Texte remanié de: Diss.--Philosophische Fakultät--Bonn--Rheinische Friedrich-Wilhelms-Universität, 1994. / Contient d'abondantes citations en grec. Bibliogr. p. 12-18. Index.

Akademisk avhandling--Filologi--Uppsala, 1979. / Bibliogr. p. 165-175. Index.

Texte remanié de: Habilitationsschrift--Katholisch-theologische Fakultät--Würzburg--Julius-Maximilans-Universität, 1995. / Bibliogr. p. 441-458. Index.

L’objectif de cette recherche est de mettre en évidence le thème de la nature comme noyau de l’œuvre de Le Clézio et de mener une étude synchronique et diachronique de ce thème basée sur un corpus complet de l’auteur. En suivant un processus de quête de l’identité naturelle, qui conduit de la « nature dénaturée » dans les premières œuvres à la « nature retrouvée » dans les œuvres ultérieures, en passant par l’horizon d’autres mondes dans les œuvres dans l’époque de transition, on essaie de refermer la boucle qui obsède Le Clézio. Contemporain de notre temps, Le Clézio esquisse une peinture de l’espace urbain moderne sous forme d’une prison où la nature universelle et la nature humaine sont aliénées, diabolisées ou expulsées dans la domination de la modernité. L’absence de l’existence et la fausseté de la réalité poussent à une recherche de vérité dans l’autre côté du monde à la lumière des philosophies orientales et amérindiennes. Le retour à la rêverie élémentaire du monde naturel primitif fait appel également aux philosophies présocratiques et aux mythes des civilisations primitives. L’identité idéale en tant que vraie nature humaine est reconstruite par Le Clézio en adoptant l’identification du soi à la nature universelle au niveau personnel, et en promouvant le métissage des sangs au niveau culturel, d’une manière qui tend à ce que le monde soit enfin remis en harmonie. / The objective of research is to clarify the theme of nature as the core of Le Clézio’s work and deepen the synchronic and diachronic study of this topic based on a full corpus of the author. Following a process of seeking the natural identity, that is to say from the “denatured nature” in his early works to the “return to nature” in his later works, through the horizon on the other side in his works in the period of transition, we try to close the loop that obsesses Le Clézio. Contemporary of our time, Le Clézio sketch a painting of modern urban space as a prison where the universal nature and human nature are alienated, demonized or expelled in the domination of modernity. The lack of existence and the falseness of reality grow to a search for truth in the other side of the world in the light of Oriental and Indian philosophies. The return to the primitive elemental reverie of natural world also calls on pre-Socratic philosophies and myths of primitive civilizations. The ideal identity as the true human nature is reconstructed by Le Clézio in adopting the identification of the self with the universal nature on a personal level and promoting the mixing of bloods at the cultural level in a way that the world is finally handed in harmony.

No description available.

L'objet de cette étude concerne un langage de la procession et de la création trop longtemps oublié dans le contexte de la réception du néoplatonisme et de l’aristotélisme au XIIIe siècle : celui de fluxus, ou écoulement, chez Albert le Grand (1200-1280). Nous proposons ici la situation descriptive, historique et philosophique du texte dans lequel le Doctor universalis expose sa théorie du fluxus : le De fluxu causatorum a causa prima et causarum ordine, quatrième traité du De causis et processu universitatis a prima causa (1264-1267). La doxographie albertinienne, loin d'être une succession de digressiones ou encore de simples paraphrases des opiniones antiquorum, apparaît comme la formation d'une véritable conscience de l'histoire de la philosophie, de sa continuité et des ses ruptures. Plus encore, la doxographie albertinienne a pour fonction de répondre à des problématiques issues non seulement du passé mais aussi du monde contemporain de notre Doctor universalis : car, en effet, à travers la critique du panthéisme d'Hermès Trismégiste ou encore du matérialisme d'Ibn Gebirol, c’est bien l’horizon d’une critique du panthéisme matérialiste de David de Dinant et du panthéisme formaliste d'un Amaury de Bène qui se profile. Nous proposons, en outre, une traduction de travail de ce texte ainsi que son commentaire philosophique linéaire. Albert définit le fluxus comme emanatio et comme processio. Le flux pose la question de la relation du Premier Principe avec les réalités qu'il crée. Comment Albert réussira-t-il à résoudre l’articulation d’une théorie panthéiste et crypto-néoplatonicienne de la procession à une théorie monothéiste et chrétienne de la procession ? / The purpose of this study consists in the language of procession and creation that has fallen into oblivion for too long within the contextual framework of Neo-Platonism and XIII th century Aristotelian understanding : that of the fluxus theory – namely that of the flux one, in Albert the Great’s works ( 1200- 1280). Our ain is to provide the reader with a descriptive , historical and philosophical outlook over the text in which the "Doctor universalis" exposes his flux theory: the “De fluxu causatorum a causa prima et causarum ordine”, the fourth treaty of the "De causis et processu universitatis a prima causa" ( 1264- 1267).Albert's doxography, far from being a series of digressions or still mere paraphrases of "opiniones antiquorum", is to be regarded as the setting up of a genuine awareness process in the history of philosophy, of its never-ending existence and its critical moments. What's more still, the overall purpose of Albert’s doxography is to provide answers to problematic issues non only originating from the past but also rooted in the contemporary world of our "Doctor universalis". Indeed, throughout the criticism of Trismegist’s pantheism or even more clearly, that of Gebirol's materialism, what rises into view is the criticism of Amaury de Bène's formalist pantheism. Besides, the reader is to find a workshop translation of the text as well as its linear-related philosophical commentary. Albert used to define the "fluxus" as an emanation and as a procession. How was Albert, however philosophical-oriented he might have been, to succeed in tackling the argumentation of a Crypto-Neo- Platonism theory of procession and inserting it into a Christian one?

