This thesis deals with David Hume's conception of resemblance, chiefly in the context of his theory of association of ideas. There, resemblance has a great theoretical significance for explanation of, besides other things, general ideas (or concepts). With connection to them the principal problem dealt with in this thesis shows itself best: If we interpret resemblance as sharing of properties, then by using it in explanation of concepts (that means properties as well) we are begging the question. One of the claims of this thesis is that Hume understands resemblance neither solely, nor primarily as sharing of properties but he regards it as a primitive relation, whose place is mainly in the imagination. It is therefore "perceived" resemblance. Hume's theory of association consequently presupposes "form" of the given, one aspect of which is resemblance (or similarity) in the abstract which is a "condition of possibility" of perceived resemblances. Particular resemblances fill this form with various content, which means that resemblance is in this sense relative (different individuals can perceive the resemblance between the same things differently). It appears that Hume's conception of resemblance is, according to this interpretation, basically in agreement with Nelson Goodman's conception of similarity, in...

The topic of this thesis is the work of David Jařab and Dušan D. Pařízek - two of the leading figures in Komedie Theatre from years 2002 to 2012. It tries to capture some of the principles of both author´s work and focuses on their work on Komedie´s scene only. After a brief introduction to the history of Komedie Theatre and Pražské komorní divadlo (Prague theatre ensemble), this thesis analyses the theatre´s further dramaturgy, both author´s topic selection and their working with text. In the next part it gets to the formal elements in the authors´s plays - successively it describes stage design, costumes, music or visual effects. Last part of this thesis is about some common specific points that we could find in Jařab and Pařízek´s production, about their approach to acting and combining space and text. And in the very end there is a general reflection of Komedie Theatre under the lead of Pražské komorní divadlo besides trying to find possible reasons why these two figures helped to create such acclaimed scene. The objective of this thesis is to describe the work of David Jařab and Dušan D. Pařízek in Prague´s Komedie Theatre and to detect principles of their production and mutual collaboration.

O objetivo desta dissertação é questionar a legitimidade de convicções sexuais e de gênero profundamente arraigadas, através da análise de M. Butterfly de David Henry Hwang e Cat on a Hot Tin Roof de Tennessee Williams. Argüindo a respeito do determinismo biológico imposto e do sistema binário restritivo, eu tento testar o valor e o significado de antigos dualismos construídos, tais como mentira e verdade, masculino e feminino. Nesta tarefa, sou auxiliada pela existência de personagens enriquecedores como Brick Pollitt, Maggie, René Gallimard e Song Liling, cujas subjetividades são centrais para minha dissertação. Enquanto os dois primeiros são cruciais para a discussão sobre a mentira, os outros são fundamentais para exemplificar as possibilidades de sexualidades e expressões de gênero transgressoras / The purpose of this thesis is to question the legitimacy of deeply rooted sexual and gender beliefs through the analysis of both David Hwangs M. Butterfly and Tennessee Williamss Cat on a Hot Tin Roof. Being inquisitive regarding the imposed biological determinism and the restrictive binary system, I try to test the value and the meaning of ancient constructed dualisms such as mendacity and truth, masculine and feminine. In this ask, I am supported by the existence of enriching characters like Brick Pollitt, Maggie, Rene Gallimard and Song Liling, whose subjectivities are the core of my thesis. While the two first are crucial for the discussion on mendacity, the others are fundamental to exemplify possibilities of transgressive sexualities and gender expressions.

