No / Recognizable throughout the world, the stone statues (moai) of Rapa Nui (Easter Island) represent the largest monolithic architecture produced in Polynesia. The exquisitely carved and finished head and torso of each statue testifies to a skill in stone carving and dressing unmatched throughout the Pacific. Yet, approximately one thousand ‘classic’ statues were produced at the quarries within a few hundred years. What was the ritual status of the quarry and the labour necessary to produce the numbers of statues that allowed Heyerdahl to declare that the ‘whole mountain massif has been reshaped, the volcano has been greedily cut up’ (1958: 83)? What was it like to go to work at Rano Raraku? By drawing on a range of evidence we argue that walking to and labouring at Rano Raraku represented a spatial and temporal journey to a place of highly dangerous forces, a cosmogonic centre where prehistoric Rapa Nui people came face to face with their ancestors and the Polynesian gods.

Les différents commentateurs de Lovecraft se sont au fil du XXe siècle jusqu’à nos jours entendus sur un point : l’originalité de son oeuvre. Impossible à cataloguer dans un genre littéraire précis, offrant de multiples couches d’interprétation, celle-ci fut analysée à la fois sous l’angle psychanalytique et sous l’angle philosophique et scientifique. Cependant, la dimension purement esthétique semble, peut-être par négligence, avoir été oubliée. Notre mémoire propose une investigation de l’esthétique dans l’oeuvre de Lovecraft. Notre hypothèse de recherche repose sur les analogies évidentes et pourtant peu approfondies par la critique entre l’esthétique de celle-ci et l’esthétique cosmogonique de l’Antiquité. Dans un premier temps, nous situerons l’œuvre dans son contexte littéraire, c’est-à-dire que nous nous pencherons sur les rapports évidents qu’elle entretient avec des auteurs tels que J.R.R. Tolkien et Arthur Conan Doyle et sur les différences moins évidentes qui la distinguent d’autres d’auteurs tels que H.G. Wells et William Hope Hodgson. Ensuite, nous mettrons en perspective les différences qui la séparent logiquement de la cosmogonie hébraïque et de la tradition théologique et philosophique qu’elle inaugure, entre autres, tel qu’elle se cristallise dans La Divine Comédie de Dante. Finalement, nous démontrerons à partir d’une comparaison serrée de motifs analogues, présents dans la longue nouvelle de Lovecraft, At the Mountains of Madness et dans le poème d’Hésiode, La Théogonie, le parallèle révélateur entre leurs esthétiques respectives; leurs esthétiques qui découlent de paradigmes du réel historiquement et essentiellement distincts, mais non pas opposés ou contradictoires. / Throughout the 20th century and until now, the different Lovecraft commentators have agreed on one point: the originality of his oeuvre. Impossible to pigeonhole in a specific literary genre, and open to many layers of interpretation, it has been analysed both from a psychoanalytic angle and from a philosophical and scientific angle. However, the purely aesthetic dimension seems to have been forgotten, possibly through negligence. This dissertation proposes an investigation of the aesthetic aspect of Lovecraft’s oeuvre. Our research hypothesis rests on the obvious, yet rarely elaborated upon by critics, analogies between it and the cosmogonical aesthetics in Antiquity. First, we shall position Lovecraft’s work within its literary context, e.g. by establishing its evident connection to such authors as J.R.R. Tolkien and Arthur Conan Doyle, but also by underlining the subtler differences that distinguish it from other writers such as H.G. Wells and William Hope Hodgson. Then, we will put into perspective the elements that logically separate it from Hebrew cosmogony and from the theological and philosophical tradition it inaugurates, as crystallized in Dante’s Divine Comedy, notably. Finally, we intend to demonstrate, based on a close comparison of similar motifs present in Lovecraft’s novella, At the Mountains of Madness and in Hesiod’s poem, Theogony, a revelatory parallel between their respective aesthetics; aesthetics that spring from historically and essentially distinct paradigms of reality, but which are not opposed or contradictory.

