Thesis (PhD)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: Gadamer's hermeneutical philosophy is an enlightenment of consciousness that intends to correct a false consciousness concerning the power of reason and methods. His concept of the Wirkungsgeschichte presents his hermeneutical philosophy in a nutshell and demonstrates that understanding is more being (Sein) than consciousness (Bewuïstseins. The Wirkungsgeschichte is constituted by three perspectives on the understanding of meaning from three different regions that escape the controlling procedures of method. The first is the experience of art where the concept of play functions as model; the second is the experience of tradition where the concept of dialogue functions as model; the third is the experience of speaking where the concept of translation functions as model. These three perspectives on understanding of meaning together constitute the concept of the Wirkungsgeschichte and their relation is like three concentric circles with the art perspective as the inner circle. The Wirkungsgeschichte transcends the subject-object dichotomy and demonstrates the understanding of meaning as a single event. It is here where Gadamer's concepts of hermeneutics and truth crystallize. Gadamer's concept of truth is not truth as mirror in the way in which it functions in science as the correspondence of correct judgment and reality. The kind of truth he is concerned with, is truth as claim awareness (Angesprochenheity or truth as rock that carries and orientates us. One reaches truth as mirror only approximately and only after methodical procedures; while truth as rock is something that carries us, it is the claim awareness that constantly accompanies us and sweeps us along since we participate in it all the time. Hermeneutics that reflects on understanding is, according to Gadamer, part of Practical Philosophy because understanding, like Aristotle's concept of phronesis, is orientated on the general that must become concrete in the particular. Understanding is, like phronesis, not theoretical, but practical; the conclusion of understanding is also not a theoretical judgment, but a decision on orientation and action as part of the ongoing dialogue that we are. Phronesis as the concretization of the Wirkungsgeschichte functions also fruitfully in Gadamer's response to criticism from the perspectives of text interpretation, theory of science and critique of ideology. The contribution of this dissertation, is to place Gadamer's claim to universality in perspective and typify his one-sidedness as a prophetic appeal. Gadamer does not provide a new method, nor rejects methodical procedures; he simply demonstrates what happens before and while we approach reality methodically. His hermeneutical philosophy is an enlightenment of consciousness which he typifies as part of the Third Enlightenment. As Third Enlightenment his Wirkungsgeschichtliche BewuDtsein helps to ask critical questions to science, and especially to technocracy. In this way Gadamer's hermeneutics becomes Practical Philosophy and the Wirkungsgeschichte is concretized in phronesis as the prudent and sensible concern with life in its striving to deepen humaneness. / AFRIKAANSE OPSOMMING: Gadamer se hermeneutiese filosofie is bedoel as 'n bewussynsverheldering waarby 'n valse bewussyn oor die mag van die rede en metodes gekorrigeer word. Sy begrip van Wirkungsgeschichte vat sy hermeneneutiese filosofie in 'n neutedop saam en toon aan dat verstaan meer syn as bewussyn is. Die Wirkungsgeschichte word gekonstitueer uit drie perspektiewe op die verstaan van sin vanuit drie onderskeie gebiede wat die kontrole van metodes ontglip. Die eerste is die ervaring van kuns waar die begrip spel as model funksioneer; die tweede is die ervaring van die tradisie waar die begrip gesprek as model funksioneer; die derde is die ervaring van spreke waar die begrip van vertaling as model funksioneer. Al drie perspektiewe op verstaan van sin konstitueer gesamentlik die begrip Wirkungsgeschichte en hulle verhouding is soos drie konsentriese sirkels waar die kunsperspektief die binneste sirkel vorm. Die Wirkungsgeschichte deurbreek die subjek-objek diehotomie en toon die verstaan van sin as 'n eenheidsgebeurtenis. Hieruit kristalliseer Gadamer se begrippe van hermeneutiek en waarheid. Die begrip waarheid by Gadamer is nie waarheid as spieël soos dit funksioneer in die wetenskappe as die ooreenstemming tussen die juiste uitspraak en die ding nie. Die soort waarheid waaroor hy dit het is waarheid as aangesprokenheid of waarheid as rots wat jou dra en oriënteer. Waarheid as spieël bereik jy eers min of meer en voorlopig na metodiese prosedures; waarheid as rots is dit wat jou dra, dit is die aangesprokenheid wat jou voortdurend begelei en meesleur en waaraan jy van meet af aan deel het. Hermeneutiek wat nadink oor verstaan is vir Gadamer deel van die Praktiese Filosofie aangesien verstaan, soos Aristoteles se begrip van phronesis, gerig is op 'n algemene saak wat in die besondere situasie gekonkretiseer moet word. Verstaan is, net soos phronesis, nie 'n teoretiese aangeleentheid nie, maar prakties; die slotsom van verstaan is ook nie 'n teoretiese uitspraak nie, maar 'n besluit tot oriëntering en handeling te midde van die voortgaande gesprek wat ons is. Phronesis as die konkretisering van die Wirkungsgeschichte funksioneer dan ook vrugbaar in Gadamer se reaksie op die kritiek vanuit teksinterpretasie, wetenskapsteorie en ideologiekritiek. Die bydrae wat hierdie proefskrif lewer, is om Gadamer se universele aanspraak in perspektief te plaas en sy eensydigheid as 'n profetiese appél te tipeer. Gadamer poog nie om 'n nuwe metode tot stand te bring of om die metodiese benadering af te wys nie, hy probeer ons bloot bewus maak van wat gebeur vóór en wanneer ons die werklikheid metodies benader. Sy hermeneutiese filosofie is 'n bewussynsverheldering wat hyself tipeer as deel van die Derde Aufklárung. As Derde Aufklarung wil sy Wirkungsgeschichtliche Bewusstsein help om kritiese vrae aan die wetenskap, en veral aan die tegnokrasie, te stel. In hierdie sin gaan Gadamer se hermeneutiek oor in Praktiese Filosofie en vind die Wirkungsgeschichte sy konkretisering in die begrip van phronesis as die verstandige omgaan met die lewe ter wille van groter menslikheid.