[pt] A crise ecológica que enfrentamos hoje nos alerta sobre o perigo que corremos se continuarmos a abusar da natureza explorando-a como fonte inesgotável de matérias primas para os inventos do homem. Como se não bastasse a degradação de boa parte de seus ecossistemas, o uso pelas indústrias farmacêuticas e alimentícias representa uma das principais fontes de exploração desenfreada daqueles que são classificados como carentes de razão, afeto ou vontade. Neste sentido, a busca por uma ética mais ecocêntrica se faz necessária. Para pensar uma ética que abarcasse a relação dos homens com os animais é que recorremos aqui ao conceito de simpatia, elaborado pelo filósofo empirista britânico David Hume. Este conceito é elaborado como um princípio de distinção moral entre os homens, mas está presente também nas operações mentais dos animais entre si. Queremos defender que o conceito de simpatia, como um mecanismo de comunicação de sentimentos entre os humanos e entre os animais, pode ser estendido para a relação entre homens e animais, e assim contribuir para o desenvolvimento da conduta humana em relação ao bem-estar destes seres, principalmente nas produções de escala industrial. Para isso, tomaremos como exemplo a perspectiva daqueles que criam e trabalham com os animais, servindonos da análise de Vinciane Despret e Jocelyne Porcher no livro Être Bête. Aspiramos, ainda, apresentar uma crítica à zootecnia como ciência que mecanizou os animais e os isolou dos homens, transformando-os em produtos e distorcendo o conceito de bem-estar, o qual buscaremos averiguar. / [en] The ecological crisis we face today warns us against the danger involving the continuous and abusive exploitation of nature as an inexhaustible source of raw materials at the service of mankind s inventions. Besides the degradation of a significant part of its ecosystems, the use by the drug and food companies alone, accounts for a great deal of a rampant exploitation of those classified as being deprived of reason, affection or will. In this sense, the pursuit for a more ecocentric ethics is mandatory. To think of an ethics that embodies the relationship between men and animals, we resort to the concept of sympathy, created by the Scottish empirical philosopher David Hume. The concept, elaborated as a principle of moral distinction among men, is also present in the mental operations of animals as they interact among themselves. We advocate that the concept of sympathy, as a means of communication of feelings among humans and among animals, can also be extended to the relationship between the men and animals, thus contributing to the evolution of human conduct towards the welfare of these creatures, especially when it comes to large scale production. In order to do so, we will make use of the perspective of those who raise and work with animals, using the analysis of Vinciane Despret e Jocelyne Porcher to support this thesis, found in their book Être Bête. Also, we aim to express our criticism to animal husbandry as a science which helped reinforce the mechanization of animals, thus isolating them from men, making them into products and twisting the concept of well being itself, which we will try to ascertain.

This dissertation investigates the personal identity problem on David Hume’s writings on Treatise of Human Nature. For this aim, I present the Humean conception of self concerning the operations of the understanding and of the passions or emotions, as well as two interpretative controversies arising from it. Once Hume considers the notion of substance unintelligible, and denies that there is an impression that is one and the same throughout one’s life, he considers imperfect, in section Of personal identity, the attribution of identity and simplicity to the self. All we have access about the mind are the sucessive experiences or perceptions, related through associative qualities which leads us to tend to believe in the unity of the self. If there is something beyond the sucessive perceptions which unites them, it cannot be discovered through experience. The first interpretative controversy in question concerns if, from one side, much of what Hume proposes in Book I is reaffirmed by him in the Appendix, from the other side, he claims there is one aspect that his theory was not successful in explaining. However, when he sets the problem, for which he admits he does not find a viable solution, the principles that he claims he cannot either reconcile or reject are not incompatibles with each other and also they are relevant to other issues addressed in the Treatise, not restricting their impact to the problem of personal identity. What, then, is the problem that Hume identifies in his theory of personal identity in Book I? Hume reintroduces the notion of self throughout Book II, this time as an object of pride, stating at times that we not only have an idea of self, but also an impression. The second controversy, therefore, concerns whether there are different notions of self in the Treatise, one presupposed by pride and another produced by it, or if Hume develops different aspects of the same conception of self, so that the self as a bundle of perceptions is the same implied by sympathy and produced, as an object, by pride. This dissertation unrolls and argues these problems, seeking to present how Hume's writings in books I and II on the notion of self complement each other and to what extent the human natural propensity to attribute simplicity and identity to the self is due not only to the similarity, causality and memory, as defended in Book I, but also due to the passions. / Esta dissertação investiga o problema da identidade pessoal nos escritos de David Hume no Tratado da natureza humana. Para isso, apresento a concepção humeana de eu no âmbito das operações do entendimento e das paixões ou emoções, bem como duas controvérsias interpretativas suscitadas a partir dela. Uma vez que Hume considera ininteligível a noção de substância, e que nega que exista uma impressão que seja uma e a mesma ao longo de toda a vida de alguém, ele considera, na seção Da identidade pessoal, imperfeita a atribuição de identidade e simplicidade ao eu. Tudo o que temos acesso acerca da mente são as sucessivas experiências ou percepções, relacionadas por meio de qualidades associativas, o que faz com que tendamos a acreditar na unidade do eu. Se há algo além das percepções sucessivas que as une, não é possível descobrir através da experiência. A primeira controvérsia interpretativa considerada diz respeito a se, por um lado, boa parte disso que propõe no Livro 1 é reafirmado por Hume no Apêndice, por outro, ele afirma haver um aspecto que sua teoria não foi bemsucedida em explicar. Entretanto, ao colocar o problema, para o qual admite não encontrar solução viável, os princípios que relata não conseguir compatibilizar ou rejeitar não só não são incompatíveis um quanto ao outro, como também são relevantes para outros temas abordados no Tratado, não restringindo seu impacto ao problema da identidade pessoal. Qual, então, o problema identificado por Hume quanto à teoria da identidade pessoal no Livro 1? Hume reintroduz a noção de eu ao longo de todo o Livro 2, desta vez como objeto do orgulho, afirmando, por vezes, que não só temos uma ideia de eu, como também uma impressão. A segunda controvérsia, portanto, diz respeito a se há, no Tratado, diferentes noções de eu, uma pressuposta pelo orgulho e outra por este produzida, ou se Hume desenvolve diferentes aspectos de uma mesma concepção de eu, de maneira que o eu como feixe de percepções é o mesmo implicado pela simpatia e produzido, enquanto objeto, pelo orgulho. Esta dissertação expõe e discute esses problemas, buscando apresentar como os escritos de Hume nos livros 1 e 2 acerca da noção de eu se complementam e em que medida a propensão natural humana a atribuir simplicidade e identidade ao eu se deve não apenas à semelhança, à causalidade e à memória, como defendido no Livro 1, mas também às paixões.

