Made available in DSpace on 2016-06-02T20:13:07Z (GMT). No. of bitstreams: 1 1716.pdf: 531315 bytes, checksum: 80ad12e3b9add2d71c45a8170d033728 (MD5) Previous issue date: 2008-02-27 / In the Destruction of Reason, from 1953, Georg Lukács plays several thinkers as philosophics idealizers of german way to Hitler. This work has as purpose to show such reading as a mistake. Another moment, through a deviation about the Hungarian author s trajectory, shows also that there is a transformation in the writing style after his convertion on the communist party in 1918, wich emphasires mainly after the thirties, in it s soviet period. On the other hand, shows also that during Lukács last years there is an effort to revise mistakes of the past / Em A Destruição da Razão, de 1953, Georg Lukács interpreta diversos pensadores como idealizadores filosóficos do caminho alemão até Hitler. Este trabalho tem por objetivo mostrar tal leitura como um equívoco. Noutro momento, através de uma digressão sobre a trajetória do autor húngaro, mostra também que há uma transformação no estilo da escrita após sua conversão ao partido comunista em 1918, que se acentua principalmente após os anos 30, em seu período soviético. Por outro lado, mostra também que nos últimos anos de vida de Lukács há um esforço para corrigir os erros do passado

Es gibt Situationen, in denen das Leben seine Glaubwürdigkeit verliert. Lukian erfährt dies am eigenen Leib. Er kann nicht glauben, dass sein Großvater gestorben ist. Und dann liegt da auf einmal diese geheimnisvolle Papierrolle unter seinem Bett. Ihr Inhalt stellt all das in Frage, was Lukian bisher selbstverständlich erschien. Was ist der Mensch – nur eine Marionette in einem großen Theaterstück? Die Suche nach Antworten treibt ihn auf eine abenteuerliche Reise zu den Wurzeln unserer Kultur. Er trifft auf die großen Denker der Vergangenheit und diskutiert mit ihnen über die Freiheit des Willens und die Existenz des Ichs. Ein kleiner, unscheinbarer Spiegel begleitet ihn dabei. Zunächst erscheinen in ihm nur rätselhafte Umrisse. Doch nichts bleibt, wie es ist – auf dem Weg zum Ende der Welt.

There has been to date no attempt at a detailed examination of Aleksandr Grin’s philosophical views interpreted on the basis of his literary work. Whilst some critics have noted interesting links between the writer’s oeuvre and a few popular philosophers, this has usually been done in passing and on an ad hoc basis. This thesis aims to fill this gap by reconstructing Grin’s views in relation to the European philosophical tradition. The main body of the thesis consists of three parts built on and named after three essential themes in philosophy: External World, Happiness and Morality. Part One delineates Grin’s views on nature and civilisation: I argue first that his cult of nature makes it possible to conceive of Grin as a pantheistic thinker close to Rousseau and Bergson, and then I reconstruct the author’s criticism of urbanisation and industrialisation. In the second part I assess the place of happiness in Grin’s world-view, indicating its similarities to the philosophy of various thinkers from the Ancients to Schopenhauer and Nietzsche. After sketching a general picture of the concept of happiness in Grin’s works, I discuss the place of material and immaterial factors in the writer’s outlook. I also gather maxims expressed by the protagonists in his fiction that can be taken as recommendations concerning ways of achieving and defending happiness. Finally, I link happiness with the problem of morality in Grin’s oeuvre. In the final part I examine modes of moral behaviour as displayed by the author’s protagonists. Firstly, I argue that in Grin’s works we find numerous examples and themes that allow us to perceive him as an existentialist. Secondly, I indicate Grin’s adherence to rules of conduct commonly associated with chivalric literature. Thirdly, I emphasise the importance of Promethean-like characters in the moral hierarchy of Grin’s protagonists.