Essän är en novell som beskriver en ung kvinna och hennes vänskap med en äldre kvinna och deras gemensamma ensamhet och relation till staden Helsingfors och att leva som en språklig minoritet. Den tar också upp relationen mellan människor och insekter samt människors relation till arkitektur och platser. En del av handlingen står i dialog med finlandssvensk litteratur och konst. / [I examensarbetet ingår utställningen "och ibland gräsen sten och ord":] Utställningen bestod av tre verk: Jag tänke på en grej 1900-1999: Digitalt bildspel med 1000 fotografier av dödsårtal från gravstenar. Bildspelet räknade upp från 1900 till 1999 i 10-sekundersintervaller och började sedan om med ett nytt 1900-tal. Totalt 10 olika 1900-tal. De kursiva orden: Dikter från dödsannonser från ett år i Dagens nyheter nålade på en anslagstavla i linneväv, 200x120 cm. I ljust minne bevarad: Symboler från dödsannonser i Dagens nyheter sorterade efter motivkategDigital projektion, tidningsurklipp, anslagstavla, nålar, byrå, plastaskarori och placerade i askar ovanpå en liten byrå. Material: Digital projektion, tidningsurklipp, anslagstavla, nålar, byrå, plastaskar Teknik: Fotografi/Digitalt bildspel, kollage, installation Mått/längd på film/video: 166 minuter, 200x120cm, 60x40x30 cm

This study analyzes the themes of victimization and self-sacrifice as they appear in the life and works of Oscar Wilde. "Victimization" is defined as an instance in which one character disregards, damages, or destroys another's well-being; "self-sacrifice" is an instance in which one character acts to his own detriment in order to help another or through dedication to a cause or belief. Chapter I discusses the way in which these concepts affected Wilde's personal life. Chapters II-VI discuss their inclusion in his romantic/decadent dramas, social comedies, various stories and tales, novel, and final poem; and Chapter VII concludes by demonstrating the overall tone of charitable morality that these two themes create in Wilde's work as a whole.

No description available.

During the nineteenth century there was a series of reforms in the Swedish poor relief system. These changes laid the basis for the Swedish social policies implemented in today’s modern society. It is also during this period of time this paper has its focus. There were specific gender roles and citizenship ideals in the society and the aim of this paper is to illustrate how these roles and ideals took place in the poor relief system as well. This will be done by a comparative study of the poor relief organization in Karlstad and Kristinehamn in the county of Värmland. When the poor relief board had meetings they kept strict protocol of the discussions and those protocols are the subject of this qualitatively interpretive study.   In this paper the study is chronologically presented from the year 1871 to 1918. Previous research shows that there were strict roles and ideals in the society and in the poor relief system as well and the material of this study shows that it comprises these two cities also. This paper shows that gender-related discrimination in fact did exist within the poor relief. The poor relief did offer some chores to the poor people in exchange for care and these chores were gender-related as well. The conclusions of this paper are based on comparison with previous research and the theoretical basis presented in the study.

