On ne trouve pas la racine du mot adab dans le Coran. Dans la littérature pré-islamique, ainsi que dans les hadiths, son utilisation est limitée exclusivement au sens d'« invitation à un banquet », « éducation », « correction » et « punition » (addaba, ta'dīb). Après une période au cours de laquelle les chercheurs n'ont pas considéré l'avis des linguistes et des penseurs musulmans concernant l'étymologie de adab de l'« invitation au banquet de Dieu (ma'dubat Allāh) », des études plus récentes ont remis positivement en question cette opinion. En fait, dans l'histoire des civilisations antiques, la notion de banquet cérémoniel divin ou sacré est très répandue, trouvant son origine dans l'archétype du « Banquet Divin » ou de « L'Hospitalité Divine », qui a exercé une forte influence sur le contexte religieux et culturel d'un certain nombre de différentes civilisations. Cependant, depuis le début du 9é siècle, la littérature religieuse islamique a également commencé à utiliser le terme adab avec un nouvel usage, que l'on pourrait appeler « technique ». La source de cet enrichissement sémantique doit être attribuée aux secrétaires de la cour, les kuttāb, les mawālī persans, les célèbres traducteurs et transmetteurs du patrimoine étatique et culturel persan. En plus d'influencer l'imaginaire culturel de la littérature d'adab classique, l'imagerie de la cour sassanide influencera également la terminologie technique, ainsi que la pratique du soufisme, en engendrant un genre de la littérature soufie, la littérature des ādāb al-ṣūfiyya. / The root of the word adab is not found in the Qur'ān. In pre-Islamic literature as well as in the hadith, its use is limited exclusively to the sense of “invitation to a banquet”, “education”, “correction” and “punishment” (addaba, ta'dīb). After a period in which scholars did not taken seriously the opinion of Muslim linguists and thinkers concerning the etymology of adab from the “invitation to the Banquet of God (ma'dubat Allāh)”, more recent scholarship has questioned this opinion. In fact, the notion of a divine or sacred ceremonial banquet in the history of ancient civilizations is quite widespread, finding its origin in the archetype of the “Divine Banquet” or “Divine Hospitality”, which had a strong influence on the religious and cultural contexts of a number of different civilizations. However, from the beginning of the 9th century CE Islamic religious literature also began to use the term adab in a new usage, that one might call “technical”. The source of this semantic enrichment should be traced to the court secretaries, the kuttāb, the Persian mawālī who were well-known translators and transmitters of Persian state and cultural heritage. In addition to influencing the cultural imaginary of classical adab literature, the Sasanian court imagery will also influence the technical terminology, as well as the practice in Sufism, producing a genre of the Sufi literature, the ādāb al-ṣūfiyya literature.

