Thesis advisor: Mary Ann Hinsdale / This dissertation explicates and evaluates the theological anthropology of David Tracy. Through a reading of the whole of Tracy's published theological corpus, it argues that Tracy's work on theological method, hermeneutics, public theology, and otherness rests on an implicit and evolving understanding of the human person. This anthropology is rooted in four key characteristics or "anthropological constants": finitude, relationality, sin, and grace. The methodological approach of the dissertation is genealogical and hermeneutical. Each of these four constants is taken as an interpretive lens through which the dissertation considers the development of Tracy's thought. This approach will demonstrate first how finitude, relationality, sin, and grace are interwoven in Tracy's work, and second how the development of his core theological loci of method, interpretation, public-ness, pluralism, and otherness are rooted in these four constants. The text concludes with an evaluation of Tracy's theology anthropology in light of his context as a North American, late 20th century, Catholic theologian. Tracy's work provides insight into the interdependence of theological method and anthropology. However, while he attends to the importance of how historical, linguistic, and social context shape human persons, his conceptual approach to context tends to ignore particularity and embodiment. Nevertheless, the four "constants" of Tracy's theological anthropology could fruitfully engage contemporary currents such as ecotheology and disability theology. This dissertation is the most thorough and sustained foray into the question of David Tracy's theological anthropology to date, and as such provides a significant contribution to the field of 20th/21st century North American Catholic theology. / Thesis (PhD) — Boston College, 2013. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

This thesis examines the nature of what I have termed "the sacramental vision" of Gerard Manley Hopkins and David Jones: it is an exploration of the mutually sustaining relationship between poetry and religion; or, as Jones puts it, between art and sacrament. The key to the relationship is to be found in language: the inherited language of theologian and poet is saturated with metaphor, sign and symbol, linguistic forms of a particularly resistant and irreducible kind. In literature, as in religion, such forms represent ultimate points of vision, to which in trust we assent, and from which we infer belief, that is, we are required to convert what begins as "an impression upon the Imagination" into a belief which may be tested by reason. The poet's renewal of such sacramental signs is a necessary exercise of the religious imagination if each generation is to remake the beliefs it has inherited. The opening chapter is an examination of the origins of Hopkins's and Jones's use of the sacramental sign and the subsequent chapters scrutinise the value of sign-making to the development of the poetic method of both poets. I suggest that this method is best elucidated through three controlling principles: the Coleridgean view of the sacramental potential of language helps to define the verbal content of the poem; the Thornist sacramental schema instresses the form of the poem; and the Newmanesque process of notional and real assent determines the grammar or inscape of the total oeuvre as a chronicle of the development of the poet's spiritual growth. Hopkins and Jones deepen our understanding of a grammar common to faith and belief, shared by poet and theologian, by claiming that poetry should be the tranforming crucible of the encounter between the experience of the poet, the reader and the divine.

Siu, Lok Yi. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 131-136). / Abstracts in English and Chinese. / Chapter Chapter One: --- Contextualizing the Context: Reading Histories in Fictions --- p.1 / Chapter Chapter Two : --- Rendezvous: an Alternative Discourse for Hong Kong histories --- p.37 / Chapter Chapter Three --- Histories Cut and Pasted: --- p.54 / Kaleidoscopic Writing of Hong Kong histories / in Xu Xi's History's Fiction / Chapter Chapter Four --- Histories that Live: --- p.99 / David T.K. Wong's Hong Kong Stories / Conclusion --- p.127 / List of Works Consulted --- p.131

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The 'prevalence of the calm passions over the violent' is Hume's general formula for both virtue and happiness. I argue in this dissertation that Hume's detailed account of the causes and effects of the relative calmness and strength of motivating passions in Treatise 2.3 is a main goal of Hume's project in the Treatise, Books I and II, and the reason why he published them together in 1739 as a "compleat chain of reasoning by themselves." However, despite widespread recognition of the general importance of this doctrine to Hume's 'science of man', no adequate attempt has been made to investigate those sections of Treatise 2.3 which bear directly on a deeper understanding of the causes of this 'prevalence of the calm passions'. Such attention is particularly warranted because, as I argue, these sections of the Treatise constitute Hume's attempt at an 'anatomy' of deliberation which accounts for the principles of human nature by which we successfully regulate our conduct and remain constant in pursuit of our long-term greater good. However, these sections also give rise to interpretative challenges that threaten the coherence of this central doctrine. Accordingly, my aim in this dissertation is to analyze Hume's anatomy of deliberation and of the prevalence of calm passions in Treatise 2.3 and to work through the interpretative difficulties it poses. I present a novel resolution of these interpretative problems which calls attention to the importance both of Hume's Treatise, Book I account of causal belief and of his neglected account of the influence of the passions on the imagination and understanding for his theory of motivation. I demonstrate that it is only when we attend to these key features of Hume's account of human nature that we can appreciate the coherent Humean theory of prudential motivation that emerges from Treatise 2.3.