Diploma work Lived Space of Archaic Greece Eliška Luhanová (UFaR FF UK) tutor: Mgr. Sylva Fischerová, PhD. Abstract The diploma work Lived Space of Archaic Greece reconstructs the spatial structuration of the world in archaic Greece on the basis of a systematic reading of Hesiod's poems, mainly the Theogony. Nevertheless it takes into account also another texts which help to illuminate the archaic Greek thought, in particular the works of archaic poets and later dramatic texts, which preserve many of the archaic visions. In same cases the subsequent evolution of the subject is pointed out moreover, especially where the authors classified as first philosophers by the later tradition are concerned. The main contribution of the work lies in reconstruction of the cosmogonic process, based on the poetical account given by Hesiod. This process is interpreted as a successive constitution of the world order, which culminates by establishing Zeus as a world sovereign and at the same time as a successive constitution of the world as a differentiated spatial whole. This constitution thus proceeds in a form of differentiation, which means partly a mutual differentiation of the gradually emergent cosmical constituents, partly an intrinsic differentiation of the particular constituents of the cosmic structure. First...

Les différents commentateurs de Lovecraft se sont au fil du XXe siècle jusqu’à nos jours entendus sur un point : l’originalité de son oeuvre. Impossible à cataloguer dans un genre littéraire précis, offrant de multiples couches d’interprétation, celle-ci fut analysée à la fois sous l’angle psychanalytique et sous l’angle philosophique et scientifique. Cependant, la dimension purement esthétique semble, peut-être par négligence, avoir été oubliée. Notre mémoire propose une investigation de l’esthétique dans l’oeuvre de Lovecraft. Notre hypothèse de recherche repose sur les analogies évidentes et pourtant peu approfondies par la critique entre l’esthétique de celle-ci et l’esthétique cosmogonique de l’Antiquité. Dans un premier temps, nous situerons l’œuvre dans son contexte littéraire, c’est-à-dire que nous nous pencherons sur les rapports évidents qu’elle entretient avec des auteurs tels que J.R.R. Tolkien et Arthur Conan Doyle et sur les différences moins évidentes qui la distinguent d’autres d’auteurs tels que H.G. Wells et William Hope Hodgson. Ensuite, nous mettrons en perspective les différences qui la séparent logiquement de la cosmogonie hébraïque et de la tradition théologique et philosophique qu’elle inaugure, entre autres, tel qu’elle se cristallise dans La Divine Comédie de Dante. Finalement, nous démontrerons à partir d’une comparaison serrée de motifs analogues, présents dans la longue nouvelle de Lovecraft, At the Mountains of Madness et dans le poème d’Hésiode, La Théogonie, le parallèle révélateur entre leurs esthétiques respectives; leurs esthétiques qui découlent de paradigmes du réel historiquement et essentiellement distincts, mais non pas opposés ou contradictoires. / Throughout the 20th century and until now, the different Lovecraft commentators have agreed on one point: the originality of his oeuvre. Impossible to pigeonhole in a specific literary genre, and open to many layers of interpretation, it has been analysed both from a psychoanalytic angle and from a philosophical and scientific angle. However, the purely aesthetic dimension seems to have been forgotten, possibly through negligence. This dissertation proposes an investigation of the aesthetic aspect of Lovecraft’s oeuvre. Our research hypothesis rests on the obvious, yet rarely elaborated upon by critics, analogies between it and the cosmogonical aesthetics in Antiquity. First, we shall position Lovecraft’s work within its literary context, e.g. by establishing its evident connection to such authors as J.R.R. Tolkien and Arthur Conan Doyle, but also by underlining the subtler differences that distinguish it from other writers such as H.G. Wells and William Hope Hodgson. Then, we will put into perspective the elements that logically separate it from Hebrew cosmogony and from the theological and philosophical tradition it inaugurates, as crystallized in Dante’s Divine Comedy, notably. Finally, we intend to demonstrate, based on a close comparison of similar motifs present in Lovecraft’s novella, At the Mountains of Madness and in Hesiod’s poem, Theogony, a revelatory parallel between their respective aesthetics; aesthetics that spring from historically and essentially distinct paradigms of reality, but which are not opposed or contradictory.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Multidisciplinary contemporary discourse involving science, philosophy and theology has explored themes of creation and human identity. Contemporary critiques of anthropocentricism stem from such discourse. The understanding of human beings as ‘spirited bodies’ rather than embodied spirits, arises from a non-reductionist physicalist standpoint. This is the point of departure for this thesis. The study attempts to explore the understanding of human beings as ‘spirited bodies’ from a non-reductionist physicalist view and as a metaphor for ‘fresh’ perspectives and insights that could potentially inform and/or shape a theologically grounded earth-keeping ethos on a different premise from the traditional dualistic hierarchical viewpoint. Methodologically, this study attempts to reflect a unitary approach to knowledge. The study views the subject through three prisms. Firstly it takes a retrospective look to account for perspectives that have shaped hierarchical views of creation based on a dualistic principle that in turn have shaped the human power-dominion relationship with the rest of creation that is deemed to have led to the devastating eco-crisis the world faces today. Secondly, it considers a non-reductionist physicalist viewpoint that has challenged dualistic anthropological views of being in favour of the conception of human beings as ‘spirited bodies’ and which places human beings in a continuum with the rest creation. Thirdly, it picks up on Moltmann’s Trinitarian and pneumatological views of creation which orient the theological framework anchored on the community and communion within the triune relationship. Human solidarity with the rest of creation is then posited as the nexus that converges the strands of these different perspectives. The juxtaposition of the Genesis 1 creation story with Zambian cosmogony constitutes ‘case studies’ that illustrate how the fresh perspectives on creation and human identity open up an ‘interpretive space’ that could locate human beings in a continuum with the rest of creation and offer insight for an alternative earth-keeping ethos. Human solidarity with the rest of creation thus critiques traditional western dualistic and hierarchical conceptions of creation on one hand, and serves as an orienting concept for the ‘fresh’ earth-keeping ethos this study proposes on the other. / Dissertation (MA Theol)--University of Pretoria, 2013. / gm2014 / Dogmatics and Christian Ethics / unrestricted

