This thesis is on the Navier-Stokes equations which model the motion of compressible viscous fluid. A minimum principle on the temperate variable is established. Under the thermo-insulated boundary conditions and some reasonable assumptions on the solution, the minimum of the temperature does not increase. To our best knowledge, that's the first result on the minimum principle of the temperature variable in the compressible Navier-Stokes equation. As an application of the minimum principle, global in time existence of the weak solution for the Navier-Stokes equations is established when the viscosities and heat conductivity are power functions of the temperature. In this model the temperature is coupled with density which may have vacuum or concentration and the heat conductivity has possible degeneracy. However the temperature is proved to obey the minimum principle, which secured the dissipative mechanism of the system, and paved the road to the existence theory.

This essay constitutes an attempt to expose, with reference to contemporary animal research, the limits of Martin Heidegger’s concept of the being of animality in Die Grundbegriffe der Metaphysik (1929/30) and to propose some possible ways to think, within the philosophical style of this particular work, the being of those animals that most distinctly transcends Heidegger’s concept. The essay seeks to address the following question: Do the results of contemporary animal research expose ways of being within animality that withdrawal from Heidegger’s concept of the being of animality in general, and if so, how should we think these new ways of animal being? The motivation to ask this question, I argue, are immanent to Heidegger’s thinking in at least three ways: 1) Because of his standpoint that philosophy cannot, in any meaningful way, create an ontological concept of animality without an orientation towards the results of the positive sciences; 2) Because of the unfinished and tentative character of Heidegger’s analysis, a character that is such that it should be seen, according to Heidegger himself, as an essential point of departure for further thinking; 3) Because of Heidegger’s view that the being of the animal are such that it involves the withdrawal of this very being from any originary access, a withdrawal that necessitates an infinite return to the question concerning the being of the animal. The essay wants to be a continuation of lines that are present in Heidegger’s open-ended thought on this theme rather than to be an external critique that approach the text, which is most often the case, as a closed point of view which we are forced to affirm or reject. Motivated by these immanent reasons, I attempt to set up a dialogue between Heidegger’s way of thinking the animal and that scientific evidence that has become available since Heidegger wrote his text in the late 20s’. The paradigmatic change in the scientific view of animals that constitute this time period has philosophical consequences, I argue, and I attempt to flesh them out as follows: Contemporary animal research motivates the ontological conclusion that many species withdrawal from the meaning of Heidegger’s concept of the animal in general, and thereby necessitates a philosophical response to this, namely to create – at least as a first step toward a full-blown philosophical and ontological recognition of the differentiated animality of animals – a new concept of the being of those particular animals who most clearly show themselves, both in the new scientific evidence and to our phenomenological experience, as being different to that Heidegger claim them to be. I suggest, with reference to Heidegger’s thesis of the animal as ”poor in world”, that the being of these animals is better understood as otherworldly worlds within the world of human world forming. The being of these animals are to be seen as otherworldly worlds insofar they are what they seem to be, namely alien subject’s that have some sort of access to being, an access that differs from the openness of human Dasein in some profound and ungraspable sense, but that nonetheless suggests itself in the results of contemporary research. In this way I seek to sketch out a thought that let the otherness of these animals shine forth in a radicalized manner from out of their very nearness to the human way of being. The ontological recognition of these beings, I can thus conclude, enrich our world with their woundrous presence while at the same time exposing, with novel acuteness, the finitude of this world. Uttermost, I propose in an forward-looking reflection, these animals turn us toward the discovery of that world that we share with them, here named as the elemental world, as an crucial question for philosophy today and as a theme for further research.

As a violinist, teacher, and thinker, I am concerned to articulate the relevance of music to the lives of my audience, my students and myself. But my concern is not merely to describe the meanings that people experience when they engage music. Rather, I am interested in constituting the musical relevance that each of us must actualize as we work to make our lives vital and meaningful. Accordingly, in my study I articulate in philosophical, yet practical, terms, a particular attitude of musical engagement that I call meeting. Grounded in Martin Buber’s idea of human existence as I-Thou, my conception of meeting has a specific character. Each side of the meeting must meet itself in its work to constitute the adequacy of its engagement with the other as it must meet with the other in its work to constitute the adequacy of its engagement with itself. It follows that the essence of human meeting is not merely the “reality” – physical, cultural, intellectual – of people who come together. Rather, the essence is their self-critical thought that is created as they share their lives with each other. The focus, then, is not the meeting’s outcome but rather the meeting itself insofar as it constitutes mutual understanding, communication and love. Thus, at the heart of my study, I constitute music in the same way, not as a physical or cultural “reality,” but rather as the meeting between music and musical participant that demands that each – music and participant – attend to self and other. The idea that music’s whole being is meeting has profound implications for how we conceive of music education. Accordingly, the ultimate purpose of my study is to bring my ideas of musical meeting to bear upon how we teach and learn music in the classroom.