Made available in DSpace on 2017-07-10T18:26:23Z (GMT). No. of bitstreams: 1 Jose Fernando Schuck.pdf: 540719 bytes, checksum: d0b358eb41a0056a4c7a7a06e27ac0eb (MD5) Previous issue date: 2010-11-23 / The dionysiac concept is as basic as the true novelty of the sight philosophical, aesthetic and philological of Nietzsche on the Greeks and the tragic art. The Birth of Tragedy is written under the shadow of the vocabulary and the metaphysics of Schopenhauer, and also a very close relationship with the aesthetic and metaphysical themes of German philosophy. This work (dissertation) demonstrates the genesis of the Nietzschean dionysiac through a dialogue with the notion of Will in the inaugural work of Nietzsche. If at first the notions of will and dionysiac seem to enter the Nietzschean discourse in the conceptual domains of Schopenhauer and romantism, shortly afterwards, by the uniqueness that the terms acquire in Nietzsche, become key devices for the formation of a new perspective tragic and assertion of existence. The art, relegated to the status of illusion or contemplation of the Idea, is reinserted as the creation and justification of coming-to-be. / A noção de dionisíaco constitui-se como noção basilar, como verdadeira novidade da visada filosófica, estética e filológica de Nietzsche sobre os gregos e a arte trágica. O nascimento da tragédia é escrito sob a sombra do vocabulário e da metafísica de Schopenhauer, e, ainda, numa relação muito próxima com os temas estéticos e metafísicos da filosofia alemã. Este trabalho visa demonstrar a gênese do dionisíaco nietzschiano através de um diálogo com a noção de Vontade no âmbito da obra inaugural de Nietzsche. Se num primeiro momento as noções de Vontade e dionisíaco parecem inserir o discurso nietzschiano nos domínios conceituais schopenhaueriano e romântico, num momento seguinte, através da singularidade que os termos adquirem em Nietzsche, tornam-se dispositivos fundamentais para a constituição de uma nova perspectiva trágica e afirmativa da existência. A arte, relegada à condição de aparência ilusória ou de contemplação da Ideia, é reinserida como criação e justificação do vir-a-ser.

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Na história do pensamento geográfico há um grande equívoco na maneira pela qual é concebida a teoria do determinismo geográfico/ambiental. Isso significa que o tema tem sido tratado sob estereotipada roupagem, empobrecendo a Geografia e difamando e subestimando inúmeros geógrafos, bem como suas obras e idéias. O primeiro grande objetivo é o de demonstrar a importância histórica, científica e filosófica da idéia das influências ambientais que subjaz ao determinismo ambiental, a inevitabilidade de sua existência enquanto hipótese básica, e a impossibilidade epistemológica de se negá-la como uma hipóteses básica da Geografia, com ênfase em alguns autores rotulados de deterministas, como Hipócrates, Montesquieu, Semple e Huntington. O segundo grande objetivo é realizar uma crítica da crítica, minando algumas generalizações e equívocos dentre tantos que historicamente têm permeado o temário geográfico, e explicar o emaranhado semântico, filosófico, conceitual e epistemológico do tema das influências ambientais sobre a esfera humana, com ênfase na falsa dualidade determinismo/possibilismo. Assim, deve ser concebida como não mais que um mero prolegômeno, essencial, todavia, ao estudo da relação homem-ambiente, e em particular, ao estudo da história do pensamento geográfico, da idéia das influências ambientais e do determinismo ambiental. Ao final da pesquisa foi possível demonstrar a insustentabilidade da suposta dicotomia entre a escola determinista e a escola possibilista; a confusão conceitual, semântica e filosófica dos textos que comentam os autores deterministas; a impertinência, a leviandade e imprecisão da crítica ao determinismo, baseada mais no rótulo criado do que nas idéias em si; a riqueza de idéias de autores como Huntington e Semple, o pioneirismo possibilista de Hipócrates e Montesquieu e outros autores; a importância do modelo de modos de narrativa e dos estratagemas erísticos de Schopenhauer para a análise textual dos autores deterministas e de seus críticos, culminando com a elaboração de vinte e dois problemas essenciais de pesquisa, lançados como propostas metodológicas e epistemológicas iniciais ao estudo da história da Geografia e de suas idéias / Environmental determinism has been a controversial theme within human sciences and geography. There has been much misunderstanding and understatement concerning this fundamental explanatory hypothesis. A varied assortment of geographical works and authors have been incorrectly labeled and suffered from biased criticism and general misconceptions. The long-standing debate around environmental determinism is marked by a chaotic semantic tangle which shades its real and proper meaning. The first objective is to show the historical, philosophical and scientific importance of environmental determinism in terms of its underlying principle and hypothesis, called the idea of the environmental influences and point to its relevance as a craddle of modern geography and as valid approach to the man-milieu relationships.The second objective is to lauch a counter-criticism on those who irresponsibly dismissed environmental determinism without recognizing its underlying and unavoidable basic hypothesis and who did not read the labeled works in full. Criticism has been frequently incomplete, biased, crude, distorted, unscientific, politically oriented or naïve. The third objective is to disentangle the semantic, epistemologic and philosophic traps that threaten any attempt of covering the theme in full perspective and detail. The fourth objective is to analyse some environmentalists, such as Semple and Huntington, in order to deny the wrong labels attached to them. The fifth objective was to deconstruct the false determinism/possibilism dualism and to present a new way of interpreting this issue. The last objective was to bring a preliminary discussion of the literature of the theme, a short history of environmental ideas from the Greeks to the modern geography in the United States. After a careful analysis some myths were proven incorrect, or misleading and inaccurate at best, and as a final evaluation, twenty-one epistemological and methodological devices were listed as a contribution to the research in history of geography.

