Tesis para optar al grado de Magíster en Filosofía mención Axiología y Filosofía Política / Facultad de Filosofía y Humanidades / Este trabajo se pretende llevar a cabo indagando, leyendo y analizando las obras filosóficas de algunos autores locales que se inserten en ese momento del escenario latinoamericano. Tras esto, la investigación y discusión realizada se plasmará en un trabajo escrito que constará fundamentalmente de dos partes, las cuales, a su vez, se subdividirán en pequeños capítulos. En la primera, se dará cuenta del debate que ha existido en torno a la posibilidad de la existencia de una filosofía propia en América Latina, teniendo como punto de partida la realidad local determinada por la miseria, dependencia y exclusión. Se considerarán, los distintos aspectos que han dificultado la necesidad de asumir tanto la potencialidad como la urgencia de tener un pensamiento que da cuenta de las problemáticas particulares y el modo de resolverlas. Conjuntamente, pretendo visibilizar cómo, en ese ejercicio, se construye y aprehende la identidad, asociándolo, al mismo tiempo, con la noción de poder arendtiana, a saber, aquella que lo plantea y fundamenta desde el „querer vivir juntos‟ de una comunidad.

The topic of this master´s disertation is Otakar Sevcik, violin teacher. The disertation is divided into six chapters. The first chapter is dedicated to life of Otakar Sevcik. This chapter is divided to five smaller subchapters. The second chapter is about Sevcik´s life in Pisek. The third chapter is dedicated to Sevcik´s violin method. There are his famous students in chapter four. The fifth chapter is about his work summary. The sixth chapter is about his opus 3.

Informe de Seminario para optar al grado de Licenciado en Filosofía / «Pierre Clastres y la muerte del Estado, indagaciones sobre el accidente estatal desde una óptica libertaria» es el fruto de los estudios cursados durante el Seminario de Grado «Formas de lo político en el pensamiento francés contemporáneo» impartido por los profesores Claudia Gutiérrez y Carlos Contreras en el contexto de la licenciatura en Filosofía de la Facultad de Filosofía y Humanidades de la Universidad de Chile. De este modo, la presente investigación, cuya única ambición no es más que ser un punto de partida capaz de problematizar, se ha realizado durante la mayor parte del año 2012, desarrollándose en distintos lugares y participando en este proceso diversos individuos. [...] Finalmente, advertir que los siguientes párrafos es el intento de dar forma a una determinada entrada al pensamiento de Pierre Clastres, a la luz de una retroalimentación con el ideario anarquista. Aún estamos lejos de las certidumbres. Preferimos problematizar y avanzar según esos ritmos, porque, ciertamente, nos identificamos en el mismo gesto que señala Albert Camus: “Se vive con algunas ideas familiares. Dos o tres. Al azar de los mundos y los hombres que encontramos, se las pule, se las transforma. Se necesitan diez años para tener una idea auténticamente propia, una idea de la que puede hablarse. Naturalmente, esto es un poco desalentador”.

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T00:39:44Z (GMT). No. of bitstreams: 1 Neves_ChristianneMariaDeDominicis_M.pdf: 8193582 bytes, checksum: 4becf02295aa349e2e26ef72f51d7b4b (MD5) Previous issue date: 2004 / Resumo: Este trabalho pretende investigar a obra composicional de Dave Grusin para o cinema, através da análise de trechos musicais selecionados a partir dos seguintes filmes: ¿And Justice for All¿ (1979), ¿On Golden Pond¿ (1981), ¿Tootsie¿ (1982), ¿The Milagro Beanfield War¿ (1988) e ¿Clara's Heart¿ (1988), ¿The Fabulous Baker Boys¿(1989) e ¿The Firm¿(1993) . Partindo-se da transcrição de melodias principais e análise de algumas partituras, o trabalho compreende também uma reflexão teórica a respeito da relação: música-narrativa. Dave Grusin nascido no Colorado (EUA) em 1934, além de pianista, arranjador, orquestrador, regente e produtor é compositor de filmes e possui uma obra extensa dirigida ao cinema. Devido a sua variedade extrema de estilos composicionais nos mais diversos gêneros, Dave Grusin acaba sendo classificado como um dos mais versáteis e modernos compositores de cinema da atualidade. A propósito, a versatilidade parece ser uma característica indispensável a qualquer músico que pretenda aventurar-se na área de composição para filmes. Analisar intrinsicamente a composição musical e sua relação com o contexto fílmico; quais os recursos técnico-musicais utilizados; definir o tipo de instrumentação e o estilo musical escolhido para a compreensão do binômio:composição + imagem e a emoção resultante desta combinação, é a trilha pela qual segue este trabalho / Abstract: This study intends to investigate the compositional work of Dave Grusin for the cinema, through analysis of musical pieces selected from the following motion pictures: ¿And Justice for All¿ (1979), ¿On Golden Pond¿ (1981), ¿Tootsie¿ (1982), ¿The Milagro Beanfield War¿ (1988), ¿Clara¿s Heart¿ (1988), ¿The Fabulous Baker Boys¿ (1989) and ¿The Firm¿ (1993). Starting from the transcription of major melodies and analysis of some music scores, the study also explores a theoretical reflection of the existing relationship: music-narrative. Dave Grusin, who was born in Colorado (USA) in 1934, besides being a pianist, arranger, orchestrator, conductor and producer is also a composer for films and has an extensive body of work geared towards cinema. Because of his extreme variety of compositional styles incorporating the most diverse genres, Dave Grusin is classified as one of the most versatile and modern contemporary film composers. Being versatile seems to be an indispensable characteristic to any musician who intends to adventure oneself in the area of film composition. The path this study follows will be to analyze intrinsically the music composition and its relationship to the film context; which technical-musical resources are being used; to define the kind of instrumentation and the musical style chosen in order to comprehend the binomial: composition and image and the resulting emotion from this combination / Mestrado / Musica / Mestre em Música