Made available in DSpace on 2016-04-29T14:27:23Z (GMT). No. of bitstreams: 1 Agnese Costalunga.pdf: 6322711 bytes, checksum: 0b0b6c6c91f3aef5c30e8f0777c33ae6 (MD5) Previous issue date: 2013-08-05 / The dissertation on exclusive Globalization, Trinity and evangelization in the context of American continent did emerge that humanity can and must build on the networks of human living together local, national and international, just and fraternal so that everybody can live with dignity. For this to happen ,it is necessary to uproot human coexistence of assaults and encroachments of goods of humanity, through the imposition of brute force, economic, political and social of the few over all mankind, leaving two-thirds of the population excluded from the banquet of life. So it is necessary to create and maintain permanent relationships of equitable justice, recognition of the equal human dignity of all and respect for human rights of all people and peoples of planet Earth. It is not enough to recall principles, state intentions, point to crying injustice and utter prophetic denunciations; these words will lack real weight unless they are accompanied for each individual by a livelier awareness of personal responsibility and by effective action (AO 48). The paradigm of the Triune God reveals to us that to live in the image and likeness of God who created us and saves us, makes us live reciprocal and articulately the anticipation of the historic beginning of life to the final and full to which humanity is called to live. This utopia is always under construction and requires all, continuous efforts of conversion on the way of Emmaus to Jerusalem"(cf.Lk24,33-35).In this walk we can and should build on mutual trust, on responsibility and the on personal and social commitment on a quality of life worthy sustainable for the benefit of every person and every people. The accumulation of unsustainable goods, gradually, always reverts in misery and exclusion of the well-being of others, spreading across the planet and throughout the universe. The Theology through transdisciplinary dialogue with committed entities tries to build up decent life for all, points out ways of conversion for all for the benefit of all. Solidarity with the population excluded from the banquet of Life. assuming it as the subject of change and as a judge to those who live accumulating goods by practicing injustice, denying the fraternity, the communion and the sharing of everything. The ecclesial life exists to be space for the permanent experience of the Reign of God in the humanity and in the world. Exists so that everybody, may walk in communion and in the participation of all, in networks of communion of communities in the world: as global village. The religions and the churches have no other objective to exist other than to celebrate, to collaborate, to incentive, e to witness the presence of the initial historical paradise in the life of each co-brothren. The celebrations and pastoral life celebrate the victory of life over death and announce that in our midst there would be no poor if we practice the commandments of the Lord (cf. Deut15:4-5). / A dissertação sobre: GLOBALIZAÇÃO EXCLUDENTE, TRINDADE e EVANGELIZAÇÃO, no contexto do Continente Americano faz emergir que a humanidade pode e deve construir redes de convivência humana local, nacional e internacional justa e fraterna para que, todos, possamos viver dignamente. Para que isso aconteça é necessário desenraizar os relacionamentos humanos de assaltos e usurpações dos bens da humanidade através da imposição da força brutal, econômica, política e social de poucos sobre toda a humanidade, deixando dois terços da população excluída do Banquete da Vida. Para tanto é necessário criar e manter permanentemente relacionamentos de justiça equitativa, de reconhecimento da igual dignidade humana de todos e de respeito aos direitos humanos de todas as pessoas e povos do planeta Terra. Não basta recordar os princípios, afirmar as intenções, fazer notar as injustiças gritantes e proferir denúncias proféticas; estas palavras ficarão sem efeito real, se elas não forem acompanhadas, para cada um em particular, de uma tomada de consciência mais viva da sua própria responsabilidade e de uma ação efetiva (AO 48). O paradigma de Deus Trindade revela-nos que viver à imagem e semelhança de Deus que nos cria e nos salva, nos faz viver recíproca e articuladamente a antecipação histórica do início da vida definitiva e plena à qual toda a humanidade é chamada a viver. Esta utopia está sempre em construção e exige de todos, permanentes esforços de conversão ao caminho de Emaus para Jerusalém (cf. Lc24,33-35). Neste caminhar podemos e devemos construir, na mútua confiança, na responsabilidade e no compromisso pessoal e social uma qualidade de vida digna sustentável, em benefício de cada pessoa e de cada povo. O acúmulo insustentável de bens, de poucos, reverte-se sempre em miséria e exclusão do bem viver de outros, alastrando-se em todo o Planeta e em todo o universo. A teologia, através do diálogo transdisciplinar com as entidades comprometidas com a construção da vida digna para todos, aponta caminhos de conversão de todos em benefício de todos. Solidariza-se com a população excluída do Banquete da Vida assumindo-a como sujeito de mudanças e como juiz dos que viveram acumulando bens, praticando injustiças, negando a fraternidade, a comunhão e a compartilha de tudo. A vida eclesial existe para ser espaço de experiência permanente do Reinado de Deus na humanidade e no mundo. Existe para que todos, caminhemos na comunhão e na participação de todos em redes de comunhão de comunidades no mundo: aldeia global. As religiões e as Igrejas não têm outro objetivo de existir senão o de celebrar, colaborar, incentivar e testemunhar a presença histórico-inicial do paraíso na vida de cada povo irmão. As celebrações e a vida pastoral celebram a vitória da vida sobre a morte e anunciam que em nosso meio não haveria pobres se praticássemos os mandamentos do Senhor (cf. Dt15,4-5)

