No description available.

No description available.

Diss.--Frankfurt am Main--Johann-Wolfgang-Goethe-Universität, 1990.

In 2003 the German constitutional court passed a law that made it possible for federal states in Germany to ban the headscarf for teachers in school which led several of them to do just that. After an indictment of two Muslim women the constitutional court repealed this law and allowed teachers to wear a headscarf in school 2015. This essay takes its starting point in the medial debate that resulted from this court decision. The aim of this study was to examine this debate with a starting point in the general statements and against the background of parts of Casanovas theory of deprivatization and parts of Habermas theories of religion in the public sphere. The first research question asks about central themes in the debate, the used arguments and how they differ between the laws supporter and opponents. The second research question addresses the issue of which role the debaters assign religion in the state. The third question is about how the statements can be better understood by relating them to parts of the theoretical concepts used for this study. This essay investigates these research questions by applying the method of content analysis on eleven debate articles of four major German newspapers. Through the interaction of theories and material the three central themes relation between religion and state, liberalism and freedom of religion could be identified. Some arguments on these themes which were common include the classification of religion as something negative or positive in the public sphere, the denial of religious individuals to meet liberal requirements and the requirement of equality which is guaranteed by freedom of religion. While this study shows that the debaters share some common views on the themes, there are clear differences between the laws supporter and opponents. Furthermore, this study concludes that while the laws supporter assign religion a role in the public sphere, the laws opponents assign religion to the private sphere even if some of them preferably would like to only assign Islam to the private sphere. Through contemplation of the results by using the chosen theories the understanding of them could be increased.

Th.--Litt. fr.--Rennes 2, 1988.

No description available.

No description available.

Le mythe de Casanova a longtemps réduit l’individu à un charmeur écervelé. Il a aussi masqué son statut d’écrivain. Afin de poursuivre l’œuvre de dévoilement de ses écrits, cette thèse étudie l’un des paradoxes qui les jalonnent. Imprégné de philosophie éclairée, le chevalier de Seingalt expose son mépris pour les croyances superstitieuses. Toutefois, témoin de la persistance de l’irrationnel au siècle des Lumières, il devient charlatan et met ses talents théâtraux au service de la duperie, développant ainsi une « esthétique de la superstition ». Pourtant, au cours de son existence, en particulier lors de l’expérience des Plombs, l’imposteur devient victime de ses craintes irrationnelles. Incapable de fixer ses convictions, ses postures philosophiques demeurent contradictoires, et marquent son écriture elle-même. Passant des attraits de la raison aux plaisirs de la croyance, l’aventurier s’abandonne donc plaisamment au mouvement, non seulement en matière féminine mais aussi en littérature et philosophie / For a long time, the myth of Casanova has reduced him to a brainless womanizer and has overshadowed his literary work. In order to furtherunveil his writings, this thesis studies one of the paradoxes that are regularly found in them. Steeped with enlightened philosophy, the chevalier de Seingalt shows his despise for superstitious beliefs. However, as he is confronted to irrationality during the Age of Enlightment, he becomes a charlatan and uses his theatrical skills to dupe other people, which makes him develop an « aesthetic of superstition ». Still, at some point of his life – in particular during the Leads episode – the imposter falls victim to his own irrational fears. Unable to decide on his convictions, his philosophical thoughts remain contradictory andaffect his writings. As he switches from the appeal of reason to the pleasures of belief, the adventurer indulges himself in wavering, not only in terms of women, but also in literature and philosophy

