Orientador: José Carlos Pinto de Oliveira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T22:43:55Z (GMT). No. of bitstreams: 1 Oliveira_AmeliadeJesus_D.pdf: 1526573 bytes, checksum: 35175fb8e24d12c518f965da0659e2db (MD5) Previous issue date: 2012 / Resumo: Pierre Duhem e Thomas Kuhn aparecem como personagens privilegiados nas discussões historiográficas acerca de como a ciência se desenvolve e são classificados, respectivamente, como continuísta e descontinuísta. Este trabalho resulta de uma análise comparativa entre as visões desses dois filósofos e historiadores da ciência. Nosso propósito inicial foi compreender como eles poderiam ter visões tão díspares acerca do desenvolvimento científico, já que ambos são vistos também como participantes do mesmo grupo de filósofos para quem a estreiteza entre a história e a filosofia da ciência é admitida de maneira consensual. A pesquisa inicialmente orientada pela questão ?Como a ciência se desenvolve?' em suas obras nos levou a questionar a própria classificação da qual partimos. Na ausência de elementos corroboradores da difundida oposição entre as duas visões históricas, exploramos em suas obras dois eventos tidos comumente como revolucionários na história da ciência - os que levam o nome de Copérnico e Newton. Esse exame possibilitou a descoberta de uma insuspeitada semelhança entre a visão de Duhem e Kuhn acerca do desenvolvimento científico que neutraliza o antagonismo entre continuísmo e descontinuísmo em suas obras. Sustentamos que esse antagonismo resulta de uma abordagem bastante parcial de seus trabalhos em filosofia e história da ciência, uma abordagem que não leva em consideração os contextos diferentes de suas obras. O que observamos é que, em momentos distintos da história da ciência, Duhem e Kuhn acreditaram no rompimento com uma tradição histórica responsável por uma imagem enganadora do modo da ciência se desenvolver e que, portanto, precisava ser ultrapassada. Na tradição criticada por Duhem, os historiadores relatavam o surgimento repentino de grandes teorias, sem nenhum vínculo com a tradição; só viam revoluções. Na tradição criticada por Kuhn, os historiadores, ao reescreverem a história da ciência a partir da visão e do aparato conceitual de seu momento presente, acabaram tornando ocultas as revoluções. O resultado do trabalho reflete, sim, a tentativa inicial de compreender como se dá o desenvolvimento da ciência em Duhem e Kuhn, mas essa tentativa nos conduziu à necessidade de abandonar as usuais classificações conferidas às suas visões / Abstract: Pierre Duhem and Thomas Kuhn appear as privileged characters in the historiographical discussions about how science develops and are classified, respectively, as continuist and discontinuist. This thesis is the result of a comparative analysis between the views of these philosophers and historians of science. Our initial purpose was to understand how they could have such different views about the scientific development, since both are seen also as participants of the same group of philosophers that admit the necessary intimate connection between the history and the philosophy of science. The research, initially conducted by the question ?how does science develop?' in their works, led us to question the proper classification from which we started. In the absence of elements which corroborate the widespread opposition between the two historical views, we explore in their works two events usually regarded as revolutionary in the history of science - those that bear the names of Copernicus and Newton. This examination made possible the discovery of an unsuspected similarity between Duhem's and Kuhn's views about the scientific development that neutralizes the antagonism between continuism and discontinuism in their works. We maintain that this antagonism results from a very much partial approach of their works in philosophy and history of science, an approach that does not consider the different contexts of their works. What we observe is that Duhem and Kuhn in different times of history of science had believed in the rupture with a historical tradition which was responsible for a misleading image of scientific development, and therefore had to be overcome. In the tradition that is criticized by Duhem, historians related the sudden emergence of great theories, without any connections with the tradition; they just saw revolutions. In the tradition that is criticized by Kuhn, historians, by rewriting the history of science from a perspective of their contemporary moment, ended up turning the revolutions hidden. The result of this work does reflect the initial attempt of understanding how the scientific development occurs in Duhem and Kuhn, but this attempt has led us to the need of abandoning the usual classifications that are attributed to their views / Doutorado / Filosofia / Doutor em Filosofia