国立情報学研究所で電子化したコンテンツを使用している。

Ths thesis demonstrates how theory and praxis may be integrated within a postcolonial, or more specifically, anticolonial frame. It argues for the necessity of telling, listening and responding to personal narratives as a catalyst for understanding the construction of identities and their relationship to place. Tlus is acheved through a theorisation of narrative and a critique of postcolonialism. Three 'sites' of contestation are visited to provide this critique: the "Patterns of Life: The Story of the Aboriginal People of Western Australia" exhibition at the Perth Museum; a comparison of Western Australian legislation that governed the lives of Aboriginal people from 1848 to the present and, the life story of Alice Nannup; and, an analysis of the Australian Institute Judicial Association's "Aboriginal Culture: Law and Change" seminar for magistrates. Most importantly, this work foregrounds strategies for negotiating a just basis for coexistence between indigenous and non-indigenous Australians.

Diss.--Universität Frankfurt am Main, 1996. / Bibliogr. p. 441-452.

108f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-16T18:29:46Z No. of bitstreams: 1 Dissertacao Josemar Silvaseg.pdf: 549748 bytes, checksum: ab3d51db4cd45720fbd8b575d329437d (MD5) / Approved for entry into archive by Maria Alice Ribeiro(malice@ufba.br) on 2013-05-07T13:50:10Z (GMT) No. of bitstreams: 1 Dissertacao Josemar Silvaseg.pdf: 549748 bytes, checksum: ab3d51db4cd45720fbd8b575d329437d (MD5) / Made available in DSpace on 2013-05-07T13:50:10Z (GMT). No. of bitstreams: 1 Dissertacao Josemar Silvaseg.pdf: 549748 bytes, checksum: ab3d51db4cd45720fbd8b575d329437d (MD5) Previous issue date: 2007 / O tema do perspectivismo na filosofia de F. Nietzsche revela sua pertinência na medida em que as discussões se ampliam e se diversificam sobre a compreensão do seu papel, transitando entre uma concepção cosmológica ou uma concepção epistemológica do perspectivismo. Compreende-se, nesta pesquisa, que Nietzsche não separa de maneira radical essas duas concepções, mas argumenta visivelmente a favor da relação entre elas. Para o filósofo, a compreensão epistemológica pressupõe a cosmológica. Nesse sentido, Nietzsche apresenta sua crítica à tradição filosófica, denunciando-a ou responsabilizando-a por preferir e efetivar uma ruptura na integração entre cosmologia e epistemologia, fazendo emergir uma civilização racionalista, moralista e, por fim, niilista. Para o autor, a afirmação do caráter perspectivista da existência, que compreende o mundo como vontade de potência, possibilita a crítica à metafísica conceitual que deposita no mundo suas figuras lingüísticas, traduzindo-o em idéia. Conseqüentemente, Nietzsche contrapõe seu perspectivismo ao subjetivismo moderno, quando este afirma a existência do sujeito pensante, esse espectro criado pela filosofia moderna, que também vê o mundo a partir de uma relação representacional fruto da oposição entre sujeito e objeto. Igualmente, o filósofo evidencia a relação desse sujeito moderno com os valores morais, identificando-o, por isso, como homem religioso. É nessa medida que o perspectivismo também se opõe aos valores morais, denunciando-os de uma esterilização humana frente ao mundo do devir, que faz emergir o niilismo. Portanto, este trabalho quer investigar o perspectivismo de Nietzsche à medida que ele é pensado dentro do seu argumento cosmológico, possibilitando, assim, compreender sua crítica aos conceitos metafísicos de verdade e de moral, tão fundamentais para tradição filosófica. / Salvador

