This work reflects on how the Seventh-day Adventist Church meets the challenges of postmodernism, despite itself having its roots deep in the modern era. The first part deals with the origin of the Seventh-day Adventist Church and the development of its dogma. It primarily focuses on the Thomas Reid?s philosophy of common sense and describes the Adventist statements of dogma that are typical of this church and were influenced by the philosophy of common sense. The second part analyses how this church deals with the challenges of the postmodern era. It describes the current categorisation of Adventist theology on the basis of the differing macro-hermeneutic of the individual streams that depend on how they view the relationship between God and time. It also indicates the practical impacts that these various approaches to church praxis lead to. The aim of this work is to be as objective as possible in describing the current situation and show the potential risks and solutions that the church and its members face. In the author?s opinion, an adequate response to the problems of Adventism in the postmodern era can be found in shifting the emphasis to a general Christian perspective and in redefining specifically Adventist teachings.

Orientador: José Carlos Pinto de Oliveira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T06:04:22Z (GMT). No. of bitstreams: 1 Menna_SergioHugo_D.pdf: 2716382 bytes, checksum: 6142783b3c83d2ad782502cfe287dbb6 (MD5) Previous issue date: 2011 / Resumo: A historiografia contemporânea da metodologia herdou vários 'enigmas' a serem resolvidos sobre as ideias e contribuições de Francis Bacon. Qual é a estrutura do seu método de indução, qual é a natureza de sua 'lógica da descoberta', qual o valor que ele concedeu às hipóteses e conjeturas na investigação científica, qual o papel de Bacon na história da metodologia, qual sua dívida com seus predecessores, qual a influência que exerceu sobre os pensadores que o sucederam etc. Na presente Tese farei uso de estudos históricos e críticos contemporâneos a fim de analisar a obra metodológica de Bacon e determinar a influência das 'artes' heurísticas antigas e medievais no seu método indutivo. Em particular, tentarei mostrar que ainda que Bacon tenha ampliado o 'poder criativo' das 'artes' da invenção, e tenha estendido seu raio de aplicação ao domínio científico, não as formalizou nem substituiu o caráter falível das mesmas. Também, e destacando o importante papel criativo concedido por Bacon e outros autores da Modernidade a 'virtudes' ou 'desiderata' como, por exemplo, a analogia ou a simplicidade, argumentarei contra as principais interpretações rivais existentes sobre a estrutura e dinâmica do método baconiano. Especificamente, me situarei em oposição à interpretação 'geracionista mecânica' -que afirma que o método de Bacon funciona como uma máquina que produz teorias de forma automática- e à interpretação 'hipotetista' -que entende que o método de Bacon funciona só no processo de avaliação de teorias, deixando a tarefa de descoberta ao gênio criativo. Tentarei defender que Bacon esteve particularmente interessado em fornecer heurísticas -isto é, guias ou máximas criativas e avaliativas- para que os homens, trabalhando metodologicamente, e reunidos em comunidades de pesquisa, pudessem construir hipóteses científicas de qualidade. Esta argumentação supõe fazer observações sobre a natureza das regras no século XVII, sobre as relações entre experiência e teoria, e introduzir precisões dentro do domínio das inferências ampliativas, além de esclarecer a posição de Bacon com relação a termos chaves como 'verdade', 'hipótese' e 'conhecimento'. Por último, com esta concepção heurística da indução baconiana, examinarei as interpretações clássicas sobre o papel desempenhado por Bacon na Revolução científica e sua importância na difusão da ideia de progresso. Esta interpretação da herança e da metodologia de Bacon, e de sua recepção e influência em autores posteriores, tal como defenderei, permite compreender e avaliar melhor o significado desse autor para o pensamento científico da Modernidade, e possibilita reavaliar de maneira mais adequada as categorias estabelecidas para a metodologia da descoberta de Bacon por alguns de seus críticos passados e contemporâneos / Abstract: The contemporary historiography of methodology inherited various 'puzzles' to be solved about the ideas and contributions of Francis Bacon, such as: What is the structure of his method of induction?; what is the nature of his 'logic of discovery'?; what value did he attach to hypotheses and conjectures in scientific research?; what is the role of Bacon in the history of methodology?; what are his debts to his predecessors?; what is the influence he had upon the thinkers that followed him? and so on. In this thesis I will make use of contemporary historical and critical studies in order to analyze the methodological work of Bacon and the influence of the ancient and medieval heuristic 'arts' on his inductive method. In particular, I will try to show that although Bacon extended the 'creative power' of the 'arts' of invention, and extended their scope of application to the scientific field, he did not formalize nor replace the fallible nature of them. Also, by highlighting the importance of the creative role given by Bacon and other authors of Modernity to 'virtues' or 'desiderata' as, for example, analogy or simplicity, I will argue against major rival interpretations that exist on the structure and dynamics of the Baconian method. Specifically, I will situate my position in opposition to the 'mechanical-generative' interpretation -which claims that Bacon's method works like a machine that produces theories automatically-, and the 'hypothetist' interpretation -which holds that Bacon's method works only in the process of evaluating theories, leaving the task of discovering to the creative genius. I will try to argue that Bacon was particularly interested in providing heuristics -in other words, creative and evaluative guides or principles- so that men, working methodically, could build high-quality scientific hypotheses. This argumentation presupposes the need to make remarks on the nature of rules in the seventeenth century, on the relationship between experience and theory, and also presupposes the provision of more details within the domain of the ampliative inferences, besides clarifying the position in the light of key terms used by Bacon, such as 'truth', 'hypothesis' and 'knowledge'. Finally, on the basis of this heuristic conception of Baconian induction, I will examine the classic interpretations of the role played by Bacon in the Scientific Revolution and his importance in spreading the idea of progress. This interpretation of Bacon's heritage and methodology, and Bacon, and their reception by, and influence on later writers, I will set out to argue, allows us to understand and evaluate in the best way the significance of this author for the scientific thought of Modernity, and enables us, in the most appropriate way, to reassess the categories established for Bacon's methodology of discovery by some of his critics, both past and contemporary / Doutorado / Epistemologia / Doutor em Filosofia