Dans cette thèse, nous traitons du transfert, concept fondamental de la psychanalyse, en explicitant ses lignes de forces qui commencent chez Freud et trouvent ses formes les plus achevées chez Lacan. Pour Freud, le transfert est essentiellement une résistance à la cure analytique. Dans ses différentes analyses, Freud pourra constater l'apparition de phénomènes qui façonnent les cures, depuis le « cas Dora» jusqu'au cas connu comme « l'homme aux rats ». Freud fera rapidement équivaloir le transfert à l'Oedipe et, par la même, à la répétition : le patient répète en analyse ce qui a été vécu/raté pendant son enfance en rapport avec ses parents. Nous sommes là dans l'aire freudienne. Depuis lors, en psychanalyse, le transfert est lié à la répétition et la cure réduite à la résolution du conflit oedipien, moyennant quoi, il faudra naturellement « interpréter le transfert ». Lacan aborde le transfert relativement tard dans son enseignement. C'est dans le séminaire sur le transfert qu'il avance que l'antécédent historique du psychanalyste est Socrate. Mais c'est en 1964, dans le séminaire intitulé Les quatre concepts fondamentaux de /a psychanalyse, que Lacan va sépare transfert de répétition. Par la suite, il mettra en rapport le transfert et le sujet supposé savoir (1967). Notre thèse dégage donc l'essentiel de cet axe qui va de l'un à l'autre maîtres de la psychanalyse, mais aussi, elle apporte surtout des exemples cliniques depuis la psychanalyse pure à la « psychanalyse appliquée », en prenant comme matériel clinique notre travail aussi bien dans les institutions que dans notre pratique privée.

Cette recherche, fondée sur l’analyse de près de 33000 os animaux, vise à caractériser la fonction des fermes dans le Bas-Poitou antique. On y élève du bœuf, du mouton et de la chèvre, plus rarement du porc, principalement pour la viande et le lait. Une partie des productions est destinée aux habitants des fermes, une autre pourrait alimenter les agglomérations urbaines. Malgré une évolution des pratiques entre périodes gauloise et romaine (taille des animaux, consommation carnée), on observe plutôt une continuité dans le choix des espèces, des productions et des techniques de découpe. Ces fermes abritent des populations aux statuts sociaux variés. La chasse, particulièrement révélatrice de ces statuts, renvoie alors à des motivations différentes (recherche de matière première, protection des productions, activité de prestige). Enfin, ces riches fermes sont le théâtre de banquets dépassant de loin le simple cadre domestique. / The aim of this research, based on the study of nearly 33000 animal bones, is to determine the function of rural settlements between the pre-Roman Iron Age and the beginning of the Roman period. The ancient farmers of the Bas-Poitou bred cattle, sheep and goat, and a few pigs. Meat and milk were the main products derived from these animals. Some of these products were used on the sites, whilst others could have been traded with populations living in urban centres. Some practices change during this period (increasing stature of certain species, meat diet), but there were no more differences between the sites (same species, same produce and same methods of butchery). The populations living in these settlements possessed different social status. Hunting was one activity which was particularly revealing of status (crafts, protection of certain types of production or aristocratic activities). Finally, some rich farms held banquets, exceeding the usual domestic context.

No description available.

Eighteenth-century London was a hotbed for instrumental arrangements, and many of these works were derived from the operas of George Frideric Handel (1685-1759). Thirty-one of his operas, in whole or in part, were arranged for recorder or flute, and there were over seventy keyboard transcriptions of the overtures to these operas. While the transcriptions of Handel overtures have been thoroughly examined, opera aria transcriptions have never received an appropriate level of study and analysis. The Ladys Banquet or The Lady’s Entertainment provides an excellent starting point. Not only does it include numerous opera aria arrangements, but its volumes were re-issued several times, suggesting a wide circulation. Its study raises a number of issues, including publication and authorship of Handel transcriptions, gendered music of the eighteenth century and analysis of opera transcriptions. The Ladys Banquet or The Lady’s Entertainment is a collection of six volumes of keyboard music published by John Walsh in the first half of the eighteenth century. The first two books were issued in 1704 and 1706 respectively, and included many undemanding pieces by fashionable composers such as Jeremiah Clarke (c.1674-1707) and Henry Purcell (1659-1695). The Third and Fourth Books followed in circa 1715 and 1716 and contain predominantly dance tunes and popular songs revised for the keyboard. When, in the early 1730s, the Fifth and Sixth Books appeared, the original four volumes were revised, and included wholly different material than the first editions. The publications of John Walsh are notoriously confusing owing to their lack of publication dates, repeated use of title pages, and misleading advertisements. The Ladys Banquet, as a whole, is especially bewildering because of the reissues of the collection and the changing repertoire. My research focuses on the Fifth Book of The Ladys Banquet, first printed around 1734, due to its abundance of opera aria transcriptions and consistency of content within editions. This document compiles relevant background information and offers a lucid guide to The Ladys Banquet. It provides historical context, examination and discussion of the contents of each volume, with specific details about the music in the Fifth Book, as well as analysis of the Handel aria transcriptions.

