Made available in DSpace on 2016-04-25T19:20:57Z (GMT). No. of bitstreams: 1 Adriana Buarque.pdf: 6014129 bytes, checksum: 708c15c22f1ca5497b92f7d694c55f24 (MD5) Previous issue date: 2005-09-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Compassion as redemption of the human being. The aim of this work is to show how Holden Caulfield, the character of The catcher in the rye, returns from his isolation of the world by means of his altruistic love, considering 'the other' more important than himself. From the hypothesis that Holden's grief in maintaining innocence leads him to depression, as compassion leads him to the answer for such conflict, the methodological procedures were based on the inductive method for elaborating theses: historical procedures, such as contextualizing the novel, bibliographical research, text selection, analysis, interpretation, organization and composition of the theoretical approach. Contextualizing J. D. Salinger and his narrative leads to a more accurate comprehension of Holden Caulfield. The anguish of being lonely makes him want to die, something that changes when he realizes, benevolently, that the answer to his question is to seek 'the other'. Then, compassion, the need to love, silences his inner pain / A compaixão como redenção do ser humano. O objetivo desta pesquisa é mostrar como Holden Caulfield, a personagem de O apanhador no campo de centeio, retorna de seu isolamento do mundo por intermédio de seu amor altruísta, considerando o 'outro' mais importante que si mesmo. Partindo da hipótese de que a angústia de Holden em querer perpetuar a inocência 0 leva à depressão, bem como a compaixão 0 leva até a resposta para tal conflito, foram traçados os procedimentos metodológicos a partir do método indutivo para a elaboração da dissertação: procedimento histórico, como a contextualização do romance, levantamento bibliográfico, seleção de textos, análise, interpretação, organização e composição do quadro teórico. Contextualizar J. D. Salinger e sua narrativa leva a uma compreensão melhor apurada do adolescente Holden Caulfield. A angústia da solidão o faz desejar a morte, quadro que é revertido quando percebe de modo compassivo que a resposta de seu questionamento está em olhar o 'outro'. Assim, a compaixão, a necessidade de amar cala a dor que o jovem traz consigo

Typescript (photocopy). / Digitized by Kansas Correctional Industries

La thèse traite du débat sur l'origine et la nature du polythéisme qui anima la pensée française au XVIIIe siècle. Depuis le début du siècle, ce débat commence à déborder le périmètre théologique auquel il se limitait auparavant. Le polythéisme cesse d’être une question d’exégèse scripturaire et devient un problème historique, puis philosophique. La thèse a pour objet d'éclaircir les différentes étapes de cette évolution. On montre en particulier que le remplacement progressif du modèle du monothéisme originel par celui du polythéisme primitif provoque un changement du statut de la question : d'enquête principalement antiquaire sur un sujet spécifique, elle devient une réflexion philosophique sur l'origine et la nature de la croyance religieuse tout court. La première des deux parties de la thèse est consacrée aux recherches sur les religions païennes des érudits, des antiquaires et des historiens : on y examine les principales théories sur l'origine du paganisme nées dans ce contexte (évhémérisme, allégorisme, théories de l'origine de l'idolâtrie des arts visuels et des signes de l'écriture) afin de montrer qu'elles préparèrent la réflexion des philosophes, en proposant un nouveau regard historique sur le polythéisme. La deuxième partie porte sur les aspects plus proprement philosophiques du débat ; l'attention est concentrée sur les deux figures-clés de Pierre Bayle et de David Hume et sur deux axes théoriques principaux : un axe logique ou gnoséologique, touchant à ce que signifie penser la divinité en tant que plurielle ; et un axe anthropologique ou psychologique sur l'origine de la croyance en plusieurs dieux. / The subject of this thesis is the debate on the origin and nature of polytheism, which took place in France in the Eighteenth century. From the beginning of the century, this debate started to unfold outside of the theological frame within which it had been confined earlier. Polytheism stopped being an issue of biblical exegesis to become a question of historical and then philosophical nature. This thesis aims to shed light on the steps of this change. In particular, it is shown that the gradual substitution of the orthodox model of original pure monotheism with that one of primitive polytheism changed the nature of the issue: from a specific question mainly of antiquarians' interest, it became a philosophical inquiry on the origin and nature of religious belief in general. The first part of the thesis is about the researches on pagan religions conducted by antiquarians and historians: the main theories on the origin of paganism which arose in this context are examined (Euhemerism, allegorism, theories of the origin of idolatry from visual arts and writing signs), aiming to show that these theories paved the way to the reflection of philosophers, proposing a new historical approach to polytheism. The second part of the thesis deals with more strictly philosophical aspects of the debate, focusing on two key figures ‒ Pierre Bayle and David Hume ‒ and on two fundamental theoretical lines: a logical or gnoseological one, about what it means to conceive divinity as multiple; and an anthropological or psychological one, on the origin of the belief in several divinities.