Une théorie unifiée donnant à Poe une cohérence dans sa diversité est possible lorsqu’on base l’analyse de son œuvre sur sa cosmogonie, c’est-à-dire sur sa conception de l’univers. Celle-ci repose sur un dieu devenu universel en se matérialisant, puis en se divisant en la quasi-infinité de matière formant le monde que nous connaissons. La division de l’âme divine est selon lui reflétée dans la nature intrinsèquement divisée de l’âme humaine. En cela, les notions de temps, de mort et de destinée sont interconnectées : l’histoire cosmique est identique à celle de l’homme, toutes deux régies par le temps et circonscrites par la mort. Cette même histoire se répétant tout au long de son œuvre, elle constitue donc le motif archétypal qui l’unifie. / A unified theory of Poe’s works, bringing his diverse writing together into one coherent story can be found in his cosmogony, that is to say, in his understanding of universal mechanics. This latter understanding is based on the idea of a god dividing himself into the almost infinity of matter that makes up the universe, building it in his literal image. The division of the divine soul is, according to Poe, echoed by the intrinsic division of the human soul. As such, Time, Death, and Destiny are fundamentally interconnected: cosmic history and human history are one and the same, ruled by time and circumscribed by death. This story can be found all throughout Poe’s works and is thus the archetypal pattern at the core of this unified theory.

Made available in DSpace on 2016-04-27T17:26:51Z (GMT). No. of bitstreams: 1 Marcelo Maghidman.pdf: 2297108 bytes, checksum: b83346eebd47176c4236673151c93188 (MD5) Previous issue date: 2010-10-22 / Instead of language been created by men, Jewish mysticism believes the world and everything that exists has been created and is mantained by God through language, specifically among the infinite combinations of the Hebrew Alphabet (the twenty two letters and the ten first numbers). This way, the entire universe is a phenomenon of language. The present paper discusses the importance of language and a type of Metaphysics of the Hebrew Alphabet, comparing the different views between the philosophical tradition, represented here by the following texts: Cratylus, by Plato and De Magistro, by Augustine, and, representing the jewish tradition, especially the jewish mysticism, the Sêfer Yetsiráh, of unknown author. As part of this analysis the paper presents, over all, Gershom Scholem s Theory of Language and The Metaphysics of the Hebrew Alphabet by Elias Lipiner, as well as the approach to Philosophy of Language, through the jewish mystic view, specifically from the Cabalah / Em lugar de a linguagem haver sido criada pelo homem, o Misticismo Judaico acredita que o mundo e tudo o que nele existe foi criado e é mantido por Deus por meio da linguagem, especificamente através das infinitas combinações do Alfabeto Hebraico (as vinte e duas letras e os dez primeiros números). Dessa forma, todo o universo constitui-se em um fenômeno da linguagem. O presente texto discute a importância da linguagem e uma classe de Metafísica do Alfabeto Hebraico, comparando distintas visões entre a tradição filosófica representada aqui pelos textos: Crátilo, de Platão e De Magistro, de Agostinho, pela tradição judaica, especificamente por meio de sua mística, o Sêfer Yetsiráh, de autoria desconhecida. Como parte da análise o texto apresenta, sobretudo, a Teoria da Linguagem de Gershom Scholem e a Metafísica do Alfabeto Hebraico de Elias Lipiner, bem como uma aproximação à Filosofia da Linguagem por meio da visão mística judaica, mais especificamente da Cabaláh

