in English: In the first half of the book Theta of his Metaphysics, Aristotle discusses dunamis as a property of a being. In this sense, dunamis is primarily a principle of change in another thing or in the thing itself qua other, thereby exercising itself in its energeia. In the second half of the book, Aristotle discusses dunamis as a way of being. In this sense, a being is dunamei another thing and in the course of its becoming that thing it changes into being energeiai. The aim of the present thesis is to offer an interpretation of the concepts of dunamis and energeia as they appear in the chapters 1, 2, 6 and partly 7 of the book Theta. The first question is how the concepts of dunamis and energeia in both parts fit together. The problem is posed as follows: Are dunamis in the sense of a principle of change and dunamis as a way of being mutually dependent? Are energeia as change and being energeiai related? Are they not, in fact, two relatively independent philosophical concepts, relative to whether being is regarded from the point of view of physics, respectively metaphysics? Based on the interpretation of Aristotle's statements, the thesis aims to argue that Aristotle starts his exposition with the analysis of dunamis in the sense of a principle of change precisely in order to show the...

in English: In the first half of the book Theta of his Metaphysics, Aristotle discusses dunamis as a property of a being. In this sense, dunamis is primarily a principle of change in another thing or in the thing itself qua other, thereby exercising itself in its energeia. In the second half of the book, Aristotle discusses dunamis as a way of being. In this sense, a being is dunamei another thing and in the course of its becoming that thing it changes into being energeiai. The aim of the present thesis is to offer an interpretation of the concepts of dunamis and energeia as they appear in the chapters 1, 2 and partly 6 of the book Theta. The first question is how the concepts of dunamis and energeia in both parts fit together. The problem is posed as follows: Are dunamis in the sense of a principle of change and dunamis as a way of being mutually dependent? Are energeia as change and being energeiai related? Are they not, in fact, two relatively independent philosophical concepts, relative to whether being is regarded from the point of view of physics, respectively metaphysics? Based on the interpretation of Aristotle's statements, the thesis aims to argue that Aristotle starts his exposition with the analysis of dunamis in the sense of a principle of change precisely in order to show the...

Orientador: Marcius Cesar Soares Freire / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T01:35:58Z (GMT). No. of bitstreams: 1 MartinRojo_Sara_M.pdf: 1267423 bytes, checksum: 4f139dd6a0d384ab2af2c56a24a42cc6 (MD5) Previous issue date: 2012 / Resumo: O cinema de Haneke é um cinema de hiper-realismo; de atmosfera; que fala e responde; que traz em imagens a complexidade que caracteriza nosso questionado mundo. Este trabalho tem como foco a análise da obra do diretor austríaco Michael Haneke, através de uma revisão dos recursos estéticos e manifestações discursivas mais relevantes em seus filmes, definidos como marcas autorais. Em um primeiro momento, foi necessário realizar uma contextualização da obra como parte de um momento histórico concreto, demonstrando sua total vinculação com o pensamento modernista surgido na década dos anos 1970. Posteriormente, realizou-se uma pequena revisão biográfica do autor, ressaltando sua relação direta com o universo teatral e com a proposta estético-ideológica do dramaturgo alemão Bertolt Brecht, a qual se distingue como absolutamente dominante no pensamento do diretor. E, finalmente, realizou-se uma análise detalhada dos elementos formais mais significativos presentes nesta obra como parte da intencionalidade do diretor. Os pontos centrais com os quais trabalha esta pesquisa, que por sua vez são definidos pela herança de Brecht, são: em primeiro lugar, a ativação da consciência do espectador mediante uma reflexão sobre as imagens representadas; em segundo, a mise en scène do diretor graças à qual tal ativação acontece. Espectador e cena são, portanto, os pilares deste estudo. Para conformar o corpus do presente trabalho foram selecionados os filmes de Haneke ambientados em um momento presente, contemporâneo, para após a análise dos aspetos formais encontrados, aproximar uma critica que fala diretamente sobre o nosso mundo. Os filmes escolhidos nesta pesquisa foram os seguintes: O Sétimo Continente (1989); O Vídeo de Benny (1992); 71 Fragmentos de uma Cronologia do Acaso (1994); Violência Gratuita (1997); Código Desconhecido (2000); A Professora de Piano (2001); Caché (2005) / Abstract: Haneke's cinema is a cinema of hyper-realism, atmospheric, which speaks and answers. It translates into images the complexity that characterizes our challenged world. This work focuses on analyzing the work of Austrian director Michael Haneke through a review of the most important aesthetic resources and discursive manifestations in his films, defined as copyrighted brands. Firstly, it was necessary to contextualize the work as part of a specific historical moment, demonstrating its total link with the modernist thought emerged in the mid-70s. This is followed by a short review of the author's biography, emphasizing its his direct relationship with the theatrical universe and with the aesthetic-ideological proposal by the German playwright Bertolt Brecht, which distinguishes itself as absolutely dominant in the doctrinal thinking of the director. Finally, we carried out a detailed analysis of the most significant formal elements present in this work as part of the director's intent. The main topics addressed by this research, which in turn are defined by Brecht's legacy, are: the activation of the viewer's consciousness through a reflection of the facts represented, as a first topic, which originates through the productions created by the director, as a second topic. The spectator and the scene are therefore the pillars of this research. The aim of this study is to identify some ideas about the aesthetic design emanating from this filmography, understood as a byproduct of the renewing contemporary aesthetic thought. As part of the body of this research, Haneke's films set in a present and contemporary moment were selected in order to conclude in a critique that speaks directly about our world, after having reviewed the formal aspects found. The movies chosen for this research were the following: The Seventh Continent (1989), Benny's Video (1992), 71 Fragments of a Chronology of Chance (1994), Funny Games (1997), Code Unknown (2000), The Piano Teacher (2001) and Caché (2005) / Mestrado / Multimeios / Mestra em Multimeios