This dissertation examines the emergence of the 1978 Camp David Accords and the consequences for Israel, the Palestinians, and the wider Middle East. Utilizing archival sources and oral history interviews from across Israel, Palestine, Lebanon, the United States, and the United Kingdom, Camp David’s Shadow recasts the early history of the peace process. It explains how a comprehensive settlement to the Arab-Israeli conflict with provisions for a resolution of the Palestinian question gave way to the facilitation of bilateral peace between Egypt and Israel. As recently declassified sources reveal, the completion of the Camp David Accords—via intensive American efforts— actually enabled Israeli expansion across the Green Line, undermining the possibility of Palestinian sovereignty in the occupied territories. By examining how both the concept and diplomatic practice of autonomy were utilized to address the Palestinian question, and the implications of the subsequent Israeli and U.S. military intervention in Lebanon, the dissertation explains how and why the Camp David process and its aftermath adversely shaped the prospects of a negotiated settlement between Israelis and Palestinians in the 1990s. In linking the developments of the late 1970s and 1980s with the Madrid Conference and Oslo Accords in the decade that followed, the dissertation charts the role played by American, Middle Eastern, international, and domestic actors in curtailing the possibility of Palestinian self-determination.

Ma Chun-Lung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 121-127). / Abstracts in English and Chinese. / Abstract --- p.i / 論文提要 --- p.iii / Acknowledgements --- p.iv / Introduction --- p.1 / Chapter Chapter One: --- J.D. Salinger's The Catcher in the Rye --- p.22 / Chapter Chapter Two: --- Ken Kesey's One Flew Over the Cuckoo's Nest --- p.49 / Chapter Chapter Three: --- Douglas Coupland's Generation X --- p.80 / Final Remarks --- p.110 / Selected Bibliography --- p.121

A presente tese se ocupa de uma vertente da literatura e do cinema contemporâneos, especialmente do escritor Julio Cortázar e do cineasta David Lynch, que: busca um novo tratamento para a realidade, não esconde os artifícios discursivos das obras, joga com estratégias ilusionistas e antiilusionistas, debate a própria ficção por meio de recursos metaficcionais, que se utiliza da metáfora do teatro como espaço diferenciado e como palco de ilusões e que trabalha com a questão do fantástico (ou absurdo). Grande parte do trabalho é dedicada ao estudo da obra do escritor argentino Julio Cortázar. Estudo esse que se constrói a partir das correspondências entre as produções ficcionais e teóricas de Cortázar, além de suas próprias entrevistas. Cortázar é nosso foco principal e dele, acreditamos, brotou um veio dos mais significativos na narrativa contemporânea, que estabelece novos modos de se lidar com a representação e com as referências. É devido a esses aspectos, apontados anteriormente, que estabelecemos relações com outros autores, inclusive do cinema, como é o caso de David Lynch / This thesis deals with one aspect of literature and contemporary cinema, especially the writer Julio Cortázar and filmmaker David Lynch, that: a search for new treatment really does not hide the artifice of the discursive works, plays with illusionist and anti-illusionist strategies, debate the fiction itself through metaficcionais resources, which uses the metaphor of the theater as a space variable and to stage illusions and working with the issue of the fantastic (or nonsense). Much of the work is devoted to the study of the work of Argentine writer Julio Cortázar. Study which is constructed from the correspondence between the fictional and theoretical productions of Cortázar, and his own interviews. Cortázar is our main focus and goals, we came a shaft of the most significant in contemporary novels, establishing new ways of dealing with the representation and referrals. It is because of these issues, previously mentioned, we have established relationships with other authors, including the cinema, as is the case of David Lynch

