In his Treatise of Human Nature, published in 1739, David Hume set out to scientifically comprehend human understanding, action, and personality in terms of the "experimental method of reasoning." He presented a naturalistic portrait of man which represented him as fundamentally determined to avoid pain and embrace pleasure. In this portrait a substantial place is provided for reason, but only as the "servant" of the passions. Only the passions were considered by Hume to be practical; they alone are the effective source of every impulse to act. Reason is merely theoretical; it is solely concerned with the provision of information for the passions. Hume recognized that his account of human nature must face two related problems. First, there is the matter of the common belief that reasoning is a practical activity; a belief not in keeping with Hume's conception of reason as merely theoretical. Second, the fact that persons' actions are influenced by moral ponsiderations implies that they often act in ways not designed to gratify their personal passions. Thus, moral phenomena seem to pose a threat to the hedonistic basis of Hume's theory of human nature. These two problems are related insofar as it is precisely in the case of moral actions that the common notion of practical reason traditionally operates. Hume sought to preserve the essential impracticality of reason in morals with the provision of a complex notion of "sympathy." l£ is the central purpose of this thesis to show that Hume's concept of "sympathy" fails to resolve the problems that it is addressed to. SECTION I: HUME'S THEORY OF ACTION IN THE TREATISE This section provides a sympathetic reading of Hume's account of the role of the passions and reason in the determination of human action. Two difficulties in this account—the concept of a "promptive" function of reason, and the notion of a "calm passion"—are critically considered and found to cohere with the general theory of the faculties in the Treatise. SECTION II: NATURALISM, DETERMINISM, AND VOLITION The naturalism of Hume's account of action has direct reference to the philosophical problems which cluster around the question of the freedom of the will. This section considers the implications of Hume's psychological determinism with a view to understanding more perfectly the detail of his theory of the faculties and action. Close attention is paid here to Hume's view that actions are "artificial," and it is concluded that he allowed a large and influential role for reason without directly threatening the purely theoretical function of the understanding. SECTION III: NATURALISM AND MORALS Hume regarded his theory of morals in the third book of the Treatise as a test and confirmation of his theory of action developed in the first two books. This section explicates Hume's view that moral judgments are affective perceptions rather than conclusions of reason. It is shown that the principle of "sympathy" operates at the center of the process of moral judgment. SECTION IV: SYMPATHY Hume designed the principle of sympathy to explain, in a manner consistent with his general theory of action, how persons can be naturally concerned for the interests of others with whom they have no prior affective connection. The central claim made is that persons are attuned to one another in such a way that there is an easy communication of passion between them. Thus, what is commonly interpreted as a moral "judgment" is really a peculiar feeling precipitated by a sympathy with the passions of others. It is this special feeling which issues from a process of sympathy which Hume identified as moral praise or blame. This final section of the thesis provides an extensive analysis of Hume's concept of "sympathy," and presents an argument aimed at demonstrating the failure of the concept to fulfill its intended role. It is suggested, in conclusion, that Hume fails to show that moral judgments and actions could be possible without the practical involvement of reason. / Arts, Faculty of / Philosophy, Department of / Graduate

This study of six novels by three post-World War II British novelists deals with the philosophical and pragmatic aspects of intimate relationship. Raymond Williams, in The English Novel from Dickens to Lawrence, establishes that novelists were among the first to recognise the destruction of the old community by industrialism. Without an alternate conception of community, industrial capitalism imposes itself directly upon the individual, and thus sets harsh limits upon the relationships he or she can create. One result is the alienation that Karl Marx described as inherent in the marketplaceosociety underpinning Victorian culture; or, in another idiom, the possessive individualism perceived by C.B. MacPherson. The increasing commercialism of society—the propensity, as Adam Smith phrased it, to truck and barter—has encouraged possessiveness, and has debased and alienated the most intimate aspects of human existence, especially sex and love. Sex is a central expression of the essence of life, and hence sexual relationships are adversely affected when they are alienated from love and community. As in the commercial transaction, intimacy in these six novels is vulnerable to the manipulation and the exploitation of one person by another, because there is no willingness to become involved in a reciprocal relationship. This commentary on the novels of John Fowles, Doris Lessing, and David Storey suggests some tentative conclusions about intimacy in the latter part of the 20th century. The working class novels generally emphasise traditional relationships; and tell us that individuals who try to discard them (as with Clegg in The Collector, and Machin in This Sporting Life), will lose £or never win) those whom they love. The emphasis upon money alienates them from their basic community, and destroys their integrity. There is no intimacy divorced from the primary social relationship. Middle class protagonists move away from community as they become dominant in a marketplace society. Their success transforms- them into alienated and possessive individualists; and their belated attempt to restore a sense of intimacy is an effort—perhaps tragic—to become whole in a fragmented world. But the relationships occur in a vacuum. Either they fail, as in The Golden Notebook, or the individuals reject intimacy, and flee forward from community into a super-individualism as with Martha Quest in The Four-Gated City. These novels tell us nothing of a social movement that will give the individual a sense of purpose or meaning: hence the individuals remain isolated, and seem to lose substance. When Leonard Radcliffe, for example (Radcliffe), murders his community out of his need for an absolute, he precipitates his own death. Again, Charles Smithson and Sarah Woodruff in The French Lieutenant1s Woman lose their vitality and sexual commitment because Sarah is more concerned to preserve her individuality. These examples serve to show that temporary and partial relationships are lethal to the spirit. The loss of intimacy is the result, in the end, of the loss of the moral sense. The displacement of the religious impulse to wholeness (the "disappearance of God") leaves one with the hollow victories of possessive individualism in a fragmented society. / Arts, Faculty of / English, Department of / Graduate