This dissertation examines the impact of theological worldview upon John Dominic Crossan's scholarly reconstruction of the resurrection of Jesus Christ. Chapter 1 introduces the centrality of resurrection belief in historic Christianity, and outlines Crossan's redefinition of the resurrection as a metaphorical parable. Chapter 2 examines the understanding of Jesus' resurrection throughout Christian history, focusing particularly on developments after the rise of deism. It concludes with an examination of Crossan's metaphorical conception of the resurrection. Chapter 3 begins with a personal and academic biography of Crossan. The key section of the chapter deals with Crossan's theological worldview presuppositions, and offers a preliminary indication of how his worldview directs his conclusions concerning Jesus' resurrection. Chapter 4 analyzes Crossan's hermeneutics and methodology. It begins with a survey of Crossan's early work in literary criticism before moving into his extra-canonical research. The chapter offers a substantial review and critical analysis of his triple-triadic historical Jesus methodology, arguing that its structure and operation are both influenced by Crossan's underlying worldview presuppositions. Throughout, the chapter examines how Crossan's hermeneutics and methodology influence his understanding of the resurrection. Chapter 5 considers the role of theological worldview and the resurrection of Jesus in the New Testament, the early church, and her opponents, with particular focus upon second-century Gnostic Christianity. It argues that Gnostic Christians did what post-Enlightenment Christians, including Crossan, have also done--redefined and reconstructed Jesus' resurrection in order to fit it into their existing theological worldview. Chapter 6 offers some closing thoughts about the relationship between theological worldview and the resurrection of Jesus of Nazareth. It insists that the bodily resurrection of Jesus Christ as a literal historical fact lies at the center of historic Christianity. It suggests further that the resurrection-event transformed the theological worldview of Jesus' disciples and other early Christians, and continues to call for worldview transformation amongst those who would call themselves his followers today. This dissertation concludes that the single most important factor in Crossan's scholarly conclusions regarding Jesus' resurrection is his underlying theological worldview.

"Rudy Wiebe and the Historicity of the Word" analyzes Wiebe's six major novels published to date: Peace Shall Destroy Many (1962), First and Vital Candle (1966), The Blue Mountains of China (1970), The Temptations of Big Bear 1973), The Scorched-Wood People (1977), and My Lovely Enemy (1983). Traditional literary critical terms and concepts prove inappropriate to Wiebe's work because they implicitly reinstate the ideological postulates Wiebe calls into question. This study therefore employs the theoretical framework developed by Mikhail Bakhtin and V. N. Vološinov. The introductory chapter provides a synoptic view of the six novels, relates Wiebe's authorial objectives and practices to his cultural and religious background, surveys relevant critical discussions of Wiebe's work, and defines the central theoretical principles of Bakhtin and Vološinov. Chapters 2 and 3 discuss Peace Shall Destroy Many and First and Vital Candle respectively, establishing that although Wiebe shows considerable interest in "the dialogic principle" at a thematic level, his overt rhetorical intentions prevent him from realizing this principle in his writing. Chapters 4 and 5 examine Wiebe's use of polyphonic narrative forms in The Blue Mountains of China and The Temptations of Big Bear. Analysis of the inter- and intra-textual politics of these two novels demonstrates that overtly dialogic narrative forms may remain functionally monologic. Chapter 6 considers The Scorched-Wood People and Wiebe's strategy of embedding voices within other voices, a practice which compounds the "internal dialogization" of the prose. Chapter 7 discusses My Lovely Enemy as a challenge to various forms of anti-imaginative discourse, and to prevailing notions of artistic creativity. Chapter 8 focusses on the question of the provenance of "voice" and concludes that although Wiebe's novels exploit the historicity of the Word—indeed, of all words—they also bear the legacy of a monologic Christian fundamentalist model of language. An Appendix entitled "The Early History and Doctrines of the Mennonite Church" describes Wiebe's dialogue with Menno Simons' doctrines of the Word. / Arts, Faculty of / English, Department of / Graduate

The intricate use of language is one of the most striking features of Andrej Belyj's work, noticed by native Russian speakers and foreign students alike. Any foreign student, not too sure of the structural potential of the language and attempting a careful reading of Belyj’s work, is faced with a prohibitive task. The present study was conceived of as a linguistic commentary to the text. Initially, the intention was to study Belyj's neologisms throughout his novels. However, upon close analysis, it became evident that the neologisms were, in fact, an organic outgrowth of his use of language generally. The task of analysing this use of language throughout his work exceeded the scope of a thesis and, therefore, the subject had to be limited in some way. It was decided that an exhaustive analysis of the use of language in St. Petersburg would present the most significant results. However, when all citations were collected, it became obvious that detailed comment on all of them would produce too ponderous a volume and an arbitrary selection was made. Despite the fact that their role in language structure is superficial, many interesting archaisms and dialectal lexical items were included. At least some examples of all major recurring structural deviations were included in the discussion. Those deviations which contributed to the motif pattern or expanded the themes of the novel were, of course, cited more frequently. Since a precise numerical count of forms and structures can be achieved considerably more efficiently by using a computer, and since it is really the ratio of interrelating forms, rather than the actual number of occurrences that is significant, these ratios are cited here, and the precise counts omitted. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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Québec Université Laval, Bibliothèque 2018