CineScrúpulos es una revista digital que recopila los trabajos desarrollados por los alumnos en la clase de Historia del Cine de la Facultad de Comunicaciones de la UPC. El curso no pretende brindar una visión historicista del cine repleta de fechas, nombres de directores, títulos de películas y lugares exóticos, sino que intenta evidenciar la linealidad casi genética que es intrínseca al quehacer fílmico, una tradición que no solo se repite sino que se reinterpreta en distintos escenarios y en distintos momentos. Porque se entiende que el cine es, ante todo, la herencia permanente de lo que se ha hecho antes. Los textos de la revista CineScrúpulos han sido elaborados por los alumnos, profesores y colaboradores de la Facultad de Comunicaciones de la Universidad Peruana de Ciencias Aplicadas. Las imágenes utilizadas han sido obtenidas de distintas páginas web y el uso de las mismas se inscribe en lo estrictamente académico y divulgativo. / La presente edición de CineScrúpulos rinde homenaje a la obra de uno de los más grandes innovadores y revolucionarios directores de cine de todos los tiempos: Luis Buñuel. A 30 años de su muerte se hace una revisión exhaustiva de su obra para encontrar referentes en un director más contemporáneo como David Lynch. Asimismo, descubrimos a Álex de la Iglesia bajo la sombrilla de Alfred Hitchcock y luego regresamos al Perú para preguntarnos si somos capaces de construir un cine de género con sabor nacional. Pero antes damos un vistazo a la cartelera del segundo semestre de 2012, la misma que ha estado salpicada de algunas buenas películas y de otras que prometían más de lo que dieron.

El auge de la filosofía anglosajona de inicios del siglo XX dedicada al análisis del lenguaje moral, convirtió este tema en núcleo de buena parte de la ética contemporánea. Hume, cuyo pensamiento fue revalorizado sobre todo en el campo epistémico, fue ulteriormente convertido en interlocutor, precursor y defensor de posiciones que atendían al lenguaje de la evaluación. Pero hay que señalar y distinguir desde el inicio que Hume se ocupó de elaborar una teoría general de la evaluación moral, constituida por una descripción del proceso mismo y por el estatuto de los objetos que dicho proceso evalúa, como veremos, las tendencias del carácter. Hume no dedicó ningún estudio orientado a analizar la función y estatuto del lenguaje moral. Estamos pues ante dos problemas distintos. Esta observación es importante porque delimita qué cosas preocuparon a Hume y qué cosas no fueron atendidas por él. La argumentación de Hume se dedica al proceso de la evaluación moral. Este proceso no desestima la cooperación entre pasiones y razonamiento, si bien éste tiene rasgos peculiares, y, a la vez, rechaza la afirmación según la cual los elementos más afectivos de dicho proceso no sean significativos. / Tesis

This essay presents a conceptual analysis of my piece Unavoidably Sentimental for Large Ensemble. Specifically, the paper traces the roots of the musical thinking in the piece to a notion of Sincerity that emerges from David Foster Wallace’s books and essays. The term New Sincerity, coined by Adam Kelly, is deployed to consider what a post-postmodern Sincerity could sound like in contemporary music. The paper provides general background to the literary discourse around the concept of New Sincerity as an extension of Lionel Trilling’s formalization of Sincerity and Authenticity. It suggests some examples of how a renewed sense of Sincerity could incarnate in contemporary music. As a background for the analysis of Unavoidably Sentimental itself, the paper provides background to my prior engagement with concepts like irony and authenticity in music. Unavoidably Sentimental is analyzed as a linear process, in which the piece tries to emerge out of a net of self-aware referential musical objects into the creation of sonic states of unmediated human communication between the musicians and the audience. I present different musical strategies in which the piece confronts the limitations of human communication through music, contextualized with reference to the portrayal of communication in Wallace’s writings.