O objetivo desta dissertação é questionar a legitimidade de convicções sexuais e de gênero profundamente arraigadas, através da análise de M. Butterfly de David Henry Hwang e Cat on a Hot Tin Roof de Tennessee Williams. Argüindo a respeito do determinismo biológico imposto e do sistema binário restritivo, eu tento testar o valor e o significado de antigos dualismos construídos, tais como mentira e verdade, masculino e feminino. Nesta tarefa, sou auxiliada pela existência de personagens enriquecedores como Brick Pollitt, Maggie, René Gallimard e Song Liling, cujas subjetividades são centrais para minha dissertação. Enquanto os dois primeiros são cruciais para a discussão sobre a mentira, os outros são fundamentais para exemplificar as possibilidades de sexualidades e expressões de gênero transgressoras / The purpose of this thesis is to question the legitimacy of deeply rooted sexual and gender beliefs through the analysis of both David Hwangs M. Butterfly and Tennessee Williamss Cat on a Hot Tin Roof. Being inquisitive regarding the imposed biological determinism and the restrictive binary system, I try to test the value and the meaning of ancient constructed dualisms such as mendacity and truth, masculine and feminine. In this ask, I am supported by the existence of enriching characters like Brick Pollitt, Maggie, Rene Gallimard and Song Liling, whose subjectivities are the core of my thesis. While the two first are crucial for the discussion on mendacity, the others are fundamental to exemplify possibilities of transgressive sexualities and gender expressions.

Esta pesquisa intenciona investigar as contribuições de três fotógrafos norte-americanos David Zingg, George Love e Lew Parrella - para o fotojornalismo publicado na revista Realidade e de que forma seus trabalhos se diferenciam daquilo que se produzia no Brasil até o início da década de 1960. A importância da revista no período do regime militar, somada ao destaque que alguns dos fotógrafos contratados naquele momento pela Editora Abril obtiveram posteriormente em exposições de arte em museus e galerias, justificam este estudo, bem como a ausência de trabalhos sobre os três fotógrafos norte-americanos em questão. O recorte temporal desta dissertação vai desde a primeira edição da revista em abril de 1966 até a edição de dezembro de 1968 quando da homologação do Ato Institucional nº 5. Essa escolha deve-se ao fato de que ainda havia uma relativa liberdade de expressão, tanto no âmbito da fotografia quanto do texto, nesse período. Além disso, trata-se da fase de maior relevância social da publicação que em meio a ditadura militar levantou temas que confrontavam o regime. As principais fontes de pesquisa utilizadas foram os próprios exemplares da revista e a bibliografia recente produzida por ocasião do cinquentenário do Golpe de 1964. Embora a revista Realidade seja objeto de muitos estudos, o uso que fez da fotografia ainda não recebeu uma análise mais aprofundada, o que abre espaço para esta pesquisa, que se faz apoiada no cruzamento dos campos da história da fotografia e da política. / This research is intended to investigate the contributions of three American photographers - David Zingg, George Love and Lew Parrella - for the photojournalism published in Reality magazine, and in what way their jobs are different from what was produced in Brazil until the early 1960s. The importance of the magazine during the military dictatorship regime, added to highlight some of the photographers hired at the time by Editora Abril subsequently obtained in art exhibitions in museums and galleries are some of the elements that justify this study, as well as the lack of published researches focused on these three North American photographers. The time frame chosen for this dissertation is from the first issue of the magazine in April 1966 to the December 1968 edition, when the approval of the Institutional Act No. 5 is instituted in Brazil. This choice is due to the fact that during this period there was still a relative freedom of expression, both within the grafic as textual genres. In addition, it can be consdered the publication\'s biggest stage of social relevance, for during the military dictatorship it raised themes that confronted the regime. The main sources of research used were the copies of the magazine themselves and the recent bibliography on the occasion of the fiftieth anniversary of the 1964 coup in Brazil. Although Reality magazine is already the subject of many studies, it makes room for this research, which is supported at the intersection of the fields the history of photography and politics.

