A filosofia, para Hegel, é o saber conceitual que se pensa e pensa sua época, sendo esse saber resultado do processo de desenvolvimento histórico e cultural do mundo. Nesse sentido, a Fenomenologia do Espírito é a apresentação necessária do movimento de formação do saber que surgiu na época de Hegel, o qual ele denomina de saber absoluto. Esse é o resultado do percurso que culminou na Revolução Francesa, na religião protestante e na filosofia do idealismo transcendental, e a Fenomenologia apresenta esse encadeamento através de suas figuras, isto é, momentos da história, da cultura e da filosofia tomados a partir de sua perspectiva conceitual e conectados de forma a demonstrar as transformações do saber ele mesmo. A partir disso, Hegel denomina o saber absoluto como última figura do espírito, que, como ele aponta no final da obra, também é a nova figura, a filosofia como ciência, e se propõe a desenvolvê-la naquilo que ele chama de Ciência da Lógica. Desse modo, o objetivo desse ou, em outras palavras, se é possível, a partir do próprio sistema hegeliano, considerar o surgimento de novas figuras do espírito depois da figura do saber absoluto ou da filosofia do idealismo absoluto. Para isso, busca-se esclarecer a noção de figura na Fenomenologia, bem como suas condições de possibilidade e aquilo que Hegel utiliza como o seu método científico, a saber, o processo dialético, explicitado na noção de suprassunção (Aufhebung). A fim de esclarecer essas noções de modo mais preciso, recorre-se a noções da Ciência da Lógica e retorna-se à Fenomenologia a partir deles, de modo a compreendê-los de maneira concreta e de salientar os aspectos lógicos já presentes nessa obra. Para isso, procurase demonstrar aqui que a Lógica hegeliana não é apenas uma ciência formal, como a metafísica tradicional usualmente considera, mas também uma ontologia, um estudo de como o ser é. Para Hegel, o ser é o conceito e por isso se pode ter um saber conceitual, como o saber absoluto, acerca da realidade e ele ser um saber efetivo, isto é, um conhecimento das coisas como elas são nelas mesmas, e não apenas como elas aparecem para nós segundo nossas condições de possibilidade da experiência, como tenta mostrar o idealismo transcendental de Kant. Por isso, este trabalho defende que a ontologia hegeliana não é nem um retorno à metafísica tradicional, nem uma radicalização dessa, mas uma apropriação de seus conceitos revistos sob a óptica das novas lentes do saber absoluto, um saber qualitativamente diferente dos saberes anteriores e que, precisamente por isso, permitiria a continuação e atualização desse saber de acordo com novos momentos históricos e culturais. / For Hegel, philosophy is the conceptual knowing that is thought about and thinks about its time. This knowing derives from the process of historical and cultural development of the world. Thus, the Phenomenology of Spirit is the necessary presentation of the movement of knowledge acquisition that arose in Hegel's time, which he calls absolute knowing. This is the result of the path that climaxed in the French Revolution, in the Protestant religion and in the philosophy of transcendental idealism. The Phenomenology presents this chaining through its figures, that is, moments of history, of culture and of philosophy taken from their conceptual perspective and connected in order to demonstrate the transformations of knowing itself. Based on this, Hegel considers absolute knowing the last figure of spirit, which, as he points out at the end of the work, is also the new figure, philosophy as science, and proposes to develop it in what he calls the Science of Logic. Therefore, this study aims to investigate in what sense one can understand the determination of figure of or, in other words, if it is possible, based on the Hegelian system itself, to consider the emergence of new figures of spirit after the figure of absolute knowing or of the philosophy of absolute idealism. In order to do so, it seeks to clarify the notion of figure in the Phenomenology, as well as its conditions of possibility and what Hegel uses as his scientific method, namely, the dialectical process, explicit in the notion of sublation. In order to more precisely clarify these notions, notions from the Science of Logic are used and a return to the Phenomenology is made based on them, so as to understand them in a concrete way and to emphasize the logical aspects already present in this work. To this end, here we try to demonstrate that the Hegelian Logic is not only a formal science, as traditional metaphysics usually considers it to be, but also an ontology, a study of how the being is. For Hegel, the being is the concept and therefore it is possible to have a conceptual knowing, such as the absolute knowing, about reality, and it can be an actual knowing, that is, a knowledge of things as they are in themselves and not only as they appear to us according to our conditions of possibility of experience, as transcendental idealism attempts to show us. Therefore, this study argues that the Hegelian ontology is neither a return to traditional metaphysics nor a radicalization of this metaphysics, but an appropriation of its concepts revised under the new lenses of absolute knowing, a knowing that is qualitatively different from previous types of knowing and that, precisely for this reason, would allow the continuation and updating of this knowing according to new historical and cultural moments.