Magíster en artes con mención en teoría e historia del arte / Desde el siglo XIX la fotografía urbana se ha destacado por establecer una mirada modernizadora cuyo objetivo ha sido el reordenamiento de la ciudad. A lo largo de su devenir, esta mirada se ha descentrado del eje normativo permitiendo el surgimiento de estéticas cercanas al documental, la identidad y el discurso artístico, con diversos ejemplos locales, como Helsby, Garreaud, Merton, o Silva, e internacionales, desde Marville, Atget, la Nueva objetividad, la escuela de los Becher, hasta las propuestas contemporáneas. La imagen fotográfica en su desarrollo artístico redefiniría su coeficiente de objetividad, poniendo en cuestión problemas en torno al montaje, el referente y la imagen no indicial. En este sentido, la mirada presente en las series Extractos de Ciudad (2010) de Sachiyo Nishimura y Paisaje en tránsito (2009) de Rodrigo Casanova, permitirían abordar una lectura a los modelos representacionales de la ciudad desde una producción artística actual, considerando los problemas desarrollados por la imagen en la construcción de la mirada sobre lo urbano. De esta forma, los conceptos de espectralidad y vaciamiento que desarrollarían las propuestas de estos artistas, a partir de las ideas de tránsito, fractura y ausencia en relación al referente hasta la multiplicidad, saturación o yuxtaposición en el montaje, permitiendo observar nuevas configuraciones de la imagen fotográfica urbana. En consecuencia, la ciudad aparecería como una discontinuidad determinada por la construcción de perspectivas y miradas, cruzadas a su vez por sus propias referencialidades en diálogo hacia un discurso estético.

L’Histoire de ma vie constitue une plate-forme privilégiée pour examiner la figure de l’aventurier du XVIIIe siècle : non seulement Casanova est la meilleure approximation de cet idéal-type, mais il décrit longuement ses rapports avec ses pairs et le milieu qu’ils forment. L’art de la représentation, au cœur du mode d’existence de l’aventurier, se trouve comme porté au second degré par l’entreprise mémorialiste.Pour mesurer l’originalité de l’aventurier du XVIIIe siècle vis-à-vis de figures comparables antérieures, un détour généalogique s’impose. Le mot et l’idée d’aventure apparaissent dans la littérature médiévale tardive, avec trois axes sémantiques principaux (l’aventure marchande, l’aventure chevaleresque, un peu plus tard l’aventure amoureuse). Bientôt, l’aventurier paraît : défini par son affinité pour le risque ou son opportunisme, il prend, selon les époques, divers visages, du chevalier errant au chevalier d’industrie. Chaque fois qu’émerge un espace vide de pouvoir, une nouvelle figure d’aventurier surgit dans les représentations pour le remplir. Les aventuriers du XVIIIe siècle sont de ce point de vue engendrés par les fissures des sociétés d’ordre ; ils tirent parti des innovations de leur siècle (déplacements facilités ; finance, qui emploie les mêmes mathématiques probabilistes que le jeu). Les aventuriers incarnent un type de rapport au risque ambigu, entre quantification et tentation de mettre son destin à l’épreuve, en une ordalie moderne qui fonderait leur autorité spécifique. L’autonomie qu’ils incarnent et mettent en scène trouve un paroxysme chez Casanova avec la formulation d’une pensée de l’existence au caractère asystémique revendiqué. / Histoire de ma vie provides a unique insight into an emerging literary type of eighteenth-century French speaking literature, the aventurier. Not only is Casanova the best approximation for this ideal-type, but he describes at length in his memoirs his interactions with his peers and their specific milieu. The art of self representation that lays at the core of the adventurer’s daily routine is transposed into a new dimension by the autobiographical endeavor.To fully capture the originality of the eighteenth-century adventurer, as compared to preexisting comparable literary types, it may be necessary to take a genealogical step back. The idea and the word aventure appear in French in late medieval romance ; it then develops along three semantic axes (the merchant, knightly, and, somewhat later, erotic adventure). Soon the aventurier appears : defined by his acquaintance with risk or his opportunism, he assumes various forms throughout the eras, from the knight errant to the rake. From this date every time a space, geographic or social, appears void of power, a new adventurous character emerges to fill it in narratives. The eighteenth-century adventurers are the byproduct of the tears in the hierarchical European societies ; they take advantage of various innovations (easier travel, finance – which uses the probabilistic mathematical breakthroughs they also use in gambling). These adventurers manifest a new, ambiguous view of risk, between a fresh desire of quantifying it and the age-old temptation of putting one’s destiny to the test. They embody a new autonomy, that finds a spectacular expression in Casanova’s explicitly asystemic philosophy of existence.