Na história do pensamento geográfico há um grande equívoco na maneira pela qual é concebida a teoria do determinismo geográfico/ambiental. Isso significa que o tema tem sido tratado sob estereotipada roupagem, empobrecendo a Geografia e difamando e subestimando inúmeros geógrafos, bem como suas obras e idéias. O primeiro grande objetivo é o de demonstrar a importância histórica, científica e filosófica da idéia das influências ambientais que subjaz ao determinismo ambiental, a inevitabilidade de sua existência enquanto hipótese básica, e a impossibilidade epistemológica de se negá-la como uma hipóteses básica da Geografia, com ênfase em alguns autores rotulados de deterministas, como Hipócrates, Montesquieu, Semple e Huntington. O segundo grande objetivo é realizar uma crítica da crítica, minando algumas generalizações e equívocos dentre tantos que historicamente têm permeado o temário geográfico, e explicar o emaranhado semântico, filosófico, conceitual e epistemológico do tema das influências ambientais sobre a esfera humana, com ênfase na falsa dualidade determinismo/possibilismo. Assim, deve ser concebida como não mais que um mero prolegômeno, essencial, todavia, ao estudo da relação homem-ambiente, e em particular, ao estudo da história do pensamento geográfico, da idéia das influências ambientais e do determinismo ambiental. Ao final da pesquisa foi possível demonstrar a insustentabilidade da suposta dicotomia entre a escola determinista e a escola possibilista; a confusão conceitual, semântica e filosófica dos textos que comentam os autores deterministas; a impertinência, a leviandade e imprecisão da crítica ao determinismo, baseada mais no rótulo criado do que nas idéias em si; a riqueza de idéias de autores como Huntington e Semple, o pioneirismo possibilista de Hipócrates e Montesquieu e outros autores; a importância do modelo de modos de narrativa e dos estratagemas erísticos de Schopenhauer para a análise textual dos autores deterministas e de seus críticos, culminando com a elaboração de vinte e dois problemas essenciais de pesquisa, lançados como propostas metodológicas e epistemológicas iniciais ao estudo da história da Geografia e de suas idéias / Environmental determinism has been a controversial theme within human sciences and geography. There has been much misunderstanding and understatement concerning this fundamental explanatory hypothesis. A varied assortment of geographical works and authors have been incorrectly labeled and suffered from biased criticism and general misconceptions. The long-standing debate around environmental determinism is marked by a chaotic semantic tangle which shades its real and proper meaning. The first objective is to show the historical, philosophical and scientific importance of environmental determinism in terms of its underlying principle and hypothesis, called the idea of the environmental influences and point to its relevance as a craddle of modern geography and as valid approach to the man-milieu relationships.The second objective is to lauch a counter-criticism on those who irresponsibly dismissed environmental determinism without recognizing its underlying and unavoidable basic hypothesis and who did not read the labeled works in full. Criticism has been frequently incomplete, biased, crude, distorted, unscientific, politically oriented or naïve. The third objective is to disentangle the semantic, epistemologic and philosophic traps that threaten any attempt of covering the theme in full perspective and detail. The fourth objective is to analyse some environmentalists, such as Semple and Huntington, in order to deny the wrong labels attached to them. The fifth objective was to deconstruct the false determinism/possibilism dualism and to present a new way of interpreting this issue. The last objective was to bring a preliminary discussion of the literature of the theme, a short history of environmental ideas from the Greeks to the modern geography in the United States. After a careful analysis some myths were proven incorrect, or misleading and inaccurate at best, and as a final evaluation, twenty-one epistemological and methodological devices were listed as a contribution to the research in history of geography.

