Dans la perspective des chercheurs qui développent une science, la réalité de sa fondation se présente comme la solution imaginaire de quatre énigmes relatives à l’unité et aux progrès de leurs travaux : 1- La fondation est la source stable des principes d’une science qui se maintiennent au fil de ses développements. 2 – Elle donne à lire la finalité commune des développements individuels de ses recherches. 3 – Elle opère une rupture avec la pensée antérieure en définissant le projet d’un savoir original et plus désirable que ce que l’on croyait savoir auparavant. 4 – Elle institue l’esprit distinctif d’une recherche qui estime que le savoir qu’elle procure vaut la peine d’être développé. En sociologie, il y a consensus pour affirmer que la discipline est fondée, mais on ne s’entend ni sur la ou les œuvres qui la fondent ni même sur l’époque où elle débute. À partir d’une analyse comparée des sociologies d’Auguste Comte et d’Émile Durkheim avec d’autres œuvres depuis les études de l’homme et de la cité d’Aristote, nous explorons la réalité d’une fondation qui pourrait résoudre ces quatre énigmes ainsi qu’une cinquième qui est particulière à cette science sociale : 5 – La fondation de la sociologie initie un mode d’organisation de la recherche incompatible avec le modèle kuhnien de la science normale qui progresse dans le développement d’un paradigme commun. / In the perspective of researchers developing a science, the foundation is presented as the imaginary solution to four enigmas regarding the unity and progress of their work: 1- Its foundation is the stable source of the principles of a science that remain throughout its development. 2- It provides a common finality of the individual developments of its research. 3- It contrasts from previous schools of thought by defining the project of an original and more desirable one. 4- It introduces the distinctive characteristics of a research, emphasizing that the knowledge it brings is worth it. In sociology, there is general agreement about sociology having a beginning, only no one agrees on the works that make it, nor the time it all started. By comparing the works of Auguste Comte and Emile Durkheim with other works since Aristotle, we explore those four enigmas and even a fifth one that is specific to sociology: 5- The foundation of sociology initiates an organisation of research that is incompatible with the kuhnian model of normal science.

The study of people's capacity to remain healthy when exposed to constant stressors has long been the focus of research. Stress resistance research has focussed on the adaptive worth of successful coping strategies, certain personality characteristics as well as social support. Two concepts which have gained eminence as contributing to an individual's ability to deal effectively with life's stressors are: (1) Sense of coherence; and (2) Emotional intelligence. The aim of this study was to determine the possible relationship between sense of coherence and emotional intelligence. A once-off cross-sectional survey design was used. The sample population consisted of 54 South African marine officers serving in the merchant navy. The SOC-29 and the BarOn Emotional Intelligence Inventory (BarOn EQ-i) were used as measuring instruments. · Sense of coherence was positively related to emotional intelligence. The results showed that there is a correlation of large effect between total sense of coherence and total emotional intelligence (r = 0,73) in marine officers. The results also showed that there are correlations of large effect between the subscales of the SOC-29 and the BarOn EQi / Industrial and Organisational Psychology / M.A. (Industrial Psychology)

The study of people's capacity to remain healthy when exposed to constant stressors has long been the focus of research. Stress resistance research has focussed on the adaptive worth of successful coping strategies, certain personality characteristics as well as social support. Two concepts which have gained eminence as contributing to an individual's ability to deal effectively with life's stressors are: (1) Sense of coherence; and (2) Emotional intelligence. The aim of this study was to determine the possible relationship between sense of coherence and emotional intelligence. A once-off cross-sectional survey design was used. The sample population consisted of 54 South African marine officers serving in the merchant navy. The SOC-29 and the BarOn Emotional Intelligence Inventory (BarOn EQ-i) were used as measuring instruments. · Sense of coherence was positively related to emotional intelligence. The results showed that there is a correlation of large effect between total sense of coherence and total emotional intelligence (r = 0,73) in marine officers. The results also showed that there are correlations of large effect between the subscales of the SOC-29 and the BarOn EQi / Industrial and Organisational Psychology / M.A. (Industrial Psychology)

This thesis explores the political reformation of “faction” in the political thought of Montesquieu, David Hume, and Edmund Burke, three thinkers whose works span what Pierre Manent calls “an exquisite moment of liberalism.” It examines the transformation of faction from one based largely on class to one based largely on political function and argues that as the political emphasis of “party” overtook that of class, a disconnect in constitutional theory appeared between the principles formerly associated with class, such as honor, and the principles now associated with parties. This disconnect is examined by focusing on the interrelated concepts of political principle, or that which motivates and regulates men, and faction, itself divided into two types, principled and singular. This thesis further considers the role of political principle to faction in each thinker’s thought in order to demonstrate how limited domestic political conflict could sustain itself via a party system. Each thinker recognized that limited political conflict did not weaken the state but rather strengthened it, if engendered by “principled faction” cognizant of a nominal sovereign. Accordingly, it is argued that a similar understanding of “principled faction,” though focused largely on aristocratic ideas of prejudice, self-interest, and inequality, better promoted political liberty within the state and contributed to a greater acceptance of party in political thought.

