Orientador: Luiz Benedicto Lacerda Orlandi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T08:02:24Z (GMT). No. of bitstreams: 1 Santos_MariaFernandados_M.pdf: 943589 bytes, checksum: 30ddff20cfe0342b4d86cdede4bbc224 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação pretende apresentar um estudo de conceitos bergsonianos distribuídos ao longo do Ensaio e Matéria e Memória observando seus campos problemáticos expressos nas próprias obras. Campos que oscilam entre epistemologia e metafísica e que recorrem a um método problematizante. Ao mesmo tempo este estudo explora a perspectiva deleuziana em seu trabalho monográfico sobre Bergson. Perspectiva esta que oferece uma visão privilegiada no exame de um bergsonismo em expansão. Multiplicidade, movimento e matéria são noções que aparecem sucessivamente na passagem do Ensaio o livro seguinte, e que muito embora procuremos respeitar a ordem de aparição dessas noções não pretendemos estabelecer uma sequência logicamente definida. Observamos simplesmente que essa tríade poderá facilitar a compreensão de cada um dos termos / Abstract: This dissertation aims to present a study of bergsonian concepts distributed over Essay and Matter and Memory observing their problematic fields expressed in the works themselves. Fields ranging from metaphysics and epistemology, and resorting to a problematizing method. While this study explores the Deleuzian perspective in his monograph on Bergson. This perspective offers an insider's view on the examination of a bergsonism expanding. Multiplicity, movement and matter are notions that appear successively in Essay for next book and although we seek to respect the order of appearance of these notions we do not intend establish a logically defined sequence. We note simply that this triad may facilitate the understanding of each of the terms / Mestrado / Filosofia / Mestra em Filosofia

Autor no autoriza el acceso a texto completo de su documento. / The issue of dominance and submissiveness in Virginia Woolf’s (1927) To The Lighthouse will be the center of this study because of a number of reasons. Virginia Woolf shows an interesting mixture composed of governing and subservient figures in her novels. These first ones are represented mainly by men such as Mr. Ramsay, and the second ones, by women such as Mrs. Ramsay. The creation of this dichotomy is clearly influenced by the Post-Victorian environment in which Woolf grew up and wrote. There is an innovative way to present us these characters because she shows us the reality of dominance and obedience in a sarcastic way, that is, by saying something when she wants to state the opposite. Virginia Woolf’s novels are characterized by the presence of governing and subservient protagonists. This happens due to the context in which she created her novels, that is, the Post Victorian period. Nevertheless, there is an attempt to balance these two complementary forces, dominant and submissive, in order to criticize the established order. She did it in a subtle way, though; the social conventions at that period prevented her from going any further. The aim of this essay will be to discover the element that makes dominance and submission to be apparent in the characters, this key element could be the post- Victorian society or a personal contribution of the author, specifically a modern strategy, to change society from the individual rather than system. This work will be a contribution in the sense that as a starting hypothesis is that dominant and submissive figures in Woolf’s novels are presented in a non-traditional fashion. Therefore, one of the contributions of exploring these seemingly ascendant and passive representations would be to encourage a more realistic approach to characters, leaving aside stereotypical notions. Another contribution of this study, which lies on the examination of artistic and aesthetic motivations, is related to aesthetic purposes of the author. However, these are treated in an innovative way, not explaining much about their nature with practical language, but using rhetoric and poetic resources. Finally, it is important to relate these dichotomies to Woolf’s Modernism.

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa / As human beings, we are in constant awareness of our past and memories. We tend to attach significance to life events, places and people that make up our lives. Remembering a memory allows us to relieve that moment once again, nevertheless it never evokes the same feelings that the original did. Moreover we are not able to remember everything, but unconsciously, we retain specific moments in our mind. Aware of all of this, Virginia Woolf wrote “A sketch of the past” published in “Moments of being”, A Collection of Autobiographical Writings. In this work, Woolf tells us about her early years, and she describes and introduces people and places that build her life. She feels so connected to these situations, that she made them part of her memory. But she also discusses that certain things may get remembered, while others simply fade away. Because of this, she says that she does not control these moments and in the same way that she kept them in her memory, they came to her present reality, making her feel powerless. Although all of these descriptions Woolf never gives an accurate definition of “moments of being”, instead she asserts that these episodes of “ecstasy” are “embedded in a kind of nondescript cotton wool” (Woolf, ‘Sketch’72) forgotten in the everyday life were “a great part of every day is not lived consciously” (Woolf, ‘Sketch’70). These moments are called “moments of non-being”. Moments of being can be related to a moment of evocation, as they reveal something beneath the “cotton wool”.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa / From this richness of descriptions in the novel, this analysis ventures to, first, report how the hegemonic Victorian discourse on marriage is presented in the novel and, second, describe the characters’ relation to this discourse, in other words, how they interact and conflict with it. The last stage in the analysis, from a gender-role perspective, will be an attempt to glimpse Woolf’s modern conception on the nature of human relation through her character’s interaction, and how the discourse on marriage and its gender-role expectations shapes and effects the connection among the characters in the novel.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura

Over the past few decades analyses of causation have proliferated in almost immeasurable abundance, and with two things in common; firstly, they make much of counterfactual dependence, and secondly, none of them successfully handle all the pre-emption cases. In this thesis, I fore-mostly investigate David Lewis’ promising counterfactual analyses of causation (along with many others), and provide an extensive examination of pre-emption cases. I also offer my own counterfactual analysis of causation, which I argue can handle the problematic pre-emption cases, and therein succeed where so many other prominent analyses of causation have failed. I then conclude with some morals for the continuing debate.