Orientador: Vilma Sant'Anna Areas / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-02T23:37:10Z (GMT). No. of bitstreams: 1 Furuzato_FabioDobashi_M.pdf: 5374997 bytes, checksum: 70b61dcd7096ea379c133ae98f726de4 (MD5) Previous issue date: 2002 / Resumo: Este trabalho é dividido em três partes. Na primeira, investigamos o percurso da obra do contista mineiro Murilo Eugênio Rubião (1916-1991), juntamente com a sua recepção crítica. Na segunda, partindo da afirmação de que Murilo seja o precursor do fantástico moderno em nossa prosa de ficção, realizamos um estudo teórico sobre este gênero literário. Na terceira parte, buscamos descrever todos os contos do autor, em função de um determinado conceito de fantástico. Por fim, levantamos uma hipótese geral sobre o sentido da obra muriliana, buscando relacionar tudo o que foi discutido / Abstract: This work is divided in three parts. On the first, it is investigated the work course of the storyteller, from Minas Gerais, Murilo Eugênio Rubião (1916 - 1991), together with the reviews he had received. On the second part, setting forth from the statement that Murilo is the predecessor of the modem fantastic stile in our fiction prose, we made a theoretical study about this literature genre. On the third part, we sought to describe all of the author's narratives, focusing on a specific concept of the fantastic. Finally, we raised a general hypothesis about the meaning of Murilo's work, trying to connect everything that had been discussed. / Mestrado / Mestre em Teoria e História Literária

This thesis examines the historical interaction of the psychoanalyst, Jacques Lacan, the surrealist, Salvador Dali, and the English poet, David Gascoyne. It traces the discursive, and sometimes personal, relationship between these figures which led to a psychoanalytic-based conception of paranoia that impacted on both surrealism and the surrealist-inspired poetry and theory of David Gascoyne. Furthermore it seeks to identify the potential ramifications of this conception of paranoia, and the artistic practice it engendered, for literary, Marxist and psychoanalytic theory.

Henry James (1843-1916) is a curious and, by his own choice, enigmatic figure. We have a great many dates, a few letters, and little else. James's fragment of autobiography, vast as it is; is strangely unrevealing. There is a wealth of impressions as one would expect from such a writer but precious little about the man. Henry James was chary of describing his personal feelings - so much so that some doubted his ability to have any strong emotions. His autobiography, interesting as it is, is pure observation, memories of people, places and impressions, all marvellously sensitive, but little personal feeling. Intro., p. 1.

Gerald Dworkin's influential account of Personal Autonomy offers the following two conditions for autonomy: (i) Authenticity - the condition that one identify with one's beliefs, desires and values after a process of critical reflection, and (ii) Procedural Independence - the identification in (i) must not be "influenced in ways which make the process of identification in some way alien to the individual" (Dworkin 1989:61). I argue in this thesis that there are cases which fulfil both of Dworkin's conditions, yet are clearly not cases of autonomy. Specifically, I argue that we can best assess the adequacy of Dworkin's account of autonomy through literature, because it provides a unique medium for testing his account on the very terms he sets up for himself - ie. that autonomy apply to, and make sense of, persons leading lives of a certain quality. The examination of two novels - Kazuo Ishiguro's The Remains of the Day and Henry James's The Portrait of a Lady - shows that Dworkin's explanation of identification and critical reflection is inadequate for capturing their role in autonomy and that he does not pay enough attention to the role of external factors in preventing or supporting autonomy. As an alternative, I offer the following two conditions for autonomy: (i) critical reflection of a certain kind - radical reflection, and (ii) the ability to translate the results of (i) into action - competence. The novels demonstrate that both conditions are dependent upon considerations of the content of one's beliefs, desires, values etc. Certain of these will prevent or hinder the achievement of autonomy because of their content, so autonomy must be understood in relation to substantial considerations, rather than in purely formal terms, as Dworkin argues.