Ondřej Krása, Causes of the Creation of the World in Plato's Timaeus Abstract of the Thesis The aim of the thesis is to explain the causes of the creation of the world in Plato's Timaeus. The causes of the creation of the world are manifold. The Demiurge created the world according to an eternal paradigm. The paradigm of the world is an intelligible animal that encompasses everything that is eternal. The Demiurge is the best of eternal beings and created the world as an image of the entirety of eternal beings. What is then the relationship between the Demiurge, who is reason, and the entirety of eternal beings, that reason can comprehend? Timaeus characterizes the eternal being as having no other relationships than those towards itself. On the contrary, the Demiurge is a being that has constitutive relationships towards the world. The entirety of being that consists of both the Demiurge and that, which is in itself, is therefore a being in which reason relates self-contained relationships of that, which reason can comprehend, towards something else, namely becoming. The world was created in a receptacle as an embodied soul. Each body is a regular geometrical figure with no "matter" inside. Bodies are both in space and they are modifications of space. Souls are in space as well, but their being in space is...

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-09-04T13:53:54Z No. of bitstreams: 0 / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-09-04T15:51:38Z (GMT) No. of bitstreams: 0 / Made available in DSpace on 2018-09-04T15:51:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2018-02-27 / Esta pesquisa foi desenvolvida visando compreender e expor a ideia da gênese de Deus, ou Ser originário, e do mundo dos seres finitos a partir deste, na perspectiva de Schelling, como apresentada em As idades do mundo. Para tanto, a pesquisa foi balizada pela questão radical ‘por que existe alguma coisa e não antes o nada?’ Esta questão, por sua vez, foi analisada no âmbito da elaboração de um sistema dos tempos no interior do qual se articula o devir do Ser originário e da vida de Deus em suas diferentes idades. Daquela pergunta ontológicometafísica radical resulta a compreensão de que o surgimento do mundo dos seres finitos a partir de Deus é um processo livre e consciente. O propósito de Schelling em As idades do mundo é narrar cientificamente este processo, isto é, mostrar como o Absoluto sai de si mesmo e se revela na criação. Para a realização dos propósitos desta pesquisa, juntamente com questão radical, outras questões devem ser consideradas: como pode o homem conhecer a Deus? E, ainda, como conhecer e compreender o surgimento do tempo em sua bipolaridade finitude/eternidade? Na resposta a estas perguntas está contida uma ideia fundamental sobre a qual se consolidam as investigações de Schelling abordadas por essa pesquisa: Schelling acredita haver uma analogia entre o ser humano e Deus e, por isso, o homem possui uma cociência da criação. / The present research was developed aiming to understand and to expose the idea of God or primal Being’s genesis and the world of finite beings from this point on, in the perspective of F.W.J. Schelling, such as presented in The Ages of the World. To this effect the research was driven by the radical question ‘why is there something rather than nothing?’. For its part, this question was analyzed in the context of the formulation of a system of times in whose interior is articulated the yet-to-come of the primal Being and God's life in its different ages. From that ontological-metaphysical radical question comes out the understanding that the appearance of finite beings from God is a free and conscious process, i.e. God wants to reveal Himself. Schelling's purpose in The Ages of the World is to narrate this process scientifically, i.e. to show how the Absolute come out from itself and is revealed in the creation. The question, at this point, is an investigation of the Being, which reveals the metaphysical aspect of this research. Along with this radical question, is necessary to consider other some in order to achieve the purposes of this research: what makes possible for the finite and limited to know the infinite and unlimited? In other words, how can the man know God? And furthermore, how to know and understand the advent of time in its bipolarity finiteness/endlessness? That brings us to the epistemological aspect of this research. The answers to these questions contain an idea that will be widely explored in the research following this project: Schelling believes is an analogy between God and the human being and, therefore, the man has a co-knowledge of the creation. This is the fundamental idea followelly the investigations of Schelling in this research.