The Program of the Czech Decadent Movement and the Question of Intertextuality. The Work of Miloš Marten This thesis explores the work of Miloš Marten (1883-1917) seeking to analyse its decadent narrative as a modern narrative that brings into play the unity between the pinnacle and the decline. It departs from the comparison between the style and interpretation of the two versions of Cyklus rozkoše a smrti (orig. The Cycle of delight and death; 1907 and 1917/1925) and the study of the realisations of this work. For this purpose the study contextually examines the conceptions of "intertextuality" from fin de siècle authors-critics, meaning their conceptualisations of similarity and/or identity of literary works which frequently involve a confluence of degeneration theory, the argument of the non-ethical nature of plagiarism and theory of decadence. All were often used as instruments of disqualification as well as justifications for a modern aesthetics and style. Reconstitution of Marten's theoretical reflection on artistic genres evidences his research of a harmonizing modern culture within an anti-syncretic tendency: mythology and revolt against myth Order being shifted to tragedy and parable, while the novel is designed as an analytical-critical synthesis. Applying contemporary approaches to...

In addition to his renowned musical output, Richard Wagner produced a logorrhoeic prose oeuvre, including a dramatic sketch of the last weeks of the life of Jesus Christ entitled Jesus von Nazareth. Though drafted in 1848-1849, it was published only posthumously, and has therefore been somewhat neglected in the otherwise voluminous Wagnerian literature. This thesis first examines the origins of Jesus von Nazareth amidst the climate of revolution wherein it was conceived, ascertaining its place within Wagner’s own internal development and amongst the radical thinkers who influenced it. While Ludwig Feuerbach has traditionally been seen as the most prominent of these, this thesis examines Wagner’s sources more broadly. The thesis then summarizes and analyzes Jesus von Nazareth itself, particularly in terms of Wagner’s use of biblical scripture. The thesis demonstrates how his not infrequent misuse thereof constitutes one way in which Wagner transmogrifies Jesus as mutable lens through which his own ideology of social revolution is reflected. It also attempts to provide a critical assessment of the relative dramatic merits of Jesus von Nazareth and looks into Wagner’s ultimate decision not to complete the work. The thesis then briefly summarizes the changes that occurred in Wagner’s mature Christological outlook subsequent to his drafting of Jesus von Nazareth, attempting to concisely demonstrate some developments beyond Wagner’s well-known encounter with the philosophy of Arthur Schopenhauer. The thesis concludes with an evaluation of how Jesus von Nazareth informed Wagner’s general religious outlook and the extent to which this worldview is a productive one.

Bibliographical references at end of each chapter / Philosophy, Practical and Systematic Theology / M.A. (Philosophy)