No description available.

Informe de Seminario para optar al grado de Licenciado en Filosofía / La presente tesina tiene como objetivo evidenciar y hacer explícita la crítica nietzscheana a la dualidad ontológica tradicional. Para la concreción de dicho propósito, la tesina se divide en tres grandes capítulos: el primero delimita el concepto de dualidad ontológica y lo enmarca dentro de la filosofía nietzscheana, el segundo relaciona esta perspectiva ontológica con la moral, mientras que el tercer capítulo, en base a los contenidos recopilados a lo largo de la investigación, pone de relieve y explicita la crítica nietzscheana a la división de mundos, examinando, por lo demás, la consecuencia más próxima de dicha crítica.

Die Arbeit ist eine korpusbasierende Analyse von Stimmbeschreibungen in englischsprachigen fiktionalen Texten, die sowohl einen sprachwissenschaftlich-semantischen als auch einen literaturwissenschaftlichen Ansatzpunkt wählt. Ersterer geht dabei auf den "Pool" des Stimmbeschreibungsmaterials ein, letzterer untersucht die Funktion von Stimmdarstellungen in der Gesamtkonzeption von Figuren und Texten und betrachtet dabei auch Aspekte wie das Verhältnis von Autor-Figur-Leser und die Informationsvergabe in fiktionalen Texten. Für die Analyse wurde ein Korpus aus Romanen, Kurzgeschichten und Dramen des 20. Jahrhunderts erstellt. Um ein möglichst breites Spektrum zu erlangen, wurden Texte von britischen, amerikanischen und Commonwealth-Autoren gewählt. Zudem wurden Trivialromane genauso berücksichtigt wie Werke der "höherstehenden" Literatur. Im Zentrum von Teil I der Analyse steht die semantische Klassifizierung von Stimmbeschreibungen nach klangbeschreibenden (z.B. shrill, rumbling, husky)und sprecherbezogenen Angaben, bei denen auch emotionale, pragmatische und machtstrukturierende Stimmangaben (z.B. happy, apologizing, condescending) eingeschlossen sind, die dem Leser Aufschluß über das Innenleben und die Beziehungsstrukturen von fiktionalen Charakteren geben. Da die Schwierigkeit der Stimmklangwiedergabe für Autoren geradezu eine willkommene Einladung für das Spiel mit Metaphern und ungewöhnlichen Vergleichen ist, wird den metaphorisch-bildhaften Stimmdarstellungen in Teil II ein Sonderkapitel gewidmet. Teil III geht schließlich auf die funktionalen Aspekte der Stimmdarstellungen ein. So dient das Zusammenspiel von Meta- und Objektsprache als Verständnissicherung für den Leser, kann aber auch Einblick in den Figurencharakter geben. Entscheidend ist jedoch die Wirkung der Stimme in der Gesamtkonzeption von Figuren, denn häufig gehen optische und akustische Figurenbeschreibungen Hand in Hand, so daß über die beiden Wahrnehmungskanäle ein komplexes Charakterbild entsteht, über das Sympathie und Antipathie des Lesers gesteuert werden können. Autoren arbeiten dabei häufig mit Stereotypen und Klischeebrüchen. Letzlich dienen die Stimmdarstellungen der Verlebendigung von Figuren und unterstützen somit die Pseudo-Realität von fiktionalen Texten. Die scheinbar unendliche Fülle von Stimmbeschreibungen zeigt, daß Figuren für den Leser nicht nur durch ihr Aussehen, sondern auch durch ihre habituelle und situationelle Stimme "lebendig" werden. / This paper is a corpus-based analysis of voice description in English fictional texts, combining a linguistic-semantic with a literary viewpoint. While the former is concerned with the "pool" of language material available for describing the human voice, the latter investigates the function of voice description in the overall conception of literary characters and texts. It also includes aspects such as the author-character-reader relationship and the flow of information in fictional texts. The corpus includes 20th century novels, short stories and plays by British, American and Commonwealth authors that show consistency in the use of voice description. No distinction was made between light fiction and "real" literature. Part I focuses on a semantic classification of voice description, distinguishing between labels devoted exclusively to describing sound - e.g. shrill, rumbling or husky - and labels that characterize the speaker, e.g. voice descriptions concerned with emotions or power relations such as happy, apologizing or condescending, offering the reader insight into the inner life of a character and his/her relationship with other characters. The difficulty of accurate voice description is greeted by many authors as a welcome invitation to make use of metaphor and often quite unusual simile. Part II of this paper is therefore dedicated to the intriguing field of metaphorical voice description. Part III is concerned with the functional aspects of voice description in fictional texts. The interplay between meta-language and object-language may serve to ensure reader understanding of the narrative, but at the same time it may open a path into the character's mind. The vital point, however, is the importance of voice in the conception of fictional characters, because optic and acoustic description are often equally important in evoking a vivid picture of the figure in the mind of the reader. Voice description has therefore a fundamental role to play in the construction of the mock reality of ficitonal texts. Voice is also regarded by the reader as a personality trait or a "mirror of the soul" and authors very often employ stereotypes and the breaking of clichés to steer the reader's sympathy or antipathy. The paper concludes that the "translation" of the human voice into a written text, i.e. the change from the acoustic to the visible medium, triggers an almost infinite variety of descriptive tools. Furthermore, since readers are not interested in what a character looks like but also in what he/she sounds like, voice description is an integral part of many fictional texts.