Eighteenth-century London was a hotbed for instrumental arrangements, and many of these works were derived from the operas of George Frideric Handel (1685-1759). Thirty-one of his operas, in whole or in part, were arranged for recorder or flute, and there were over seventy keyboard transcriptions of the overtures to these operas. While the transcriptions of Handel overtures have been thoroughly examined, opera aria transcriptions have never received an appropriate level of study and analysis. The Ladys Banquet or The Lady’s Entertainment provides an excellent starting point. Not only does it include numerous opera aria arrangements, but its volumes were re-issued several times, suggesting a wide circulation. Its study raises a number of issues, including publication and authorship of Handel transcriptions, gendered music of the eighteenth century and analysis of opera transcriptions. The Ladys Banquet or The Lady’s Entertainment is a collection of six volumes of keyboard music published by John Walsh in the first half of the eighteenth century. The first two books were issued in 1704 and 1706 respectively, and included many undemanding pieces by fashionable composers such as Jeremiah Clarke (c.1674-1707) and Henry Purcell (1659-1695). The Third and Fourth Books followed in circa 1715 and 1716 and contain predominantly dance tunes and popular songs revised for the keyboard. When, in the early 1730s, the Fifth and Sixth Books appeared, the original four volumes were revised, and included wholly different material than the first editions. The publications of John Walsh are notoriously confusing owing to their lack of publication dates, repeated use of title pages, and misleading advertisements. The Ladys Banquet, as a whole, is especially bewildering because of the reissues of the collection and the changing repertoire. My research focuses on the Fifth Book of The Ladys Banquet, first printed around 1734, due to its abundance of opera aria transcriptions and consistency of content within editions. This document compiles relevant background information and offers a lucid guide to The Ladys Banquet. It provides historical context, examination and discussion of the contents of each volume, with specific details about the music in the Fifth Book, as well as analysis of the Handel aria transcriptions.

À cause de son langage symbolique et de l’absence d’une trame narrative bien dessinée, l’Apocalypse de Jean constitue un gros défi pour l’exégèse, d’autant plus que ce livre réutilise un important matériel vétérotestamentaire mais sans jamais faire de citations explicites. La présente recherche se propose de traiter le chapitre 19 comme une unité littéraire significative à l’intérieur de ce livre complexe, même s’il ne montre ni un récit suivi ni une parfaite cohérence sur le plan narratif, présentant même des discordances avec d’autres parties du livre. Par contre, sur le plan théologique, un discours cohérent et significatif s’en dégage lorsqu’on joint à l’analyse narrative une analyse structurelle. La combinaison de ces deux méthodes synchroniques permet d’exposer des parallélismes frappants et de décrire une intrigue qui traite de l’accomplissement inéluctable de la justice divine, symbolisée par le contraste entre deux grands banquets, l’un festif et l’autre macabre. Enfin, cette recherche préserve le caractère évocateur des symboles et préconise une lecture ironique pour certains passages. / Due to its constant use of symbolism within a loose narrative framework, John’s Revelation poses a formidable exegetic challenge. Moreover, this book reuses a large amount of Old Testament material while never quoting from the OT. This M.A. thesis posits that Rev 19 is a significant literary unit encased in the larger context of the complex Book of Revelation, although its narrative frame is not closely argued, even displaying some contradictions with other parts of the book. However, on a theological level, a coherent, consistent message can be unveiled, when adding a structural analysis to the narrative analysis. The combination of these two synchronic approaches highlights some striking parallels and describes a plot that talks about the certain achievement of God’s justice, symbolized by the contrast of two feasts, one joyous and the other gruesome. Finally, this research leaves intact the evocative nature of the symbols and advocates an ironic reading of some passages.