Two men of genius who came from nowhere to break the rules were David Garrick in 1741 and Sir Laurence Olivier in 1937. These two men will be the major subjects of this thesis. Both Garrick and Olivier introduced new styles of acting to the theatre in Shakespearian plays.

Orientador: Ivan Santo Barbosa / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-24T06:43:30Z (GMT). No. of bitstreams: 1 Ferraraz_Rogerio_M.pdf: 4672512 bytes, checksum: 315ba08c8c143b04c6d24fd4e0ebfedd (MD5) Previous issue date: 1998 / Resumo: Esta dissertação tem como finalidade demonstrar que o cineasta norte-americano David Lynch renova as características do surrealismo em seus filmes, realizando uma espécie de cinema neo-surrealista, como denominamos aqui. Para comprovar essa hipótese, realizamos, numa primeira etapa o levantamento dos dados biográficos e bibliográficos de e sobre Lynch, bem como a pesquisa se sua obra incluindo-se aqui seus trabalhos para o cinema, para a televisão, além de suas fotografias e pinturas. Concomitante, desenvolvemos o estudo do Surrealismo e de filmes realizados nas décadas de 20 e de 30, época inaugural do movimento, e que, reconhecidamente, traduziram os preceitos da arte e da estética surrealista no cinema. Dentre os vários artistas e filmes pesquisados fixamos nossas observações no conjunto da obra de Luis Buñuel, desde 1928 até 1977, respectivamente os anos do primeiro e do último filme do cineasta espanhol. Numa segunda etapa, realizamos a análise de alguns filmes, especialmente Veludo azul, de David Lynch, e Um cão andaluz, de Luis Buñuel e Salvador Dali, buscando identificar quais características do cinema surrealista são apropriadas e atualizados por Lynch, tendo em mente que sue cinema estabelece novas significações e novos paradigmas em relação à estética surrealista / Abstract: Not informed. / Mestrado / Mestre em Multimeios

It is the purpose of this paper to make a general study of David Belasco's use of naturalism in the American theatre. More specifically, it is to determine Belasco's methods of achieving naturalism in his stage settings and lighting. From the study of his techniques and methods, and effort is made to establish his contributions to the naturalistic movement.

"When from time to time Mr. Horan's books have appeared, this writer has been impressed with their fine press; has even on occasion been interested enough to locate copies, sometimes for close reading, sometimes for casual browsing; and has felt that Horan's total output has been of sufficient merit to justify more than casual consideration of his books. This belief is the motivation for this paper, the purpose of which is to bring together for the first time a listing of Mr. Horan's works, with descriptions thereof, and a summary of the critics' reactions to his published books. This bibliographical and descriptive report is prefaced by a brief sketch of Horan's life"--Introduction. / Carbon copy of typescript. / "August, 1957." / "Submitted to the Graduate council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Includes bibliographical references (leaves 62-69).

Please note: Editorial Studies works are permanently embargoed in OpenBU. No public access is forecasted for this item. To request private access, please click on the locked Download file link, and fill out the appropriate web form. / This dissertation is a study of the endnotes to David Jones's In Parenthesis. Jones is a 20th-century Welsh-English author and visual artist who provides semi-extensive annotations to his work in the form of footnotes, endnotes, or prefaces. This study examines Jones's editorial practice with focus on In Parenthesis. The bulk of the work is a critical edition of his notes (which could be followed in the future by a critical edition of the whole of In Parenthesis). Manuscript notes are collated and compared with the published text in order to examine Jones's working methods and use of annotation. Editorial commentary clarifies allusions and indicates where Jones has used similar material in his other writings (The Anathemata and a number of independently published essays) and art (engravings, paintings, and letterings; in particular the illustrations for an edition of S.T. Coleridge's "The Rime of the Ancient Mariner"). Further editorial annotation is included where Jones does not explain allusions and references in the body of In Parenthesis. Because there is evidence that Jones is an inconsistent editor of his own work, his omission of these annotations may be accidental rather than deliberate. An initial discussion preceding the collated notes provides personal and historical context for Jones's practice. To provide further context, a chronology and bibliographical description are included, as is a list of key sources and frequency of use, as well as illustrations and facsimile drafts. This study draws attention to the key works and themes that appear not only in In Parenthesis, but again in The Anathemata, Jones's artwork, essays, and other writings. / 2031-01-01

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