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Neste trabalho investigam-se as viagens artísticas como práticas do duplo movimento de atravessar o desconhecido e ser atravessado pelas potências do imprevisível. Identifica-se a experiência viajante como uma forma de ensaio da existência e, na busca por essa compreensão, são estudados quatro movimentos distintos: narrar, atravessar, ser atravessado e bordejar. Trata-se, aqui, de apresentar relações entre a narrativa poética e a experiência viajante através daquilo que esses procedimentos provocam de desestabilizador no sujeito da razão. Busca-se investigar o que poderia haver de próprio no conhecimento do viajante, compreendendo-o como um saber adquirido na passagem pelo incógnito. Faz-se uma digressão pela margem, em uma caminhada ao redor da noção de eixo desconhecido, buscando compreender as potências das obras de arte que se dão como travessia pelo desconhecido e alguns efeitos provocados por essa forma de incursão. Chega-se, por fim, à noção de que a travessia artística implica em uma espécie de desvio, pois ser atravessado pelo incógnito não pode ser sucumbir às potências perigosas do mundo, sendo antes um exercício de bordeja-las, de deslizar por suas margens em um jogo de investidas e recuos no qual a obra de arte é criada / In this work, practices of artistic travel are investigated as the double movement of crossing the unknown and being crossed by the powers of the unpredictable . The travel experience is identified here as a kind of existence essay and, in the search of that comprehension, four distinct movements are studied: narrating, crossing, being crossed and tacking. The relations between poetic narrative and travel experience are presented here with emphasis on the destabilizing potency of these procedures. We seek to investigate what could be the singularity of the traveler knowledge, understanding it as a wisdom acquired on a passage through the incognito. We also study the concept of margin, walking around the notion of unknown axis , seeking to understand some particularities of works of art that are defined as crossings through the unknown and some effects caused by this form of incursion. Finally, we get to the notion that an artistic journey requires a deviation, because being crossed by the incognito is not succumbing to the dangerous powers of the world , but rather an exercise of bordering them, sliding along its borders in a game of onslaughts and retreats in which the artwork is created

