Made available in DSpace on 2015-04-14T13:55:24Z (GMT). No. of bitstreams: 1 459289.pdf: 904643 bytes, checksum: 494bba68668b2082672ac959477f8cff (MD5) Previous issue date: 2014-06-26 / The text of the Phenomenology of inclusiveness characterizes itself as a new work in the area of phenomenology. Seeking phenomenological sources in Husserl, Merleau-Ponty, and Waldenfels, the text attempts to develop inclusiveness in order to contemplate the inclusive/exclusive paradox and, moreover, to show its efficacy in measuring the inclusive scope of any ethical theory ever developed. From Husserl, we find the basis for a phenomenology of inclusiveness, which was put forth in his Krisis. In order to solve the constitutive paradoxes, Husserl nurtures the idea of an inclusive basis. Such inclusiveness is characterized by a latent reflective attitude, an attitude of inclusion in the lifeworld, an attitude of not closing our thesis, and, finally, an attitude that avoids the reductionism of the subjective and objective poles. With the radicality of thought from Merleau-Ponty, the text presents support for a complicity of meaning. Now, the subject sees his/herself as complicit in his/her relationship with the liveworld thus withdrawing the heavy burden that previously was placed solely on the subject as the ultimate endower of all meaning. The constitutive process entails a radical attitude that enables an incarnate inclusiveness, conveying the inclusive scope to the horizontality of life. However, as Waldenfels investigated the progress of ethical theory, he added an ethical-practical character to the constitutive dimension. Waldenfels emphasized an inevitable response before any thesis, due to our being in the world, as an event that just happens, regardless of our will or objectivications. Such responsiveness promotes the threshold of the senses as a responsive ethical possibility. In response itself, we find a responsive content that is not objectified, guiding us to the thresholds, considering them as possibilities and not as threats. For Waldenfels, what was previously excluded from the established order appears at the threshold, providing inclusive opportunities. After these considerations, the text reveals an inclusiveness which is open, latent, included in the lifeworld, non-reductionist, complicit in the constitutive process, and has an ethically responsive character. Although the studied authors do not work directly with the theme of inclusiveness, we examine sufficient sources to propose a method of phenomenology that demonstrates inclusivity, i.e., that is phenomenologically inclusive. Although the method is neither a measure nor a foundation, nevertheless it provides a base that serves as the measure and foundation of all morality ever built. Thus, we can measure the inclusive scope of all ethics and see how far the inclusivity extends, but yet not present inclusivity as the determinative basis. The foundation of the base is phenomenological, i.e., predicted within the latency and horizontality of the lifeworld / O texto Fenomenologia da inclusividade se caracteriza por ser um novo trabalho na ?rea da fenomenologia. Buscando fontes fenomenol?gicas em Husserl, Merleau-Ponty e Waldenfels, o texto procura desenvolver uma inclusividade capaz de contemplar o paradoxo inclusivo/exclusivo e, indo al?m, mostrando-se eficaz para medir o escopo inclusivo de qualquer tese ?tica j? elaborada. A partir de Husserl, encontramos as bases para uma fenomenologia da inclusividade, que fora trabalhada em sua obra Krisis. Buscando resolver os paradoxos constitutivos, Husserl nutre a ideia de um fundamento inclusivo. Tal inclusividade se caracteriza por uma atitude reflexiva latente, uma atitude de inclus?o no mundo-da-vida, uma atitude de n?o fechamento de nossas teses e, por fim, uma atitude que evite o reducionismo dos polos subjetivo e objetivo. Com a radicalidade do pensamento de Merleau-Ponty, o texto encontra subs?dios para uma cumplicidade de sentido. Agora, o sujeito se v? c?mplice de toda significa??o em sua rela??o com o mundo-da-vida. Retira-se o pesado fardo que antes era concedido t?o somente ao sujeito como doador ?ltimo de todo o significado. O processo constitutivo enseja uma atitude radical que habilita uma inclusividade encarnada, avultando o escopo inclusivo ? horizontalidade da vida. Todavia, investigando os avan?os da teoria ?tica de Waldenfels, acresce-se, ? dimens?o constitutiva, um car?ter ?tico-pr?tico. Waldenfels enfatiza uma inevit?vel resposta dada antes de qualquer tese decorrente de nosso estar no mundo como um evento que simplesmente acontece, independente de nossa vontade ou objetifica??es. Tal responsividade promove a fronteiriza??o dos sentidos como possibilidade ?tico-responsiva. Na pr?pria resposta encontramos um teor responsivo n?o objetivado, guiando-nos ?s fronteiras, considerando-as como possibilidade e n?o como amea?as. Para Waldenfels, o que antes era exclu?do da ordem estabelecida aparece junto ao limiar, facultando possibilidades inclusivas. Feitas estas considera??es, o texto revela uma inclusividade aberta, latente, inclu?da no mundo-da-vida, n?o reducionista, c?mplice nos processos constitutivos e possuindo um car?ter ?tico-responsivo. Embora os autores estudados n?o trabalhem diretamente com o tema da inclusividade, obt?m-se fontes suficientes para elaborarmos uma fenomenologia com uma proposta inclusiva. O m?todo proposto ? fenomenol?gico inclusivo. Entretanto, apresenta-se como uma medida, como um fundamento que n?o ? nem uma medida nem um fundamento. Mas, mesmo assim, serve como medida e fundamento de toda a eticidade j? constru?da. Dessa forma, podemos medir o escopo inclusivo de toda eticidade, ver at? onde se estende sua inclusividade, mas sem se apresentar como um fundamento determinativo. O fundamento ao qual nos pautamos ? fenomenol?gico, ou seja, previsto dentro da lat?ncia e horizontalidade do mundo-da-vida

