Orientador : Sonia Miriam Draibe / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-14T02:38:41Z (GMT). No. of bitstreams: 1 Moreau_DanielaMaria_M.pdf: 11657005 bytes, checksum: c13b0b9062b3088f78e66f51db3c7a82 (MD5) Previous issue date: 1992 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em Ciência Política

Orientador: Alexandre Eulalio Pimenta da Cunha / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-14T09:54:35Z (GMT). No. of bitstreams: 1 D'Andrea_MoemaSelma_M.pdf: 6314147 bytes, checksum: 15aeede77b25be173a77c2469f417806 (MD5) Previous issue date: 1987 / Não tem resumo na obra impressa / Abstract: Not informed. / Mestrado / Teoria Literaria / Mestre em Letras

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

The grandeur of Terre des hommes lies in the beautiful poetry which Saint-Exupery has suffused into his descriptions of the earth and the universe, and into his reflections upon humanity. He wants to awaken us to the poetry of life. This is one of the main purposes of Terre des hommes and is the role of the author's "vision poétique.” The three chapters of this thesis are studies of Saint-Exupery*s poetic view of life. The first chapter introduces the universe which the author reveals to us in the first half of his book, where he is above all the poet of the earth. The world he depicts is largely a symbolic and spiritual one. Mermoz slowly wends his way through the temple of a storm at sea, following the rays of moonlight which creep in through the rifts in the clouds. And when Saint-Exupery is searching for his friend Guillaumet in the Andes, he flies through a cathedral of snow. These symbols take on a richer meaning, when in his fourth essay Saint-Exupery recalls how he used to land on plateaux of virgin sand on the borders of the Sahara. These plateaux remind him of the columns of a temple, and as he explores their surface, he discovers the presence of small black stones shaped like rain-drops which, he realises, must be meteorites fallen from the heavens. This rain of fire causes Saint-Exupéry's spiritual life to spring up in his soul and leads him to link his destiny with the stars. The peace of the desert where he loves to dwell, the wondrous firmness of the sand he lies upon, contemplating the stars, bring to his mind the memories of his childhood and of all that has been most precious to him in life. The universe is then a cathedral which will lead all men to a discovery of their inmost spiritual resources. The second chapter studies mainly the second half of Terre des hommes in which Saint-Exupery tries to communicate with all men; in this part of his book, he is truly the poet of mankind. He describes two little girls who live in a cottage full of nooks and who are as full of life and as mischievous as two fairy princesses. The miracle of man is fostered and nourished in childhood, whose spirit man must keep alive within himself and so be eager to explore the new possibilities of life. Saint-Exupery has already described the bureaucrat on his way to work, for whom life is nothing but a set of routines, and his old governess whose incredulous ears he loved to shock with his tales of far-away countries. The men like Mermoz and Guillaumet, on the other hand, really keep alive the spirit of their childhood and fulfil their destinies as men in their constant struggle with the unknown as they discover new air-routes over the sea and the mountains. In his sixth and seventh essays, Saint-Exupéry describes life in the desert where men, confronted with themselves, live in a more spiritual world than those who dwell in crowded cities. The Arab chieftains dream of vanquishing their legendary enemy, Bonnafous. The slave, Bark, clings steadfastly to the hope that he may one day live again the life he remembers of shepherd and king of flocks. Saint-Exupery tells us that his three days in the desert with hardly anything to eat or drink brought him to grips with life and revealed the spiritual life which dwells in all men and whose deep springs the challenge of the unknown alone can release. At the end of his book, the author marvels at the human miracle which man can realise by developping the gifts with which the Spirit has endowed him, for the discovery and the nourishment of the spiritual life, of that which will never die, will give true meaning to the lives of men. The third chapter presents a study of the poetic art of Saint-Exupery. The first section studies a passage of his poetic prose from the seventh essay of Terre des hommes, where the author is flying over the desert at nightfall. The earth seems to mingle with the sky. These are two worlds which are merging in Saint-Exupery himself as he wends his way amidst the stars, the worlds of the philosopher and worldly knowledge, and of the poet and divine knowledge. The words are full of music and are proof of Saint-Exupéry's quest for the beauty of the world of the spirit. The images the author uses form the second subject of study. Essentially concrete in nature, they express the way in which Saint-Exupéry battles with the elements as he flies through storms of snow and rain, and fights against the icy desert winds. The snow blowing from the mountain-top is like a scarf around its peak. The winds the author feels in the desert; are as cutting as sabres. But Saint-Exupéry’s imagery also expresses his search for the light of the spirit. The lamp in a farmer’s cottage on the mountain-side for example is a light-house for the pilot. The third section of the chapter concerns the allegories of the desert, the sea, the winds and the stars. The desert symbolises man's need for solitude and meditation, while the sea is the symbol of human life itself, and the winds blowing off the sea, bring to man the taste of its freshness which is the taste of life and freedom. The stars are the symbol of man's highest aspirations and represent the world of the Spirit where all men will find their fulfillment and Joy. The conclusion emphasises the two tendancies of Saint-Exupery's soul which are ever present in Terre des hommes and which unify his "vision poétique." There is on the one hand, his desire to be free and a poet to see and absorb as much of life as possible, and on the other hand, his love of being a part of a team of men, of having a wife he can return to after his wanderings, his love of belonging to the earth. These two tendancies bring unity to Saint-Exupery*s "vision poétique" for, as a pilgrim, a wanderer and a poet, he discovered the beauty of the earth, but it was as one who wants to belong, to linger and to meditate upon life's mysteries, that he set down his thoughts in such a wonderfully poetic way. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Orientador : Ferdinando de Oliveira Figueiredo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-15T19:23:44Z (GMT). No. of bitstreams: 1 Tannuri_LuizAntonio_M.pdf: 3618775 bytes, checksum: ed3d065a67224cd94a1624799af5a293 (MD5) Previous issue date: 1977 / Resumo: Não informado / Abstract: Not informed / Mestrado / Mestre em Economia