This dissertation examines Elizabeth Robinson Montagu's relationships with three men: her husband, Edward Montagu; George Lyttelton, first baron Lyttelton; and William Pulteney, earl of Bath to show how these relationships were structured and how Elizabeth Montagu negotiated them in order to forward her own intellectual interests. Montagu's relationship with her husband Edward and her friendships with Lord Lyttelton and Lord Bath supplied her with important outlets for intellectual and political expression. Scholarly work on Montagu's friendships with other intellectual women has demonstrated how Montagu drew on the support of female friends in her literary ambitions, but at the same time, it has obscured her equally important male relationships. Without discounting the importance of female friendship to Montagu's intellectual life, this study demonstrates that Montagu's relationships with Bath, Lyttleton, and her husband were at least as important to her as those with women, and that her male friendships and relationships offered her entry into the political sphere. Elizabeth Montagu was greatly interested in the political debates of her day and she contributed to the political process in the various ways open to her as an elite woman and female intellectual. Within the context of these male friendships, Montagu had an opportunity to discuss political philosophy as well as practical politics; as a result, she developed her own political positions. It is clear that contemporary gender conventions limited the boundaries of Montagu's intellectual and political concerns and that she felt the need to position her interests and activities in ways that did not appear transgressive in order to follow her own inclinations. Montagu represented her interest in the political realm as an extension of family duty and expression of female tenderness. In this manner, Montagu was able to forward her own opinions without appearing to cross conventional gender boundaries.

After 1815's eruption of Mount Tambora, the following period was named the "Year without a Summer" and experienced irregularly cold weather, failed crops, rampant disease, and riots. In the summer of 1816, Lord Byron, Percy Bysshe Shelley, and Mary Wollstonecraft Shelley met in the Alps and wrote "Darkness," "Mont Blanc," and Frankenstein respectively. This thesis focuses on these works' depictions of nature in light of how these features may have been impacted by the climate. It argues in Chapter One that the volcanic eruption caused global climate changes that affected these writers. In Chapter Two, it illustrates differences in nature's representation between first generation and second generation Romantic works. The conclusion synthesizes the arguments made in Chapters One and Two, suggesting that 1816's climate affected these writers in such a way as to produce an environment from which science fiction could emerge in Frankenstein. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

This thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along'.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-05-24T13:01:55Z No. of bitstreams: 1 Dante Hesse Bartholomeu.pdf: 2119980 bytes, checksum: 35097846d76d1386cb26fc3a07176a0f (MD5) / Made available in DSpace on 2017-05-24T13:01:56Z (GMT). No. of bitstreams: 1 Dante Hesse Bartholomeu.pdf: 2119980 bytes, checksum: 35097846d76d1386cb26fc3a07176a0f (MD5) Previous issue date: 2017-04-19 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação de Amparo à Pesquisa do Estado de São Paulo - FAPESP / This research aims to understand how German traveler Wilhelm Ludwig Karl von Eschwege, the Baron of Eschwege, understands and represent the dichotomy between “civilized” man – the Portuguese and their administration in Brazil – and the native indigenous Brazilian – the “savage” man, which he represents under a rousseaunian perspective – in the first half of the 19th century. Thus, through travel literature, this project establishes the following questioning: to Eschwege, which of the aforementioned agents will stand as civilized and which one will stand as moralized, in a philosophical point of view, given the fact that these nations coexist and relate themselves in the whole of Brazil‟s territory during the years of his stay; between 1810 and 1821. What are the social-political aspects that dialogue through convergences and divergences, when the traveler puts these nations in comparison? This way, in an attempt of showing the indigenous societies and the Portuguese corporation through representations shaped in a specific and delimited universe, there is an effort in understanding and problematizing, based on narratives and experiences described in the journey reports, the means of coexistence and social relations between these agents. This is achieved under the prism of the root source Eschwege, whose reports led to an influence of the European imaginary on the New World / Esta pesquisa procura entender como o viajante alemão Wilhelm Ludwig Karl von Eschwege, ou barão de Eschwege, compreende e representa a dicotomia entre o homem “civilizado” – os portugueses e sua respectiva administração no Brasil – e o indígena brasileiro – homem “selvagem”, que ele apresenta sob uma ótica rousseauniana –, na primeira metade do século XIX. Logo, por meio da Literatura de Viagem, o projeto busca estabelecer a seguinte questão: para Eschwege, entre os agentes acima apontados, quem se apresentaria como civilizado e quem, como moralizado, do ponto de vista filosófico, a partir do momento em que essas nações coexistem e se relacionam pelo território brasileiro, durante os anos de sua estadia no Brasil, entre 1810 e 1821. Quais são os aspectos sociopolíticos que dialogam entre si através de convergências e divergências para o viajante, quando colocadas essas nações em paralelo? Dessa maneira, numa tentativa de apresentar as sociedades indígenas e o corpo civil português mediante representações constituídas num universo específico e delimitado, através das narrativas e experiências descritas nas fontes de viagem, busca-se entender e problematizar as formas de convívio e as relações sociais entre esses agentes sob a ótica do sujeito estudado, Eschwege, cujos relatos abasteceram o imaginário europeu de notícias sobre o Novo Mundo