This study reappraises the role and value of statues (i.e. the figure as sculpture) in order to determine what happens when we encounter these objects. The consideration and construction of statues in my studio practice has generated specific insights into statues as person-shaped objects and into our encounter with these objects. From the perspective of a practice making statues this study addresses how, through the encounter, statues both stimulate and obscure our perceptions of them as objects. My practitioner's understanding of statues is articulated and enlarged by developing methods which allowed me to gain an expanded perspective of my practice, through data collected from conversations about statues, and via a subsequent diffractive dialogue with concepts gleaned from other disciplines. This research process has revealed specific characteristics of the encounter, and of statues themselves, that have been excluded or obscured by familiar assumptions and theories, such as a tacit consideration of statues that allows us to be unsettled by their nudity, or the role touch plays in considering statues, and ultimately the history of the object itself. These findings are considered through a sustained engagement with Object Oriented Ontology (after Harman). Through this process, my initial findings are subsequently expanded and further enhance a re-conception of the encounter and of statues as objects. Finally, I argue for the importance of considering this reappraisal of the role the encounter with statues could play in revealing and reframing our relations with objects more generally.

Évoquer ou convoquer l’animal en art met en perspective et accroît l’œuvre humaine jusque dans les excès et les incohérences qu’elle peut manifester, mais rend également possible un accès à ce qui est extérieur au domaine humain. Les artistes s’inspirent de la symbolique à laquelle donne corps l’animal, de sa morphologie aussi bien que des modes d’expressions qu’il invente et déploie. Il leur arrive même de se laisser tenter par le mimétisme. Les créateurs et les poètes ne disposent-ils pas d’autres outils que les penseurs ou les scientifiques pour atteindre cette étrangeté qui semble pourtant souvent si familière ? Qu’il s’agisse d’œuvres plastiques, de performances, de créations musicales ou scéniques, y convier l’animal offre une matrice infinie de figurations et de reconfigurations. L’expression de ce répertoire corporel et comportemental s’articule comme un véritable langage structuré. Au-delà d'une transposition qui permet de donner à entrevoir l’humanité de l'homme, les artistes peuvent aussi tenter la percée vers la réalité d’autres êtres vivants. Entre confrontation, dialogue et transfert, les pratiques artistiques reflètent la diversité, le polymorphisme même du rapport humain aux animaux, et l’histoire d’une attitude foncièrement ambivalente, prise entre empathie et exploitation. L’expérience de l’animal, voire l’expérience animale, donne lieu à un partage de territoire(s) et de conscience(s), ouvrant sur le dévoilement d’un penser en images. / To evoke or to summon the animal in art puts in perspective the work of mankind, increases its excesses and its inconsistencies as well as it makes possible to open up the door to what is outside the human reach. Artists inspire themselves from the symbolic to which the animal is giving flesh, its morphology up to the ways of communication it creates and deploys. Artists may even be tempted by mimicry. Don’t creators and poets dispose of no other means than this one to address that strangeness that seems however so familiar to them ?To invite the animal in art work, could it be plastic arts, performances, musicals works or on stage, is to offer an infinite matrix for figuring or reconfiguring. The expression of its physical and behavioral repertory is articulated as a structured language. Beyond a transposition that allows a glimpse at human kind’s humanity, artists can also try to break through the reality of other living beings. Half way through confrontation, dialogue and transference, artistic practices mirror the diversity of human relationships with animals and even its polymorphism, as well as they reflect on the history of a human attitude fundamentally ambivalent, torn between empathy and exploitation. The animal experience, the animalistic experiment even, gives rise to a territory and consciousness sharing, opening up to the unveiling of a thinking through images.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. VIDEOCASSETTE IN ROTCH VISUAL COLLECTIONS. / Bibliography: leaves 90-93. / by Ann Ross Marion. / M.S.V.S.

Cette thèse entend actualiser le diagnostic de Gilles Deleuze sur le « peuple qui manque » en inspectant une série de figures prélevées dans quatre corpus contemporains : les films de Jia Zhangke ; quatre documentaires autour dudit « mouvement des places » initié par la révolution tunisienne de 2010, à savoir Tahrir, place de la libération de Stefano Savona, Maïdan de Sergueï Loznitsa, Vers Madrid de Sylvain George, The Uprising de Peter Snowdon ; les fictions réalistes françaises de Bruno Dumont, Abdellatif Kechiche, Jean-Charles Hue et Rabah Ameur-Zaïmeche ; un ensemble de films récents mettant en scène des figures de migrants clandestins. Le postulat théorique de cette recherche est que le « peuple » n'est pas un donné tangible ni une substance immuable, mais la résultante de configurations symboliques mobiles spécifiant les subjectivitations politiques propres à chaque époque ou épistémè (Michel Foucault est la seconde référence tutélaire de ce travail, et Jacques Rancière la troisième). Son hypothèse analytique veut que la mise en relation de ces films que tout éloigne fasse apparaître les dénominateurs communs aux figures du peuple contemporaines : l'effacement de leurs prédicats, la déroute de leurs perspectives historiques et leur désaffiliation idéologique et statutaire. Articulées ensemble, elles témoignent d'un remplacement du prolétariat par un précariat fondé sur un phénomène de désappartenance, dont cette recherche piste l'isomorphe esthétique à travers les films. Elle en conclut que le peuple ne manque plus, mais clignote. / This PhD aims to update Gilles Deleuze's diagnosis concerning « the people that lacks » through the examination of a range of figures found in four different corpus : the movies of Jia Zhangke ; documentaries made upon the arab spring and the western uprisings that followed these events (Tahrir, place de la libération of Stefano Savona, Maïdan of Sergueï Loznitsa, Vers Madrid of Sylvain George, The Uprising of Peter Snowdon) ; the french realist dramas of Bruno Dumont, