Trata-se de investigar a autoridade civil como fruto de convenção e artifício, bem como a sua relação com o estabelecimento da lei e do comércio no pensamento de Hume. A influência recíproca entre o artifício político e estes dois elementos é abordada como produtora de liberdade, que diz Hume no ensaio Da origem do governo ser a \"perfeição da sociedade civil\". A ideia, assim, é expor como a autoridade, inicialmente arbitrária, concorre não apenas para a superação de problemas de cooperação e escassez, como também se mostra passível de uma ordenação geradora de regularidade, liberdade e florescimento humano. / This is an investigation of political authority as a product of convention and artifice, as well as of its relation with the establishment of law and commerce in the thought of Hume. The reciprocal influence between the political artifice and these two elements is addressed as productive of regularity and liberty, which Hume describes in the essay Of the Origin of Government as being the perfection of civil society. Thus, the idea is to show how authority, initially arbitrary, concurs not only in the overcoming of cooperation and scarcity problems, but also reveals itself as liable to an order generative of liberty and human flourishing.

Desde sua primeira obra, David Hume anuncia ao leitor o projeto de constituição de uma ciência da natureza humana. O principal objetivo deste trabalho consiste em examinar os argumentos utilizados por Hume para construir as condições de possibilidade desse saber. / Since his first work David Hume announces his intentions to constitute a science of human nature. The main target of this thesis is to examine the arguments used by Hume to build the conditions of possibility of this field of knowledge.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to investigate the moral theory of David Hume from his empirical method. In order that it is necessary to analyze his critique of rationalism and metaphysics as a method to moral foundation, the presentation of the empirical method as a possible theoretical foundation of morality and expose his moral theory in the context of his philosophical system. It is intended, therefore, to show that in Hume the reason by itself is insufficient to justify the moral, whose realization is possible only within the sensitivity. Similarly, the objective is to demonstrate that, although Hume s philosophy is skeptical concerning the metaphysical precepts and usual rationalist traditions, his understanding about morality is positive and intends to be universal. / A presente dissertação tem como objetivo investigar a teoria moral de David Hume a partir de seu método empírico. Para isso, é necessária a análise de sua crítica ao racionalismo e à metafísica como métodos para a fundamentação moral, a apresentação do método empírico como possibilidade de fundamentação teórica da moral e a exposição de sua teoria moral no contexto de seu sistema filosófico. Pretende-se, portanto, demonstrar por que em Hume a razão por si só é insuficiente para fundamentar a moral, cuja realização somente é possível no âmbito da sensibilidade. De forma semelhante, objetiva-se demonstrar que, embora se encontre em Hume uma filosofia cética em relação aos preceitos metafísicos e à tradição racionalista em geral, sua compreensão da moral é positiva e pretende-se universal

Please read the abstract in the 00front part of this document / Thesis (DPhil (Psychology))--University of Pretoria, 2007. / Psychology / unrestricted

(in English): The aim of the theses is to map the development of feminization of two main British political parties, Conservative and Labour party from the point of view of descriptive participation, i.e. women representation in the party and parliamentary structure. Incorporation of women organization into the party structure including also integration of women's concerns into the party manifesto is another topic presented in the text. Attitude towards women advancement and women enfranchisement based on the overall perception of women identity are also included. The second part of the thesis focuses on specific premiership period of Tony Blair and David Cameron with regards to the aspect of feminization mentioned above and legislative steps and their influence on life and position of women in wider society. As a part of the theses, the comparison of both terms of office, from the point of view of their attitudes towards women's issues and strategies of promoting women political participation, are involved.

David Werner Amram III, born in Philadelphia in 1930 is a celebrated American composer whose works have increasingly gained worldwide attention. His compositions embrace many genres including incidental music, film scores, symphonies, concertos, sonatas, instrumental trios, quartets, cantatas and operas as well as songs. One of Amram's earliest published songs, Pull My Daisy, is from his musical score for the experimental film of the same name. The song, text by Allen Ginsberg, Neal Cassady and Jack Kerouac, is set in a jazz style. Twelve of his songs, published in three collections are drawn either from his incidental music for Shakespeare plays or from his chamber opera, Twelfth Night. Another group written for baritone voice, wind and string quintets is entitled Three Songs for America. Trail of Beauty for mezzosoprano, oboe and orchestra contains four settings of Native American texts. The first chapter of this paper provides a biography of the composer. Succeeding chapters give some analysis of representative songs from each published group, background to their composition, texts, information from reviews where available, and the composers own comments from telephone interviews with the writer. An appendix contains brief illustrations of music from representative songs. It is observed that Amram's multifaceted musical interests have led him to write appealing and interesting music, both instrumental and vocal.