1868, Bruxelles, trente-quatre artistes, principalement des peintres belges, s’organisent en groupe sous la dénomination de « Société libre des Beaux-Arts ». Parmi eux, de nombreux peintres tenants du réalisme tels que Louis Artan, Alfred Verwée, Louis Dubois, Félicien Rops et Marie Collart. Désireux d’enrôler de nouveaux membres, ils publient leurs statuts et leur programme dont les axes principaux sont l’opposition au dogmatisme des peintres « conservateurs » et l’appui d’un « renouvellement des arts » à l’aune de la « liberté », du « progrès » et d’un respect de « (…) l’école nationale ». Durant son existence, la société organisera trois expositions en marge de l’institution et se munira d’une revue L’Art libre. / En se focalisant sur la Société libre des Beaux-Arts (1868-1876) et ses artistes, notre thèse a pour objectif de contribuer à l’étude du fonctionnement et de la restructuration du monde artistique en Belgique dans la seconde moitié du XIXe siècle. La création d’une société d’artistes véhiculant des valeurs tant identitaires qu’esthétiques constitue en effet une nouvelle façon de s’imposer comme artiste dans la sphère publique. Auparavant, seules les infrastructures étatiques (Salons, Musées, Classe des Beaux-Arts, etc.) posaient les critères de mise en valeur d’une élite artistique. / Par le biais d’une étude des stratégies médiatiques et commerciales de la société et des trajectoires professionnelles de quarante-trois peintres membres, nous proposons de confronter la posture collective d’artistes « indépendants » véhiculée à la réalité de leurs pratiques. Quels étaient les enjeux d’une telle structure adoptant une posture d’avant-garde à l’image de celle qui s’était forgée quelques années plus tôt à Paris ? Derrière cette construction identitaire, peut-on véritablement considérer ces artistes comme des « révolutionnaires » et des « indépendants » ? Qui étaient ces artistes ? Où exposaient-ils et quel type d’œuvre montraient-ils ? Ont-ils pu compter sur les moyens d’automédiation mis en place par le groupe pour assurer leur reconnaissance, trouver un public et vivre de leur art ? Quel fut leur rapport effectif aux institutions officielles ?Il s’agit d’observer les actions concrètes posées par ces acteurs afin d’assurer leur émergence et leur reconnaissance dans un champ artistique en mutation. Pour ce faire, nous avons ciblé trois « moyens de médiation » soit trois moments de mise en relation de leur personne et de leurs œuvres avec le public que sont l’exposition, la critique d’art et le marché de l’art. / My research is focused on the careers of the painters who were members of the « Société libre des Beaux-Arts » (1868-1876), Belgium's first independent association of artists based on an aesthetic principle. With the aim of increasing the recognition and visibility of naturalistic paintings on the art scene, the association organized several exhibitions and published periodicals by supporting art critics. The « Société libre des Beaux-Arts » included approximately forty painters such as L. Artan, L. Dubois, C. Meunier and F. Rops. By analysing their use of exhibitions and the media, their critical reception and their place in the art market, I try to explore the emergence of the « independent artist » and the eventual transition from « the academic system » to « the dealer-critic system » in Belgium. / Doctorat en Histoire, histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.