This thesis is about concept of time in work of french philosopher Gilles Deleuze. First of all is nescessery to introduce reader with philosophy of Henri Bergson and Deleuze's interpretation of Bergon's work and how Deleuze uses it for demonstration of his own thoughs. After Bergson, there is finally an art, Marcel Proust and his novel In Search of Lost Time, which is subject of Deleuze's early work. Philosopher's original interpretation of proustian time is introduced in context of other intepretations of his time and also in the context in relation to philosophy of Bergson. The second half of thesis talks about modern film, which was Deleuze's interest through 1980s. This thesis doesn't try to make any brave interpretations of Deleuze's work, but does try to introduce a problém of time in his work, The concept of time is something which is not a big thing in Deleuze's philosophy, but i tis something what is there for a whole time because of Henri Bergson's influence.

The goal of the thesis is to contribute to the description of the category of aspect and to do so in an alternative way, i.e. without linking aspectual value of a sentence exclusively or directly to the morphological make-up of the verb. The starting point is the distinction between states and activities, i.e. between state and activity events. In the center of our attention are states, namely the way how states are expressed by perfective predicates. Two analyses of corpus data (SYN v7) were performed to pursue the issue. The first analysis focused on the occurrence of state and activity meanings of perfective forms of so-called capacitive verbs. It turns out that one of the decisive factors construing the aspectual meaning of a sentence is the category of tense. The other analysis focused on a collocation we have termed aspectual paradox. It combines durative adverbials (for instance stále) with perfective verbs in the framework of one construction. This analysis has demonstrated that another important factor involved in sentence aspectual construal is modality. Another outcome of this analysis is a classification of state meanings of the "durative adverbial + perfective" collocation. Eleven kinds of meanings were established: ability, possibility, existence, quality, quantity, etc. Verba...

The thesis examines the concept of history in the thinking of Walter Benjamin and Theodor W. Adorno. It systematically inquires into texts of the period between 1913 and 1932. Benjamin's thought is interpreted in its whole, with regards to his key concepts of messianic salvation, profane revolution, biblical fall, mythical positing of right, and actuality of the present. Adorno's contribution to the concept of history is examined on the basis of three early texts from the beginning of the thirties. The thesis follows first the evolution of the concept of history in the thought of Benjamin and then turns toward the relation between the explicated deliberations regarding the theme and the conception of Adorno. The major change which occurs during Adorno's accepting of Benjamin's terminology and thoughts lies in the fact that the concept of history is moved from the theological-eschatological context to the context of praxis. Key Words Philosophy of history, messianic salvation, revolution, myth, right, actuality, configuration.

Le rapport qu’entretient Hegel à l’égard de la philosophie kantienne est ambivalent. Il la louange à maintes occasions alors qu’il la critique sévèrement à d’autres. La philosophie morale de Kant n’y fait pas exception. Hegel est réputé pour l’avoir critiquée avec véhémence. Cette critique, désormais célèbre, est connue sous le nom de critique du devoir-être ou Sollenkritik. Nous porterions préjudice à la richesse de la doctrine hégélienne si nous nous bornions à voir en cette critique un rejet catégorique de toutes les thèses avancées par Kant. Notre travail se donne une double mission. Dans un premier temps, nous montrerons quels sont les divers points litigieux entre la moralité kantienne et la doctrine hégélienne. Dans un second temps, nous nous efforcerons d’expliquer en quoi la moralité participe de la vérité que nous révèle Hegel. / The relation that Hegel maintains towards the Kantian philosophy is ambivalent. He praises it on several occasions while he criticizes it on others. The moral philosophy of Kant does not make an exception to it. Hegel is renowned for having criticized it vehemently. This criticism, now famous, is known under the name of Sollenkritik. We would harm the richness of the Hegelian doctrine if we were to limit ourselves to see this criticism as a rejection of the theories put forward by Kant. Our work will aim a double mission. As a first step, we will demonstrate what are the different litigious points between the Kantian morality and the Hegelian doctrine. As a second step, we will try to explain how morality is included in the truth that Hegel is revealing us.