This thesis is an examination of Henry James and James McNeill Whistler as cultural analysts of modernity. Using the theoretical work of Peter Burger, Jurgen Habermas and Theodor Adorno as a frame, I analyse James's and Whistler's theoretical and artistic responses to modernity and the problematic status of autonomous art and the modernist artist in late nineteenth century industrial capitalism. In so doing, I place both figures in their social and historical context and show how their work not only reflects but itself participates in the complex social and cultural transformations of late nineteenth century society. While Henry James has continued to attract critical attention from many quarters, those who have studied him in the larger context of nineteenth-century avant-garde culture are still relatively few. Of those contextual studies, none has examined James's career and work in the light of parallel developments in avant-garde visual art during this important and complex period. James McNeill Whistler, like Henry James an American expatriate working in late nineteenth century London, has been the subject of many studies describing his formal achievement; however, he has not yet attracted the attention of critics interested in theories of modernist representation, gender and sexuality. Because modernisation was a phenomenon which had an impact on all aspects of late nineteenth century culture, as both James and Whistler themselves acknowledge, my interdisciplinary, contextualist approach to cultural production can illuminate aspects of cultural theory and practice which might remain hidden in analyses contained within disciplinary boundaries. The present thesis is not primarily a work of art-historical scholarship nor is it an in-depth textual analysis of the Jamesian canon; it is an analysis of the ways in which two individuals deal with the conditions of their artistic practice. My thesis is original in its bringing together of two important figures - a writer and a visual artist - whose theory and practice reveals the complexity of early modern art's dialectical relationship with modernity. In so doing, I offer a critical reevaluation of the work of Henry James and James McNeill Whistler in light of its engagement with the discourses of modernity and modernism. / Graduate and Postdoctoral Studies / Graduate

The fact that Jack London's novels seem to fall into two classes--those which he wrote for money and those which he wrote to deliver a social message--has led to this study of his life and novels. It is the aim of this thesis to show that his life was one of conflict between individualism and socialism and that this conflict is reflected to a varying degree in his novels.

Orientador: Hebe Maria Cristina Vessuri / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociencias / Made available in DSpace on 2018-07-18T10:08:01Z (GMT). No. of bitstreams: 1 Marinho_MariaGabrielaS.M.C_M.pdf: 8614539 bytes, checksum: 6ff50e3f1daa7eedd404258eb080df63 (MD5) Previous issue date: 1993 / Mestrado / Historia da Ciencia / Mestre em Política Científica e Tecnológica

Orientador: Maria Lucia Dal Farra / Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-20T00:45:12Z (GMT). No. of bitstreams: 1 Paixao_Fernando_M.pdf: 6645094 bytes, checksum: c8479b9aabecff82417097d838432270 (MD5) Previous issue date: 1990 / Resumo: Porque um olhar descerrado sobre qualquer poética é sempre uma exigência ao olho, diga-se desde logo que este é um olhar que não recusa a aderência ao texto. O "olho crítico" não está aqui mobilizado para fundamentar distâncias, cerrar conceitos, colocar as imagens em suspensão numa malha que se autotece. Mas, também, não há recusa em "olhar de fora" o que o poeta, pela força acionada nos poemas, insiste em colocar para dentro das imagens. Olhar uma poética é um olhar sobre o movimento. Tomar o seu curso, aderir o olho ao caminho das palavras, ao encontro dos significados, é o exercício perseguido no seio da poesia. Este ponto-de-vista, portanto, nada mais é: uma aprendizagem que segue o esforço da elucidação. Aprender e apreender foram, conjugadamente, os intentos procurados; afinal, envolver com um olhar o olho do poeta é também olhar com ele. / Abstract: Not informed. / Mestrado / Mestre em Linguística

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