Magíster en artes con mención en teoría e historia del arte / El concepto de "Gran Estilo" se inscribe dentro de la última etapa de la producción filosófica de Nietzsche en el ámbito de la teoría estética de las artes. Desarrollado con posterioridad a 1884, corresponde a una síntesis tardía de la relación entre lo Apolíneo y lo Dionisíaco formulada inicialmente en su obra "El Nacimiento de la Tragedia" de 1872, relación que a través de este concepto es planteada ya no como una disputa agonal entre principios contrapuestos, sino como una simbiosis complementaria, afín a la expresión de lo Clásico en términos estilísticos. Sin embargo, el filósofo no desarrolla en forma extensiva el concepto en términos de sus posibles lecturas estético-formales, abordándolo a través de una aproximación más bien fragmentaria y aforística que oscila entre referencias de orden metafísico, conceptos derivados de la fisiología y ejemplificaciones puntuales tomadas principalmente del ámbito de la música y la arquitectura. Se trata de un esbozo preliminar, un proyecto de síntesis final de su filosofía estética que se cristalizaría en su proyectada obra “La Voluntad de Poder”, inconclusa debido a su prematuro colapso mental de 1889. Por tanto, el objetivo fundamental de la presente tesis es proponer una re-lectura crítica del concepto de Gran Estilo, reconociendo su potencial como una categoría de análisis estético de gran rendimiento conceptual, aplicable como modelo de análisis en distintos ámbitos y contextos de producción artística.

No contiene resumen. / The purpose of the present research is to offer an approach to Nietzsches philosophy from the point of view of the notion of belief (der Glaube). In our view, the concept of belief plays a relevant role in the development Nietzsches principal thesis, such as the announcement of the European nihilism, the critique of the Christianity, the dismantling of the meta-physical categories, and doctrines such as the will to po-wer, the eternal recurrence, and saying-yes to life. The notion of belief, and its multiple expressions, is constantly present in the development of these theories. The starting point of our analysis is the general question about the sense of belief in Nietzsche. The following definition serves as a working hypothesis: belief is the act of sayingyes, of holding-for-true (das für-wahr-halten). According to ones way of comprehending the truth such a statement may conduce to nihilism and represent the negation of life (die Verneinung des Lebens) or may overcome nihilism and signify the affir-mation of life (das Leben-Bejahen). The first part of our research is an overview of the general sense of belief, which follows the chronological evolution of the Nietzschean reflection. Our purpose is to explain some common aspects shared by every belief. In the second part we analyze the specific sense of a series of individualized believes, distin-guishing between those believes which promote nihilism those which try to surmount it. The first section is dedicated to nihilist, life-denying believes and their different expressions related with the moral, religious, and metaphysical sphere. The second section is dedicated to life-affirming believes which represent a means of defeating nihilism, i.e. the con-cept of will to power, eternal recurrence, and saying yes to life, together with other key-notions such aas body, overman and Dionysus. The genealogical, hermeneutic analysis of the Nietzschean texts allows us to gain insight in those ideas of the author which may shed light on the question of the sense of belief. The purpose of this scrutiny of belief and its double sense is to offer a fresh view of this concept, which may serve as a guiding line and may open new perspectives for the study of Nietzsches work.

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.