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-21T16:51:20Z No. of bitstreams: 1 arquivototal.pdf: 9681069 bytes, checksum: 064dc164c32e40e853427ee1ef2a5fd6 (MD5) / Made available in DSpace on 2016-07-21T16:51:20Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 9681069 bytes, checksum: 064dc164c32e40e853427ee1ef2a5fd6 (MD5) Previous issue date: 2014-12-12 / The mind is an idea of the body and the bodies make of the "sense" the ultrasense: they are an overtaking of the "sense", since there are no fewer things in the mind that exceed our consciousness than there are things in the body that exceed our knowledge. A body is material, dense, impenetrable, it is not empty, it is filled with other bodies, but also filled with itself... A body extends and each side of it touches and is touched by other bodies: bodies intersecting each other, rubbing, squeezing, wrapping each other or striking each other...: they trade so many signals, callings, warnings, that no defined "sense" can be depleted. A body is, furthermore, imaterial... It is a drawing, an outline, an idea. The creation of Bodies without Organs indicate an ethical valorization of the "intensive", a valorization that does not underestimate the urgency of a certain practical prudence. Another way to define a body is from its power to affect and to be affected... Cartographing implies a toiling on a terrain that carries certain playfulness, where the imagination is source for knowledge, if not the only one… Cartography of speed and slowness between unformed elements, or mapping compositions of the intensive corresponding affections: longitudes and latitudes of a body. The present work aims at apprehending the potencies of the body to parallelly unfold the potencies of the mind that escape the consciousness, all in the company of "intercessors" that corroborate to a conceptual multiplicity in a rhizomatic manner which affirms the life, where neither the existence is put as guilty nor the will feels guilty by existing itself. Resistance is the act of creation, accurately it is taken as the fight against the "entropy", once the nature tends to it, heading to the disintegration, disinformation and forgetfulness... Resistance whereas it refuses the encoded and preestablished modes of manipulation and telecommand; an existential singularization that coincides with a taste of living, a "form-of-existence". The ornamentum, the adornment while "generic activity" of humankind, the "instrumental physicality", the "corporeity of the interpreter", the "physiology of the sound", the "cartography of gestures", the "kludge as luthiery", the "time as ornament", the "interpretation" as the sum of the physical conditions for the sound apparition and the "happening"..., intimate mean of the sense, composes the fulcrum of this work in an apprehension of "composing" that is not officium, but therapeutic, therapy that is founded on affective dynamics, being strictly personal, refusing by all means the creation of a normative ethics…The "partitural" is territory, matrix where the encoded, choreographed and indicated are the periodicity, the velocity, the direction and the nature of gestures: the kinetics of the bodies... In this work, there is not a pursuit to rear a new order, or Truth, it is not about the model to be a scope, the body urges qua sentinel that keeps us vigilants about the limits of the conscience - searching in the body the radicalness of the thought, such is the creative act of this research. / A mente é uma idéia do corpo e os corpos fazem do “sentido” o ultrassenso: são uma ultrapassagem do “sentido”, pois não há menos coisas no “espírito” que ultrapassam a nossa consciência que coisas no corpo que superam nosso conhecimento. É o corpo material, denso, impenetrável, um corpo não é vazio e está cheio de outros corpos e também de si... Um corpo se estende e cada lado seu toca e é tocado por outros corpos: corpos se cruzando, se roçando, se apertando, se enlaçando ou se golpeando...: trocam tantos sinais, chamados, advertências, que nenhum “sentido” definido pode esgotar. Um corpo, outrossim, é imaterial... É um desenho, um contorno, uma idéia. A criação de Corpos sem Órgãos aponta para uma valoração ética do “intensivo”, que não perde de vista certa prudência prática. Outra forma de definir o corpo é por seu poder de afetar e ser afetado... Cartografar implica na labuta em um terreno que comporta certa ludicidade, onde a imaginação é fonte de conhecimento, senão o único... Cartografia das relações de velocidade e lentidão entre elementos não formados e nas composições de afetos intensivos correspondentes: longitudes e latitudes de um corpo. O presente trabalho busca captar as potências do corpo para paralelamente descobrir as potências do “espírito” que escapam à consciência, na companhia de “intercessores” que corroborem para uma multiplicidade conceitual do tipo rizoma, que afirme a vida, onde nem a existência é colocada como culpada nem a vontade se sente culpada por existir. Resistência é o ato de criação, a luta contra a “entropia”, uma vez que a natureza tende a ela, rumando à desagregação, desinformação e esquecimento... Resistência enquanto recusa aos modos encodificados, preestabelecidos, de manipulação e tele comando; uma singularização existencial que coincida com um gosto de viver, uma “forma-de-existência”. O ornamementum, o adorno enquanto “atividade genérica” do homem, a “fisicalidade instrumental”, a “corporeidade do intérprete”, a “fisiologia do som”, o “cartografar dos gestos”, a “gambiarra como luteria”, o “tempo ornamentado”, a “interpretação” enquanto soma das condições físicas de aparição do som e o “acontecimento”..., modo íntimo do sentido, compõe o fulcro deste trabalho em uma apreensão sobre “compor” que não é officium, mas terapêutica que se funda na dinâmica afetiva, sendo estritamente pessoal, recusando a criação de uma ética que seja normativa... O “partitural” é território, matriz onde o codificado, coreografado e indicado são a periodicidade, a velocidade, a direção e a natureza dos gestos: a cinética dos corpos... Neste trabalho não se busca erigir uma nova ordem, ou Verdade, não é a questão do modelo que se faz escopo, o corpo urge enquanto sentinela que nos mantém vigilantes quanto aos limites da consciência - buscar no corpo a radicalidade do pensamento, eis o ato criativo nesta pesquisa.

Made available in DSpace on 2015-05-14T12:11:58Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 547094 bytes, checksum: fbc46ca081a19fe0fccfa5b4430ee942 (MD5) Previous issue date: 2006-12-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims to explain the relationship between freedom and existence in Being and nothingness of Jean-Paul Sartre. Freedom is seen as the central issue of all Sartrean thought and from it we understand the contours and scope of the existential and humanistic thought of Sartre. In addition, the itinerary that Sartre takes to address the issue, allows us to go a long ontological reflection and, above all, understand the direction that takes its famous dictum that "existence precedes essence". Thus, we intended to present the basic elements of this journey that takes us from being to nothing and thus the existence of the subject. / O presente trabalho tem como objetivo expor a relação entre liberdade e existência em O ser e o nada de Jean-Paul Sartre. A liberdade é considerada como a questão central de toda reflexão sartreana e a partir dela compreendemos os contornos e o alcance do pensamento existencialista e humanista de Sartre. Além disso, o itinerário que Sartre adota ao tratar do tema, nos permite percorrer sua longa reflexão ontológica e, sobretudo, compreender o sentido que assume sua famosa máxima segundo a qual a existência precede a essência . Desse modo,temos como finalidade apresentar os elementos fundamentais desse percurso que nos leva do ser ao nada e deste à existência do sujeito.