. En portant un regard qui se souhaite détaché de toute approche mimétique et/ou révérencieuse, nous avons voulu explorer trois grands discours, au sens de Michel Foucault, qui irriguent l'œuvre de Bataille, parfois de façon souterraine. Quels liens Bataille percevait-t-il entre la nature et la culture, et quelle est l'histoire de cette conception dans son œuvre ? Comment, à travers les généalogies du corps humain et du corps social, du paléolithique au vingtième siècle, Bataille a-t-il lu le rôle fondateur de l'art pour les sociétés humaines ? Et enfin, quelle épistémologie de la connaissance a permis à Bataille de progresser sans croître dans sa recherche inspirée, et d'y mêler savoir et « non-savoir », science et mystique ? / The abstract is available in French only

Pang, Pui Ling. / Thesis submitted in: October 2008. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 154-169). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Grasping Genre --- p.1 / Purpose and Outline of Study --- p.1 / The Concept of Genre --- p.3 / Classic View --- p.5 / Recent Views --- p.12 / Contemporary Study of Genre in Music --- p.15 / Historical Study of Genre --- p.16 / Hermeneutic Study of Genre --- p.18 / Study of the Serenade as a Musical Genre --- p.19 / Chapter Chapter 2 --- The History of Serenade to the End of the Eighteenth Century --- p.21 / The Origin of Serenade --- p.21 / Early Serenades and the Vocal Tradition --- p.26 / Emergence of Instrumental Serenades --- p.30 / Serenades and Related Genres in the Eighteenth Century --- p.34 / Mozart 's Serenades --- p.41 / Chapter Chapter 3 --- "Intellectual, Social, and Stylistic Backgrounds" --- p.48 / Contextual Changes at the Turn of the Nineteenth Century --- p.48 / Serenades in the Early Nineteenth Century --- p.55 / Chamber Serenades --- p.55 / Serenades by Leading Composers of the Period --- p.57 / Serenades in the Operas --- p.65 / Chapter Chapter 4 --- Brahms's Serenades --- p.69 / Compositional Background --- p.69 / Music Analysis --- p.82 / "Serenade in D Major, op. II" --- p.83 / "Serenade in A Major, op. 16" --- p.92 / Brahms's Borrowings --- p.98 / Instrumentation and Tonal Plan --- p.100 / Early Reception --- p.103 / Chapter Chapter 5 --- Serenades in the Late Nineteenth Century --- p.109 / Serenades for Orchestra --- p.110 / Volkmann and His String Serenades --- p.113 / "String Serenades of Dvorak, Tchaikovsky, Suk，and Elgar" --- p.118 / "Dvorak's Wind Serenade in D Minor, op. 44" --- p.123 / Serenade as a “Miniaturéح Symphony --- p.125 / Other Serenades --- p.130 / Single-movement Serenades for Orchestra --- p.131 / Serenades for Chamber Ensemble --- p.133 / Serenades for Solo Piano --- p.135 / Chapter Chapter 6 --- Grasping the Elusive Serenade --- p.139 / The History of the Serenade Revisited --- p.139 / Brahmśةs Role in Shaping the Serenade --- p.141 / Brahms's Invitation to Form --- p.143 / The Generic Web --- p.144 / Appendix Serenades in the Late Nineteenth Century --- p.147 / Bibliography --- p.154