黃天生. / "2005年1月". / 論文(哲學碩士)--香港中文大學, 2005. / 參考文獻(leaves [1]-[5], 2nd group). / "2005 nian 1 yue". / Abstracts in Chinese and English. / Huang Tiansheng. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (leaves [1]-[5], 2nd group). / Chapter 1. --- 引言 / Chapter 1.1 --- 硏究之背景 --- p.1 / Chapter 1.2 --- 硏究目的 --- p.4 / Chapter 1.3 --- 硏究方法及結構 --- p.8 / Chapter 2. --- 關聯法之一極一一對處境之理解 / Chapter 2.1 --- 田立克關聯法對處境之理解 --- p.10 / Chapter 2.1.1 --- 引言 --- p.10 / Chapter 2.1.2 --- 田立克自覺處身於時代的轉接階段 --- p.13 / Chapter 2.1.3 --- 田立克對現代性中心問題之反省 --- p.14 / Chapter 2.1.4 --- 從現代性的特徵帶出人存在之根本問題 --- p.16 / Chapter 2.1.5 --- 過往方法的評檢 --- p.19 / Chapter 2.2 --- 徐思相互批判關聯對處境之理解 --- p.22 / Chapter 2.2.1 --- 引言 --- p.22 / Chapter 2.2.2 --- 時代轉變的中心問題一一從現代至後現代 --- p.24 / Chapter 2.2.3 --- 處境的轉變，修正的需要 --- p.32 / Chapter 2.3 --- 從田立克至徐思 --- p.34 / Chapter 3. --- 關聯法之一極一一對宗教信仰之理解 / Chapter 3.1 --- 田立克關聯法之一極一一對宗教信仰的理解 --- p.35 / Chapter 3.1.1 --- 引信 --- p.35 / Chapter 3.1.2 --- 終極關懷作爲宗教普遍性的基礎 --- p.38 / Chapter 3.1.3 --- 終極關懷到基督宗教的上帝 --- p.41 / Chapter 3.1.4 --- 終極關懷與耶穌是基督一一基督教的獨特性 --- p.43 / Chapter 3.2 --- 徐思關聯法之一極一一對宗教信仰的理解 --- p.46 / Chapter 3.2.1 --- 引言 --- p.46 / Chapter 3.2.2 --- 徐思對宗教之定義 --- p.47 / Chapter 3.2.3 --- 宗教之定義´ؤ´ؤ極限經驗 --- p.49 / Chapter 3.2.4 --- 宗教之定義一一經典 --- p.53 / Chapter 3.2.5 --- 從經典的理解到基督論之建構 --- p.58 / Chapter 3.3 --- 從田立克至徐思 --- p.59 / Chapter 4. --- 關聯法之方法論一一如何關聯的問題 / Chapter 4.1 --- 田立克關聯法之方法論框架 --- p.61 / Chapter 4.1.1 --- 引言 --- p.61 / Chapter 4.1.2 --- 問題與答案之關係 --- p.63 / Chapter 4.1.3 --- 形式與內容之關係 --- p.67 / Chapter 4.2 --- 徐思關聯法之方法論框架 --- p.72 / Chapter 4.2.1 --- 引言 --- p.72 / Chapter 4.2.2 --- 詮釋學之於經典的嫁接 --- p.73 / Chapter 4.2.3 --- 批判技巧之運用 --- p.75 / Chapter 4.2.4 --- 類比想像的意思 --- p.77 / Chapter 4.3 --- 從田立克至徐思 --- p.80 / Chapter 5. --- 總結 / Chapter 5.1 --- 引言 --- p.82 / Chapter 5.2 --- 進入多元世界的田立克 --- p.83 / Chapter 5.3 --- 徐思在關聯法裏修正了甚麼？ --- p.86

Este trabalho aborda as estratégias de reprodução da agricultura familiar do município de David Canabarro e da microrregião do Alto Taquari. O principio metodológico que o norteia está assentado na técnica do “estudo de caso”. O estudo de caso é recurso metodológico pelo qual procura-se estudar uma determinada realidade exaustivamente a fim de se obter o máximo de informações possíveis. Trata-se de um estudo empírico que investiga um fenômeno mediante a utilização de várias fontes de evidências, tanto qualitativas quanto quantitativas. A partir dessas técnicas procura-se verificar a origem da agricultura familiar no Alto Taquari. Os colonos italianos assentados na região Nordeste do Rio Grande do Sul estabeleceram um sistema produtivo e um modo de vida colonial, com um sistema produtivo semiautônomo e uma forma de sociabilidade caracterizada pela existência de relações de reciprocidade e solidariedade em nível de comunidade. Durante meio século, a reprodução desse sistema esteve relacionada às migrações dos filhos dos colonos para as zonas de fronteira agrícola, primeiro no norte do estado e, posteriormente, para o Oeste de Santa Catarina e Sudoeste do Paraná Na medida em que a fronteira de expansão foi se restringindo, o sistema produtivo colonial entrou em crise. Esta crise implica no aumento da pressão demográfica, intensificação do uso do solo e redirecionamento das migrações para os centros urbanos. Paralelamente, a partir de meados da década de 1960, os agricultores vão se inserindo em sistemas agrícolas cada vez mais intensivos na utilização de insumos industriais. Nesse período, a relativa autonomia dos agricultores vai perdendo espaço para sistemas produtivos crescentemente mercantilizados. Todavia, a partir de meados da década de 1980, o cultivo da soja entra em crise, tendo como principal causa a emergência de um cenário desfavorável à sua produção, devido à baixa valorização do produto e ao crescente aumento nos custos. A partir de então, muitos agricultores passam a se dedicar a diferentes atividades, tanto na agricultura como fora dela. A produção de frangos, fumo, suínos e leite, são as principais estratégias de reprodução ligadas à agricultura. A extração de basalto, a costura de bolas de futebol no próprio domicílio e o trabalho em fábricas de calçados são as principais estratégias não-agrícolas. O desenvolvimento das novas atividades leva os agricultores a uma diferenciação social, todavia, a mercantilização não implicou na proletarização dos agricultores, mas no aparecimento de novas estratégias sociais de reprodução. Nesse sentido, acredita-se que a principal contribuição desta dissertação ao estudo da agricultura familiar e da pluriatividade consista na revelação de novas atividades, como a extração do basalto e a confecção de bolas de futebol a domicílio, bem como do local em que estes processos estão se desenvolvendo.