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This study explores how romance opens the texts of two sixteenth-century authors. The first is the autobiography, Libro de la vida, of Spanish nun, mystic, and reformer, Santa Teresa de Jésus. Amidst the narrative of her life and her instructions on how to better live the mystical life, Teresa uses the mode of romance to construct herself and God in complicated and often conflicting roles: she the wandering (sinning) knight-errant who quests towards the ideal lady, Christ; she the walled garden into which her lover enters for fleeting moments of bliss; she the passive feminine recipient of God's forceful loves; she her own black knight, her own dark forest, through which she must fight to reach the throne of the Beloved. Reading Teresa in this light underscores the ways in which she deconstructs the sublimating, transcending, and bodiless love historically directed towards the God of the Western tradition to reveal a love fraught with mutability and painful separation. As God absents himself from her, mourning assails her and causes her to wish for death, the only bower that promises perfect proximity. In this conflicted realm of mortality in which she longs for death but must continue to live, Teresa moves past her desire into a space for faith. In the second text, Edmund Spenser's The Faerie Queene, Spenser uses the capaciousness of the romance genre to express his desires for certain political, economical, and spiritual ends by constructing the Faerie Queene as a representative of Elizabeth I who in turn represents the potential for the realization of these hoped for ideals. The study focuses on one particular interchange between the Faerie Queene and the culturally-loaded icon of Arthur, and how Spenser imbues this moment with ambiguity, both posturing Arthur as the Queene's lover and her progenitor. The magical space of romance thus allows Spenser to simultaneously criticize, encourage, and praise Elizabeth, despite the inevitability that she will disappoint him. Despite disappointment, Spenser continues to strive for the temporal perfection of England, which ultimately leads him to an unyielding hope for the perfection of the immutable kingdom of heaven.

Ce mémoire porte sur la crise des sciences, telle que l'ont analysée Edmund Husserl et Michel Freitag, selon leurs points de vue respectifs. Dans la foulée d'un renouveau d'intérêt pour la phénoménologie en sciences sociales, nous souhaitons éclairer les liens que ces deux auteurs font entre la science, la société et l'histoire. Ce mémoire s'inscrit donc dans le sillage des réflexions et des préoccupations sur l'avenir de la science, remontant pour ce faire aux sources de celle-ci, selon la démarche en ce sens commune aux deux auteurs. Dans un premier temps, une réflexion sur les implications herméneutiques du mémoire permettra de montrer qu'en posant la question spécifique de la crise des sciences, nous évitons une comparaison en termes historiques ou disciplinaires, voire psychologiques. Cet aspect d'interdisciplinarité transparaîtra donc dans la nécessité d'une épistémologie sociologique herméneutique. Dans un deuxième temps, nous verrons que des éléments de réflexion sur les rapports entre la science et la société, ainsi que la science et l'histoire, se retrouvent chez les deux auteurs. En s'interrogeant sur les sources de l'objectivité, ils démontrent que celle-ci n'appartient pas exclusivement à la science ou, plutôt, que l'objectivité scientifique ne saurait se fonder elle-même, mais qu'elle renvoie en tous les cas au monde préscientifique. Ils s'intéressent par le fait même aux présupposés de la science, affirmant que l'objectivité n'est jamais donnée d'emblée, mais qu'elle est toujours dérivée du monde vécu, qu'elle se présente comme une idéalisation, une abstraction. Dans un troisième temps, le concept d'idéalisation sera plus substantiellement défini, d'abord par un survol de la pensée de Husserl concernant l'histoire des sciences, des origines « intuitives » de la géométrie, puis de la mathématisation de la nature par la physique galiléenne. La notion de « substruction » sera mise de l'avant comme étant la principale cause de la crise du sens des sciences modernes. En exposant les principales critiques que Freitag formule à l'égard des diverses épistémologies existantes, nous mettrons en lumière les lacunes et les inconsistances ontologiques du discours objectiviste en général et sociologique en particulier. Husserl et Freitag proposent des solutions certes différentes à la crise des sciences, qui consistent à remettre à sa juste place l'objectivité, notamment en reconnaissant le caractère fondateur du monde vécu et donc de la subjectivité humaine. Ils soulignent ainsi l'importance de la normativité et conservent également un idéal de connaissance objective. Enfin, nous nous attarderons sur les notions d'historicité de la connaissance, soulignant que Husserl et Freitag convergent à ce sujet en affirmant un soubassement intuitif de la science et de tout type de connaissance dans le monde vécu, mais en échappant à un constat relativiste où vérité et rationalité deviendraient inconcevables. Par la notion husserlienne d'a priori de l'histoire, et celle de modes de reproduction sociétale freitagiennes, tous deux ont véritablement tenté de penser l'historicité de la connaissance et du monde en évitant de tomber dans l'historicisme. Par des moyens différents, ils en sont aussi venus à poser le caractère historique au sens fort, voire même téléologique, de la pensée elle-même, soulignant ainsi l'inéluctable enchevêtrement de l'ontologique, de l'historique et du philosophique. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Conceptualisation, Épistémologie, Historicité, Idéalisation, Mathématisation, Monde de la vie, Normativité, Objectivation, Objectivité, Ontologie, Rationalité, Relativisme, Sciences modernes, Sciences sociales, Subjectivité, Transcendantal.