[pt] O objetivo geral deste trabalho é propor uma interpretação das teorias causal e dos valores (moral e estético) de David Hume, que designo por quasi-realismo cético. Neste sentido, procuro justificar um confronto das análises elaboradas na literatura secundário sobre o filósofo – que têm estado sistemática e declaradamente apartadas. Para cumprir este objetivo, começo por apresentar de forma introdutória algumas pressuposições importantes para este trabalho (capítulo 1). Depois, procuro destacar e desenvolver algumas componentes das teorias causal e dos valores (moral e estético) de Hume que são determinantes para a discussão, subdividindo-as em componentes que designo por metafísica, epistémica e semântica (capítulos 2 e 3). Por último, procuro justificar a posição que assumo em relação a cada um destes aspetos considerados, compondo, assim, o conjunto de componentes do designado quasi-realismo cético – essencialmente inspirado na contribuição de Angela Coventry (por sua vez, inspirada no quasirealismo de Simon Blackburn), ao mesmo tempo que lhe acrescenta um elemento cético (capítulo 4). / [en] The general aim of this work is to propose an interpretation of David Hume s theories of causality and values (moral and aesthetic), which I call sceptical quasi-realism. In this respect, I try to confront several analysis developed in secondary litterature about the philosopher – which have been sistematically and openly separated. To achieve this aim, I begin by introducing some presuppositions which are important for the purposes of this work (chapter 1). Then, I try to identify and develop some determinant features of Hume s theory of causality and values (moral and aesthetic) for the discussion, subdivided in features which I call metaphysic, epistemic and semantic (chapters 2 and 3). Finally, I attempt to justify the interpretation regarding each of this considered features, composing the set of features of what I call sceptical quasi-realism – mainly inspired in Angela Coventrys contributions (which, in turn, is inspired in Simon Blackburns quasi-realism), adding a sceptical element to it (chapter 4).

L’oeuvre philosophique de David Hume repose sur un incontournable paradoxe. Dans le premier livre du Traité de la nature humaine, le projet d'une science expérimentale de la nature humaine se trouve curieusement juxtaposé à l'expression d'un scepticisme radical. Notre objectif consiste principalement à rendre compte, au-delà de cette contradiction apparente, de la cohérence de la position épistémologique de Hume. Nous tenterons de mettre en évidence la compatibilité des conceptions humiennes de science et de scepticisme. Nous chercherons également à souligner l'invraisemblance de l'interprétation traditionnelle qui dissout la tension entre science et scepticisme en réduisant la philosophie humienne à un scepticisme autodestructeur.

La question de Hume, au regard de l'identité, n'est pas de savoir en quoi consiste l'identité ou s'il y a une identité, mais comment il est possible de l'affirmer. Elle concerne en fait, la question du fondement de l'identité. Il s'agit de prouver comment, à partir de la définition d'un soi envisagé comme faisceau de perceptions, les perceptions du soi peuvent être unifiées entre elles. Les conclusions auxquelles Hume parvient, dans le Livre I du Traité de la nature humaine, sont l'admission d'un échec : sa théorie de la connaissance ne permet pas de fournir ce principe unificateur des perceptions. Dans la présente recherche, partir de laquelle la doctrine nous examinons l'hypothèse à des relations de Hume, plus précisément celle de contiguité temporelle, jette une lumière nouvelle sur la question de l'identité et représente une voie possible pour en élucider l'énigme.