In April 1982, Nishga carver Norman Tait hosted the raising of a fifty-five foot totem pole named Big Beaver at the Field Museum of Natural History in Chicago, Illinois. Over the winter of 1981-82 in Vancouver, British Columbia, Tait and five apprentices had carved the pole with images inspired by a story given to Tait by his maternal uncle, Rufus Watts, a man Tait calls grandfather. In the early spring of 1962, Watts had taught dances and songs to Tait, Tait's apprentices and other family members and the dancers created costumes and ceremonial paraphernalia for the pole raising ceremony in Chicago. In Chicago in April, members of the Northwest Coast artistic community and staff and patrons of the Field Museum participated in the contemporary Nishga cultural performance. This thesis is an ethnography of the events leading up to and including the pole raising ceremony. It is a case study of the revival of native Indian traditions, a revival that has been occurring on the Northwest Coast since the 1950's. The work addresses four questions. 1. How are native Indian visual and performance forms created from orally transmitted tradition? It describes how the contemporary native carver and his grandfather brought forward their traditions. It discusses the role of museums, anthropology, media, marketplace and other artists. 2. What is the nature of the communities generated by the artistic activity of a contemporary native carver? Included are descriptions of the Nishga and Northwest Coast artistic communities' participation in an expanded native Indian cultural project. 3. How does a museum contextualize a native Indian cultural performance and what meta-messages are communicated? The Field Museum refers back to the Native American participation in the 1893 World's Columbian Exposition in Chicago to contextualize their events in 1982. Were the messages that were overtly expressed in 1893 covertly communicated in 1982? 4. What changes occur in traditions that are brought forward in a contemporary cultural performance? There is a simplification of the traditional Nishga system of cultural messages and a shift in emphasis. There are also changes in the types of alliances for the production of the contemporary totem pole and an adaption of the traditional ritual system for the modern pole raising. The thesis concludes with some questions and discussion on how to assess contemporary native Indian cultural performance in non-traditional settings. / Arts, Faculty of / Anthropology, Department of / Graduate

Orientador : Michel Ghins / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-18T14:53:00Z (GMT). No. of bitstreams: 1 Dutra_LuizHenriquedeAraujo_D.pdf: 69169130 bytes, checksum: 622c2383a337e1a7ba534c87874d91de (MD5) Previous issue date: 1993 / Resumo: Não informado / Abstract: Not informed. / Doutorado / Doutor em Filosofia

Solitude and self have been common topics for discussion and scrutiny by philosophers, scholars and writers. However, it was not until the turn of the twentieth century, with women 's enlightenment, that one notices women writers ' interest in understanding their selves in moments of solitude. Women who were conscious of drastic social changes often examined their lives and explored their selves in solitude. Katherine Mansfield and Virginia Woolf represent women writers of their time who shared a common interest in portraying women's quests for self in solitude. The present study shows how the solitary state is a significant precondition for modern women to reflect on their lives or explore their selves at a time when society was undergoing drastic changes. A close study of Katherine Mansfield 's "Frau Brechenmacher Attends a Wedding" (19 l 0), "Kezia and Tui" (1916), "Prelude" ( 1918), "At the Bay" ( 1922), and "All Serene!" (1923) shows that Mansfield always offers her women characters punitive consequences in the endings because of their compromise with their mundane conditions even though they have gained some sense of the self through contemplation and meditation. In the case of Virginia Woolf, she situates her women characters in isolation and contemplation, and often presents her women characters as active seekers of self through meditation and alienation. Autonomy, authenticity, and vision define these women's emerging self in such novels as Night and Day ( 1919), Orlando ( 1928), and To the Lighthouse ( 1927). The present study reveals Katherine Mansfield and Virginia Woolf as two exemplary women writers who examine women in moments of solitude through the interplay of social and psychological reality. Solitude is a recurrent condition and theme in their fiction that is often presented in "contrapuntal" manner (Dunbar ix). The contrast between women 's public and performative existence and their private and unmasked self characterises the fiction of Mansfield and Woolf, allowing the two writers to examine patriarchal oppression of women's acquisition of self against the backdrop of modernity. Mansfield and Woolf's treatment of solitude is particularly important as it sheds light on their shared views and friendship. Solitude is treated as a critical state, a condition, a private space, an attitude, or a refuge from performativity for women in their texts. Yet they have adopted distinct writing strategies in dealing with the subject owing to their difference in experience and literary outlook. Mansfield creates heroines who are more practical and modest in their approach to the subject of self-construction. Woolf creates women characters who often resort consciously to solitude to challenge and reflect upon gender norms, gain a better sense of their selves, and deploy various means to attain self-realisation.

This dissertation applies philosopher Henri Bergson's methodology and his ideas of duration and creativity to the definitional problem of art, particularly as formulated within analytic aesthetics. In mid-20th century, analytic aesthetics rejected essentialist definitions of art, but within a decade, two predominant definitions of art emerged as answers to the anti-essentialism of the decade prior: functionalism and proceduralism. These two definitions define art, respectively, in terms of the purpose that art serves and in terms of the conventions in place that confer the status of art onto artifacts. Despite other important definitions (including historical and intentionalist definitions), much of the literature in the analytic field of aesthetics center on the functional/procedural dichotomy, and this dichotomy is an exclusive one insofar as the two definitions appear incompatible with each other when it comes to art. I use Bergson's methodology to demonstrate that the tension between functionalism and proceduralism is an artificial one. In turn, abandoning the strict dichotomy between these two definitions of art opens the way for a more fluid conception of art. Using Bergson's application of duration and creativity to problems of laughter and morality, I draw parallels to what a Bergsonian characterization would entail.