Die Dissertation handelt von den im 19. Jahrhundert bestehenden Ehetrennungs- und scheidungsregelungen in Bayern. Hierzu wird zunächst der Codex Maximilianeus bavaricus civilis von Wiguläus Xavier Aloys von Kreittmayr untersucht und mit den katholischen Regeln verglichen. Im zweiten Teil werden die noch in einzelnen Gebieten Bayerns herrschenden Partikularrechte untersucht. Um auch die weitere Entwicklung des Scheidungsrechts aufzuzeigen, untersucht der dritte Teil die späteren, nicht in Kraft getretenen Kodifikationsbemühungen Bayerns und vergleicht sie untereinander. Abschließend werden die wichtigsten Gesetze und Verordnungen, die die Ehescheidung betrafen, bis zum Inkrafttreten des BGB 1900 beleuchtet. / The dissertation is about the regulations of separation and divorce in Bavaria during the 19th century. The first part shows the rules of Kreittmayrs Codex Maximilianeus bavaricus civilis and compares them with the Catholic rules. The second part investigates the “Partikularrechte”, which were still in force. To show the development of the divorce, the third part investigates the bills during the 19th century and compares them with each other. Finally the study gives summary of the most important rules, which refer to the divorce until the BGB became operative in 1900.

Orientador: Palmira Petratti Teixeira / Resumo: Este estudo volta-se para um tema de história cultural. O objeto de análise deste trabalho é a trajetória do violão modesto e discriminado por vários segmentos da sociedade brasileira no início deste século, para o mais utilizado na música popular e erudita. Há fortes indícios de que foi trazido para o Brasil pelos jesuítas. Foi muito difundido em nosso país como acompanhador de canções nostálgicas e bailados e por isso, por muito tempo, considerado um eterno companheiro de seresteiros, e associado às camadas mais humildes da população. Nas primeiras décadas deste século, com a visita de grandes violonistas estrangeiros somada ao advento do gramofone e do rádio, o violão recuperou seu prestígio junto às camadas mais abastadas, tanto de São Paulo quanto da capital federal, demostrando-se ágil e com grandes recursos sonoros / Abstract: This is a study of an aspect of cultural history. The object of analysis is the trajectory of the guitar, from a modest instrument discriminated against by various segments of Brazilian society at the beginning of the 20th century to one frequently used in popular and concert music today. There are strong indications that it was brought to Brazil by Jesuit priests. Its use was wide-spread in our country to accompany nostalgic songs and ballads and, for this reason, it was long considered the eternal companion of the 'seresteiros' and associated with the more humble levels of the population. During the first decades of the 20th century, with the tournées of great foreign guitarists in conjunction with the advent of the radio and gramophone, the guitar recuperated its prestige with the upper classes in São Paulo and Rio de Janeiro, demonstrating great agility and sonorous possibilities / Doutor