This essay investigates Haukioja's (2010) notion of actuality-dependence. This notion is an attempt to explain the rigid behaviour of some kind terms; in particular natural kind terms like “water” and “tiger”. A definition of rigidity for kind terms has to take in account speakers' semantic intentions. This, together with the fact that actuality-dependence can only be applied successfully to a kind term if the members of its extension all share an underlying, non-trivial property, makes the notion of actuality-dependence face the problem of reference failures. A speaker's intention for a certain term to be actuality-dependent might fail, in the sense that the members of the kind picked out by the term in question lack underlying properties of the right sort. Three ways to solve this issue are shown to be unsatisfactory, ultimately leading to the conclusion that actuality-dependence cannot be the semantic feature that single out natural kind terms as semantically special.

Les lecteurs du traité De l’âme d’Aristote pensent souvent que la véritable contribution du Stagirite en ce domaine consiste dans l’application de l’hylémorphisme à la relation de l’âme et du corps. Le rôle que jouent les notions de puissance et de réalisation dans la psychologie aristotélicienne est relativement négligé au profit de celui des notions de matière et de forme.L’objectif de cette étude est de mesurer les contributions respectives des deux couples conceptuels fondamentaux de l’ontologie aristotélicienne à l’étude de l’être animé. Quelles sont la portée et les limites de l’hylémorphisme psychologique ? Quel rôle joue la distinction des niveaux de puissance et de réalisation dans le DA et dans d’autres traités consacrés à l’être animé ? Par quels moyens conceptuels Aristote parvient-il à définir l’âme, à résoudre les problèmes de la relation de l’âme et du corps, à unifier ses recherches psychologiques et zoologiques ? A travers l’examen de ces questions, cette étude cherche à préciser la place qu’occupe le notion de « réalisation première » dans l’étude aristotélicienne de l’âme et de l’être animé. / Readers of Aristotle’s De anima often hold that the tenor of his account consists in the application of hylomorphism to soul-body relations. The part played by potentiality and actuality in Aristotle’s psychology has been somewhat overlooked while hylomorphic analyses prevail in the literature. The objective of our study is to assess the respective contributions of these two basic Aristotelian ontological couples to the study of animate beings. What are the scope and limitations of psychological hylomorphism? What role does the distinction between different levels of potentiality and actuality play in the DA and in the other treaties that deal with animate beings? What are the conceptual means that enable Aristotle to define the soul, to disentangle problems relative to soul-body relations and to bring together his psychological doctrine with his zoological research? Through an examination of these questions, the present study seeks to spell out how the so-called “first realization” fits in with the Aristotelian study of the soul and the animate.

Le mot dynamis est un terme fondamental dans la pensée grecque, non seulement en philosophie, où il prend une importance singulière à partir d’Aristote, mais aussi en médecine, en sciences de la nature ou en mathématiques. La présente étude s’attache à mettre en évidence les équivalents de traduction que lui ont assignés les traducteurs et les auteurs latins, à l’époque classique et en latin tardif ou médiéval, selon une double approche. En premier lieu, il s’agit, dans une perspective onomasiologique d’identifier les modes d’apparition de dynamis et des mots de sa famille dans un choix de textes latins, des comédies de Plaute jusqu’aux traductions boéciennes de l’Organon d’Aristote : l’emprunt de signifiant, le néologisme formel, la transposition ou, le cas le plus fréquent, la traduction proprement dite. Puis, dans une approche sémasiologique, il s’agit de mesurer l’impact de la traduction du grec sur un ensemble lexical latin constitué des noms employés le plus fréquemment pour traduire dynamis, à savoir potestas « possibilité, pouvoir », potentia « puissance », uis « force, violence » et uirtus « valeur, qualité, vertu ». Les emplois de ces mots sont étudiés dans un corpus constitué de textes littéraires et de textes spécialisés dans les domaines de la connaissance susdits, où l’on cherche à savoir s’ils ont fait l’objet d’un calque sémantique à partir du grec dynamis. L’étude a ainsi pour but de reconstruire un moment de l’histoire de la notion grecque, celui de sa « conversion » en latin, moment déterminant pour son expression dans les langues modernes par fr. puissance, potentialité, vertu, virtualité, angl. potency, potentiality, virtue, virtuality, etc. / Dynamis is a key word in the Greek thought, not only in philosophy, in which it has assumed a particular significance since Aristotle, but also in medicine, the natural sciences and mathematics. The present work aims to present the translation equivalents adopted by the Latin authors and translators in classical antiquity and in late or medieval Latin, according to a twofold approach. First, from an onomasiological perspective, we try to identify and analyse the different ways dynamis (as well as the words semantically connected to it) appears in a corpus of Latin texts, from Plautus’ comedies to Boethius’ translation of Aristotle’s Organon : as a loan word, a formal neologism, a transposition or, as in most cases, a translation. Second, from a semasiological perspective, we focus on the impact of the translation from Greek on a lexical group made of Latin words frequently used to translate dynamis, namely potestas (“possibility, power”), potentia (“potentiality, potency”), uis (“strength, violence”) and uirtus (“value, quality, virtue”). The uses of these words in a corpus of literary and scientific texts are examined, and the question is raised of how far they may be considered as semantic calques from the Greek term dynamis. The work thus aims to reconstruct a moment in the history of the Greek notion : that of its “conversion” into Latin, which was decisive for its expression in modern languages, in French as puissance, potentialité, vertu, virtualité, etc., in English as potency, potentiality, virtue, virtuality, etc.