Este trabalho consiste em um estudo do consumo de carne pelo grupo nobiliárquico nos séculos XIII e XIV, na França, e seu significado cultural, baseado na análise do tratado de cozinha Le Viandier de Taillevent. A pesquisa teve início com a tradução para a língua portuguesa do Le Viandier de Taillevent e a catalogação das receitas e respectivos ingredientes. Em seguida, foram realizadas comparações analógicas com outro tratado de cozinha do mesmo período, Le Ménagier de Paris, e com Le Fabliau de Cocagne, documento francês do século XIII. O desenvolvimento da dissertação tem como ponto de apoio a bibliografia especializada em alimentação na Idade Média, a partir da qual o tratado Le Viandier de Taillevent é contextualizado. São apresentadas análises do consumo de carne e sua simbologia no contexto social, em articulação com o exercício do poder, a economia, a religião, a dietética e a culinária. / This dissertation consists of the study of the meat consumption by the nobility group during the 13th and 14th centuries in France and its cultural meaning, based on the analysis of the culinary treatise Le Viandier de Taillevent. The research work began with the translation of the referred document to Portuguese and cataloguing of recipes and respective ingredients. Subsequently, analogical comparisons were made between Le Viandier de Taillevent and two further French culinary documents from the same period, Le Fabliau de Cocagne and the treatise Le Ménagier de Paris. The development is supported by a specialized bibliography on nourishment habits in the Middle Ages, from which Le Viandier de Taillevent was put into perspective. The analysis of the consumption of meat and its symbolic meaning for the social context are presented and related to the exercise of power, economy, religion, and dietetics and cooking.

I have examined the symbolism of the snake in the popular french book The Little Prince (Le Petit Prince), written by Antoine de Saint-Exupéry. The purpose with this study was to get a deeper understanding of the book by finding out what the snake represents. I have used a number of websites and several books to be able to cover the subject, which turned out to be immense. I started by finding out what kind of snake it corresponds to in reality, based on the images and informations given in the novel. I investigated the symbolism of the colour of the snake as well as the symbolism of snakes in different cultures, religions and civilizations. I also examined the fable genre, and the role of snakes in fables, since the novel belongs to this genre. The last part of my essay consists of an analysis of the author to find out why he chose a snake. My conclusion is that he chose the snake (a cobra) for its symbolic meaning of "renaissance" and that the colour is also important for the symbolism of this character.

Abstract Ravel was an important composer between the late nineteenth century and early twentieth century, and played an influential role in the history of piano music. His innovative composing style and techniques were not only reflected his distinctive personal traits but also intimately related to the contemporary art of his time. Ravel¡¦s piano work, ¡©Le Tombeau de Couperin¡ª, which was written between 1914 and 1917, includes six pieces:¡©Prelude¡ª,¡©Fuge¡ª,¡©Forlane¡ª,¡©Rigaudon¡ª,¡©Menuet¡ªand¡©Toccata¡ª. The thesis is divided into five sections. The first section presents Ravel¡¦s life and career. The second section is about Ravel¡¦s compositional styles. The third section is about the compositional background of ¡©Le Tombeau de Couperin¡ªand neoclassical qualities. The fourth section is to explore the musical structures of ¡©Le Tombeau de Couperin,¡ªespecially in the formal structure, harmony and melody. The fifth section is the analysis of ¡©Le Tombeau de Couperin¡ªwhich emphasizes the author¡¦s performing practices and interpretations. When playing this composition, besides the quality of timbre, articulation, dynamics, and speed of playing, the player should express more in interpretation in music by understanding its compositional background and compositional method.

T. Dott.--Filosofia--Pisa--Università degli studi. / Bibliogr. p. 195-207. Index.