The overall objective of this research is to analyze the reception of the philosophy of Bacon in certain theoreticians of environmental sciences. The specific objectives are: to explore the Baconian concept of nature, the concept of progress and the absorption of these concepts in environmental sciences. The work is structured in three chapters. The first deals with the concept of nature. The second is about the idea of progress and the last one presents an analysis on certain appropriations of the Baconian philosophy in Hans Jonas, Andrew Brennan and Mauro Grün. The research is fundamental and bibliographic. Thus, the methodological procedures adopted were reading and textual analysis The relevance of the work consists in two fundamental points: Bring the Baconian thought for nvironmental discussions. ii) Criticizes the hegemonic vision of environmental sciences against modernity. It is in this sense that we store expectations to increase the existing bibliography on Bacon, especially with respect to the relevance of his thought. This research seeks to interdisciplinarity in so far as it interacts not only with the ph ilosophy, but also with the sociology, ethics and environmental education. / O objetivo geral dessa pesquisa é analisar a recepção da filosofia de Bacon em determinados teóricos das ciências ambientais. Os objetivos específicos são: estudar o conceito baconiano de natureza, a noção de progresso e a absorção desses conceitos nas ciências ambientais. O trabalho está estruturado em três capítulos. O primeiro versa sobre o conceito de natureza. O segundo, sobre a ideia de progresso. E o último, sobre determinadas apropriações da filosofia baconiana em Hans Jonas, Andrew Brennan e Mauro Grün. A pesquisa é fundamental e bibliográfica. Assim, os procedimentos metodológicos adotados foram leitura e análise de texto. A relevância do trabalho consiste em dois pontos fundamentais. i) Vincular o pensamento baconiano às discussões ambientais. ii) Criticar a visão quase hegemônica por parte das ciências ambientais contra a modernidade. É nesse sentido que guardamos expectativas de acréscimo à bibliografia existente sobre Bacon, especialmente no que tange à atualidade de seu pensamento. Esta pesquisa busca a interdisciplinaridade na medida em que dialoga não só com a filosofia, mas também com a sociologia, a ética e a educação ambientais.