This thesis explores the historical imaginations exhibited by the key political architects of the Northern Ireland Peace Process: Gerry Adams, John Hume and David Trimble. It compares and contrasts ways in which each has engaged the ideological resource of history throughout their respective biographies, exploring the various visions of history, both Irish and otherwise, that have intrigued them, and the environments and experiences that moulded their view of the past. Exploiting a wide range of archival sources, along with original interviews and conversations with the ‘peacemakers’ themselves, it considers how Adams, Hume and Trimble learnt about history; how they subsequently imagined and wrote about it, and how they ultimately applied it within their influential political thinking. It is a study of the relationship between historical and political imagination, delivering fresh and revealing intellectual profiles of the ‘peacemakers’. Significantly, it demonstrates how ideas and visions of history, commonly perceived as somehow to blame for conflict in Northern Ireland, were put to positive use by Adams, Hume and Trimble. It therefore considers how visions of history contributed to the ideological evolution of peace and political stability on the island.

This practice-led research examines ideas surrounding the interpretation of place; the representation and experience of place are explored in my practice and throughout the thesis. The practice and thesis develop an interdependent relationship where one informs the other and each provides a critical platform whereby existing beliefs are brought into question and new ideas emerge. During the research period the practice is tested against different circumstances in a variety of situations and novel responses are generated. The thesis critically analyses approaches to interpreting place through a number of formats and a variety of sources. Both practice and theory are examined through peer-reviewed conference papers, artist-in-residence programmes and publications allowing new ideas to be explored and scrutinized by the academy. A working method that recognizes the importance and usefulness of serendipity and sagacity is established, bringing together my practice and the theoretical scope of the research. My primary focus is to understand and develop critical responses to the experience and representation of place within the realm of contemporary art practice. The work of W.G. Sebald and the secondary literature surrounding his work plays a significant role in providing ways of dealing with the entanglement of knowledge. Period Drama is both the name of an artwork and the name I have given to a conference paper. Both explore the convoluted and complex methods involved in realizing a site-specific work that challenges fiercely-held beliefs about place. My intention throughout the research has been to examine a variety of approaches that explore the representation and experience of place within contemporary art practice. Prominent within this examination has been the highlighting of the need to belong to a particular place and the sense of displacement generated when this need to belong is challenged or the nature of this connection is questioned.

Contemporary work in the metaphysics of realization has produced two central theories as to what it is for an individual to realize a kind. According to the 'flat theory' of Lawrence Shapiro, an individual realizes some kind by exemplifying or instantiating the properties that define realizations of that kind. With Carl Gillett's, 'dimensioned theory', on the other hand, an individual takes part in the realization of some kind merely by contributing causally towards the properties that define realizations of that kind. Both views are vulnerable to objections. Flat realization is focused on the realization of functional kinds, and, therefore, is poorly suited to describe the realization of scientific or compositional kinds. The dimensioned view handles compositional kinds very well, but has difficulty delineating limits as to what may count as a causal component for sake of realization. If everything qualifies as a causal component of realization, every individual with different causal components begins to resemble a unique realization. If every individual qualifies as a unique realization, every kind constituted by more than one individual will be constituted by more than one realization. This threatens to trivialize the realization thesis, as every kind becomes multiply realizable. In order to resolve these problems, I develop a two-level theory of realization inspired by Lewis' 'Mad Pain and Martian Pain'. According to Lewis, pain should be identified only contingently with the physical properties of typical pain. It is also the case, according to Lewis, that pain should be identified only contingently with the functional properties of typical pain. Accounting for this dual contingency suggests two different ways in which a causal role may be fulfilled. On the one hand, a causal role can be fulfilled in the sense in which an individual's internal systems and structures are understood to produce certain aggregate, object-level capacities. On the other hand, a causal role can also be fulfilled in the sense in which certain object-level capacities are understood as the instantiation of psychological or conceptual abilities. If these different senses of role fulfilment qualify as different ways of realizing a causal role, there will be different, but compatible, ways in which an individual may be understood to realize a particular kind.

Studiens syfte är att genom semiotisk analysmetod och fototeori, om fotografiet som medium, försöka tolka David Lynchs fotografiska bildspråk i en motivanalys av två fotografier ur The Factory Photographs. Om upplevelsen av dessa fotografier kan förändras genom resonemang hämtade från främst filosoferna Roland Barthes och Susan Sontag. Detta berör teoretiskt begrepp som punctum, men även riktningen surrealism inom konst. Resultatet ska utmynna i alternativa innebörder åt fotografierna vid sidan av dess dokumentära uttryck.