Cette thèse porte sur l'étude approfondie des représentations de l’un des plus grands rois de l’Ancien Testament : le Roi David. Ce travail doctoral s’efforcera d’étudier cette figure biblique dans les arts de la fin du Moyen Age et de la Renaissance en Europe. Les Saintes Écritures relatent la vie mouvementée de cet illustre homme et roi qui devint, au fil des siècles, un modèle de référence pour les souverains chrétiens. En effet, celui-ci correspondait parfaitement aux aspirations des princes qui souhaitaient prendre exemple sur ce royal personnage et s’approprier son prestige. Dans cette problématique, la figure de David s’est révélée être d’une incroyable richesse : successivement petit pâtre, oint du Seigneur, valeureux guerrier, musicien d’excellence et psalmiste, souverain d’Israël, amoureux transi, pécheur puis pénitent. Toutes les facettes de ce personnage si complexe ont inspiré, chacune à leur manière, la pensée spirituelle, politique et artistique. / This thesis focuses on the in-depth study of representations of one of the greatest kings of the Old Testament: the King David. This doctoral work will try to explore the biblical figure in the arts of the late Middle Ages and the Renaissance in Europe.The Holy Bible recounts the eventful life of this famous king who became, through centuries, a model for the christian princes. In fact, it fit perfectly with the aspirations of the princes who wanted to follow the example of this royal personage and appropriate his prestige. In this issue, the figure of David appears to be incredibly wide, successively little shepherd, anointed, brave warrior, musician and psalmist, king of Israel, women lover, sinner and penitent. Every facets of this complex character inspired, each in its own way, spiritual, political and artistic thought.

The main task of diploma thesis titled The character of King David in the literary works of Jewish German authors is a reflection of the biblical character of David in selected works. It classifies perspectives of particular Jewish German authors in belles-lettres and reference literature and compares their approaching methods. The goal is to evaulate particular interpretations and attributes of the biblical King David, one of the most beloved although inconsistent figures of all times. The diploma thesis is divided into three parts; comparison of two mainly followed litterary works and a personal short reflection of the David's charakter. Powered by TCPDF (www.tcpdf.org)

Edition et étude critique d'un manuscrit ARS. 5073 intitulé les quatre filz Aymon de David Aubert.Le premier travail a constitué à transcrire le texte conservé dans un manuscrit du XVème siècle ayant appartenu à la bibliothèque des ducs de Bourgogne (MS. ARS. 5073) soit 357 folios recto verso.L'établissement des variantes s'est fait à partir du manuscrit B.N. 19174.Afin de montrer les différences entre la version en prose et la version en vers qui a servi de base au dérimage, un travail d'analyse a été fait : au fur et à mesure des chapitres de la version manuscrit ARS. 5073 une comparaison avec la version en vers a été écrite afin de mettre en relief les disparitions et les ajouts que l'on peut trouver dans les deux versions.Le texte est accompagné d'un index des noms propres et d'un glossaire.A ce travail est ajouté un relevé des proverbes insérés dans le texte du manuscrit de base.Une étude des miniatures qui sont présentes au début de chaque chapitre de notre texte de base a été élaborée et permet de soulever la richesse du manuscrit à étudier.L'introduction permettant de situer le texte comme un manuscrit de la bibliothèque des ducs de Bourgogne est accompagnée d'une étude codicologique, paléographique et linguistique. / Edition and critical study of an ARS. 5073 manuscript entitled Les quatre fils Aymon written by David AubertThe fist step was to transcribe the text stored in a manuscript from the XVth century kept in the librairy of ducs of Bourgogne (MS. ARS. 5073). We therefore dealt with 357 double sided folios.Then we established the variations from the B.N. 19174 manuscript.In order to point out the difference between the version in prose (ARS.5073) and the other in verse, which served as a basis for the « dérimage », we compared the two versions carefully and highlighted the disappearances and the additions which could be found in both documents ;Along with the texte, we inserted an index where proper nouns are listed and a lexicon.We also included a list of proverbs in the text from the manuscript.We studied the miniatures which appear at the beginning og each chapter in our basic text. The latter underline the richness of the manuscript.The introduction allowing classifying the texte as a manuscript from the library of ducs of Bourgogne also includes codicologic, paleographic and linguistic analyses.