"Sacramental Magic" explores the animate statue in early modem romance as an emblem of the potential spiritually transformative power of objects. The tendency of New Historicism to "empty out" theology from Catholicism overlooks the continued power of sacred objects in Reformation literature. My dissertation joins the recent turn to religion in early modern studies--Catholic doctrine and religious experience explain the startling presence of benevolent animate statues in Spenser, Shakespeare, and Milton; one would expect these statues to be empty idols, but instead they animate, revealing a real presence of the divine. I first investigate Spenser's Egyptian lexicon for the Catholic veneration of sacred images in the Temple of Isis in the Faerie Queene. Embedding Britomart's dream vision of an English empire in Egyptian mythology creates a translatio imperii from Egypt to Rome to England, transferring not only political but also religious power. The Isis statue's transformation of Britomart bears striking textual and visual correlations to John Dee's hermetic Monas Hieroglyphica. For Shakespeare, ermetic magic emblematizes the sacrament of penance. Shakespeare's claim "to make men glorious" suggests that Pericles transforms its audience by effecting, not merely signifying, grace. The play emblematizes the restorative aspects of reconciliation, the antidote to the seven deadly sins, with alchemical and medical imagery, culminating in Cerimon's reanimation of Thaisa through an Egyptian magic based on the hermetic ritual to ensoul statues. The Winter's Tale continues Shakespeare's meditation upon the emotional metamorphoses produced by reconciliation. I argue that Shakespeare creates an affective communion among the audience members and the characters, an effect similar to the workings of the Holy Spirit in a Mass, emblematized by the hermetic animation of Hermione. The final chapter examines the Catholic and hermetic parallels in Milton's "Il Penseroso" and Comus. In both works, Milton traces a shared system of correspondences underlying Catholicism and hermeticism in order to explore the relationship between objects and the immaterial, through angelology, Ficinian music theory, the contemplative lives of nuns, the Catholic sacrament of Extreme Unction, and ritual exorcism.

Thesis supervisor: Alvin Snider. Includes bibliographic references (p. 214-227).

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Thesis (MPhil)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.

The Victorians saw more portraits than any generation before them. While the eighteenth century has been named 'the age of portraiture', portraits pervaded nineteenth-century society like never before. With the invention of photography, coupled with technological advancements in low-cost printing methods, the medium in which faces could be recorded was revolutionised, the classes of society that could afford to be immortalised expanded, and the spaces in which portraits were seen proliferated. These spaces included the public gallery, photography studio shop windows, and personal photograph albums. They also included the art periodical, biography, fiction, and poetry as the experience of portraiture became distinctly textual as well as visual. This thesis draws upon art history alongside literary, museum, and material studies to explore the creative exchange that developed between portrait viewership and reading practices in the mid- to late nineteenth century. Taking the establishment of the National Portrait Gallery in 1856 as its starting point, the thesis tracks the changing idea of the portrait gallery through its literary reception. It takes the portrait gallery to mean the physical space in which portraits were exhibited, and the conceptual idea of collecting, arranging, and interacting with portraits that permeated into the literary world. By focussing on the work of Edmund Gosse, Walter Pater, Thomas Hardy, and Vernon Lee, the thesis forms a 'gallery' of nineteenth-century tastemakers, each of whom looked to the democratic art of portraiture to reflect upon their literary art. How did portraits and texts interact in the mid- to late nineteenth century? In what ways did writers adapt the conventions of portraiture and the portrait gallery for the written text? This thesis seeks to answer these questions and provide new narratives about the complex relationship between the visual and the verbal in nineteenth-century culture. It observes the Victorian 'culture of art' with a more focussed eye to illuminate how the conditions of viewing, circulating, and collecting portraits specific to the period allowed the portrait gallery to serve as a particularly compelling arena for the literary imagination. Gosse, Pater, Hardy, and Lee tested the inherent limitations of portraiture as an art of imitation to realise its imaginative capacity for communicating with close and distant, contemporary and historic figures. They recognised that writing offered a valuable way of constructing the affective conversations that could be had with - and the stories that could be told about - portraits and portrait collections. With the proliferation of portraits came the problem and the opportunity of organising them.

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