Le présent mémoire se penche sur la dramaturgie que mettent en scène le Banquet et le Phédon de Platon. Dans le cas du premier dialogue, une étude de l'épilogue et du discours d'Alcibiade, assortie de parallèles ponctuels dans la République et la Lettre VII, permet de déceler un exemple de la rétention d'information platonicienne, telle que comprise sous l'égide des écoles platoniciennes de Tübingen et de Milan, de même qu'une attestation de l'existence de doctrines non-écrites qualitativement supérieures à celles que renferment les dialogues. L'épilogue du Banquet fait ensuite, à la lumière des conclusions susmentionnées, l'objet d'une interprétation qui distingue trois niveaux de lecture des dialogues platoniciens : l'extériorité, l'intériorité et l'oralité philosophique, symbolisées respectivement par le poète comique Aristophane, le poète tragique Agathon et le poète philosophique Socrate. Il va de soi que ce dernier renvoie sémantiquement au philosophe par excellence, titre que Platon endosse volontiers. L'essai exégétique touchant le Phédon se concentre pour sa part sur la dernière volonté de Socrate. Celle-ci survient au dénouement de la partie la plus « dramaturgique » du dialogue, c'est-à-dire après les discours proprement philosophiques sur l'immortalité de l'âme. En ciblant ces moments, de même que l'introduction, nous distinguons l'adjonction des tons tragique et comique, illustrant par là un procédé inhabituel dont le but, ultimement, est de soustraire le dialogue au registre tragique afin d'éviter la propagation d'émotions contraires à la philosophie. En exploitant l'oxymore comique-tragique sur un plan mimétique, nous montrerons que la dernière volonté de Socrate véhicule un dessein parénétique. / The present work has as its main focus Plato's dramaturgy in the Symposium and the Phaedo. The former studies both Alcibiades' speech and the epilogue whilst paralleling some of their elements with relevant passages from the Republic and the Seventh Letter. In doing so, it reveals an instance of Socratic withholding of information - as understood by the platonic school of Tübingen and Milan - and sheds light upon the existence of a set of unwritten doctrines philosophically higher than the ones contained in the dialogues. On the basis of these conclusions, I come to discern a hermeneutics in the epilogue according to which there are three hierarchical levels of comprehension to Plato's dialogues: exteriority, interiority of and oral philosophy - said three levels being symbolised by the comic poet Aristophanes, the tragic poet Agathon and the philosopher Socrates. The exegetic essay on the Phaedo revolves around Socrates' last will, which comes at the end of a ''dramatic'' sequence exceeding the bounds of the discursive philosophy that seeks to prove the immortality of the soul during the major part of the dialogue. By aiming at this sequence as well as at the introduction, one comes to see that comedy carries the mandate of counterbalancing tragedy in order to overcome the philosophically reprehensible emotions it fosters. Whilst contrasting tragedy and comedy, Socrates' last words fulfill, on a mimetic level, a paraenetic design, insofar as they invite the Athenian reader, indeed every reader, to philosophically overcome common places in regards to death.

Cette thèse vise à élaborer un point de vue global sur l'énigme grecque, en étudiant son champ lexical et sémantique, les théories anciennes et les sources principales. Les faits antiques sont mis en perspective par un état de la question dans le domaine anthropologique. Une première partie mène l'examen étymologique, sémantique, syntaxique et statistique des groupes lexicaux d'"ainigma" et de "griphos", ainsi que de leurs calques latins, à travers une analyse de corpus fondée sur les bases de données les plus récentes. Dans la deuxième partie, l'étude des conceptions de l'énigme qui apparaissent dans les textes savants de l'Antiquité gréco-latine, depuis l'époque classique jusqu'aux commentaires byzantins, montre les obstacles que rencontre la théorisation de ce genre traditionnel. La troisième partie de ce travail s'attache aux principaux vestiges de la tradition grecque : la section sur les énigmes des "Deipnosophistes" d'Athénée (livre X, 448 b-459 c), dont nous proposons une édition critique et une traduction, et les énoncés conservés dans l'"Anthologie grecque" (livre XIV), que nous traduisons ; les spécimens recueillis par ces deux sources sont ensuite analysés par types. L'énigme apparaît ainsi comme un genre littéraire, comme un genre discursif et comme une catégorie de la réception. Dès l'Antiquité, le discours énigmatique offre une occasion de réflexivité sur les formes de la langue, de la communication et de la culture.