Annotation: The aim of the thesis is to verify the claim that movement and multiplicity in the works of Francis Bacon, as interpreted by Deleuze, become novel ontological features of the paintings; at the same time, Deleuze's critical reading of Bacon's thoughts and other texts foregrounds the relationships of representation and interpretation, thus making Deleuze's concepts applicable to the philosophical refexion of the theory of painting. The chief goals of the thesis are therefore to understand the rhizomatic thinking in the perception of the artwork and to emphasize the problem-riddled nature of the relationship of representation and interpretation in the works of Gill Deleuze. By way of comparison of two actual texts it will be demonstrated that the endeavour by Deleuze to use the rhizome concept to transcend represention is doomed when confined to the level of immanence. What is thus arrived at is a far more fundamental topic of the relationship of the levels of immanence and consistence.

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The association of the name of Francis Bacon with that of Niccolo Machiavelli is no novelty to the modern reader. But in most instances this association is brief and fleeting, possessed of a will-o'-the-wisp character that is at once unsatisfying and challenging. The natural conclusion to which one is tempted to leap is that Bacon, since he is the more recent in point of time, was influenced by the great Florentine in matters of philosophy and style. A second possibility is that both men were influenced by similar conditions of political and cultural backgrounds. A still further consideration lies in the belief that certain ideas are "in the air", so to speak, and descend upon different minds in various times and places without implying any necessity of relationship. It seems advisable to study the two men and their works in the light of these three possibilities. It is not the purpose of this thesis to assert the influence of Machiavelli upon Bacon's philosophy as a whole. This study is rather an attempt to bring together in comparative consideration the personalities and philosophies of two outstanding minds of their respective ages, and to draw such conclusions as seem logical. To this end I propose to examine the theories of Machiavelli set forth in The Prince and the Discourses on Livy, and from this background to view Bacon's philosophy relating to civil business as set forth in his Essays, especially "Of Truth," and "Of Great Place," and in the Advancement of Learning. I have here used the term, philosophy, to refer to the principles of human conduct by which Bacon's life was governed, rather than in a metaphysical sense.

”Chock” är reaktionen på Francis Bacons måleri som såväl konstnären som kritiker och betraktare återkommer till. Hans uttalade ambition att orsaka en chock direkt i nervsystemet fick honom att medvetet gillra fällor som avses slå igen i exakt rätt ögonblick hos betraktaren innan denne hinner intellektualisera kring hans verk. Den här uppsatsen syftar till att undersöka hur han gillrade dessa fällor och varför de fungerar. Den fenomenologiska förklaringsmodellen av en upplevelse grundar sig i att kunskapen och erfarenheterna lagrar sig i betraktarens kropp snarare än i dess sinne och används här som beskrivande teori för att åskådliggöra hur Bacons verk upplevs i kroppen. Maurice Merleau-Ponty och Gilles Deleuze studier i fenomenologi inom konsten ligger till grund för hur detta resonemang förs. Francis Bacons arbetsmetoder, som delvis baseras på förvrängningar och bearbetningar av fotografier, har påvisats av Katharina Günther i hennes arbete med att katalogisera Bacons kvarlåtenskap och belyser i uppsatsen hans medvetna strategi att skapa anatomiska asymmetrier. Dessa påverkar i sin tur exponeringsprocesser i vår hjärna som resulterar i den chock som Bacon avsåg, vilket de två neurobiologerna Semir Zeki och Tomohiro Ishizu visar i sin studie som förklaras i uppsatsen.

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Long Walk in Flight School is a document intended to complement a body of artwork that includes photographs, giclee prints, animation, and a twenty two page book of images. The main focus of the text is to discuss two types of exchange; my energy with tools in exchange for an object or event, which is then exchanged in the imagination of the audience for something else, a hybrid thing. These exchanges are part of the performance or presentation of the work. Beginning with a brief description of intent at the start of graduate school, it traces my development as an artist over a two year period, highlighting shifts in my thinking and activity during that time. Finally, it describes my thesis artwork as a set of potential narratives that are conceptually related but visually diverse.

No description available.