Made available in DSpace on 2016-04-26T18:16:43Z (GMT). No. of bitstreams: 1 Maria das Gracas Teixeira de Araujo Goes.pdf: 604490 bytes, checksum: 94da5ee9691f0f368280cd9c144819d7 (MD5) Previous issue date: 2007-11-19 / The research is devoted to the study of David Cronenberg s films Videodrome and eXistenZ. Both movies belong to the science fiction genre, which, in our times, has gained specific features, representing the present with futuristic connotations, due to the fact of technical innovations being inserted in every sector of society. By portraying the cultural context of their times by means of metaphorical narratives and bizarre and surreal images, the films lead us to an analysis of post-modernism, cyberculture and velocity as a sociohistorical process that is realized without a legitimating discourse. For the same reason, we are also led to reflect on the imaginary context that permeates the technological society, taking as its parameter the myth of the cyborg, arising from the coupling of man and machine, and also the mythical-religious discourse present in the movies s narratives, resulting from the socio-technological process that is always contaminated by the link between religion and science. David Cronenberg s two films reproduce a social configuration in which the transmission of images is processed by means of technologies of the sensory (in the case of Videodrome) and of intelligence (eXistenZ). It therefore became necessary to delve into the media culture, so as to identify the influences exerted by technological communication devices (live or online). In view of the various themes comprised in the study, it was necessary to undertake an extensive bibliographical study, as well as research on the Internet. Baudrillard, Kellner and McLuhan, among others, are authors who have produced important analyses of this culture. Lévy, Johnson and Lemos are some of the researchers who have written about cyberculture, a subject that finds in Rüdger and Trivinho its most organized and consummate critical vision. We have studied post-modernism based on the ideas of Harvey, Jameson and Kumar, among others. Regarding the research on dromocracy, two authors have merited our attention: Virilio, who launched the subject s theoretical basis, and Trivinho, who has built a critical reflexion on the neuralgic and specific points of the logic of velocity in cyberculture. Erick Felinto provided us with subsidies for an analysis of religion in the technological society. Aumont, Brissac, Deluzer, Gomes, Machado, Sodré and Todorov have been of great assistance in our reflection on cinema and science fiction; Haraway led us to a greater understanding of the man/machine coupling, and, finally, Peirce and Santaella were the theoretical foundation for our semiotic analysis / A pesquisa foi consagrada ao estudo às produções cinematográficas Videodrome e eXistenZ de David Cronenberg. Essas películas estão inseridas no gênero ficção científica, que, na contemporaneidade, adquiriu características peculiares ao representar o presente com conotações futurísticos, como conseqüência de a técnica estar inserida em todos os setores societários. Ao retratar o contexto cultural de época, através de narrativas metafóricas e de imagens bizarras e surreais, os filmes demandam uma análise do pósmodernismo, da cibercultura e da velocidade como processo social-histórico, concretizado sem discurso legitimatório. Não por outro motivo, refletimos, também, sobre o imaginário que permeia a sociedade tecnológica, tomando como parâmetro o mito do ciborgue, decorrente do acoplamento homem/máquina, e o discurso mítico-religioso presente nas narrativas dos filmes, resultante do processo sociotecnológico sempre contaminado pela conexão entre religião e ciência. As duas películas de David Cronenberg reproduzem uma configuração social em que a transmissão de mensagens se processa através das tecnologias do sensório (Videodrome) e da inteligência (eXistenZ). Assim, foi imprescindível um aprofundamento sobre a cultura dos media, a fim de se detectar as influências exercidas pelos aparelhos tecnológicos de comunicação (live ou online). Devido aos vários temas abarcados pelo estudo, foi necessária extensa pesquisa bibliográfica e buscas na internet. Baidrillard, Kellner e McLuhan são autores, entre outros, que trazem análises importantes sobre essa cultura. Lévy, Johnson e Lemos são alguns dos pequisadores que tratam da cibercultura, tema que encontra em Rüdger e Trivinho a sua visão crítica mais organizada e acabada. Estudamos o pós-modernismo com base nos postulados de Harvey, Jameson e Kumar, entre outros. Quanto à pesquisa sobre a dromocracia, dois autores merecem a nossa atenção. Virilio, que lançou as respectivas bases teóricas e Trivinho, que constrói uma reflexão crítica sobre os pontos nevrálgicos e específicos da lógica da velocidade na cibercultura. Erick Felinto nos deu subsídios para uma análise sobre a religião na sociedade tecnológica. Aumont, Brissac, Deluzer, Gomes, Machado, Sodré e Todorov auxiliaram, sobremaneira, a reflexão sobre o cinema e a ficção científica; Haraway nos levou a uma compressão maior sobre o acoplamento homem/máquina e, finalmente, Peirce e Santaella foram as bases teóricas para a nossa análise semiótica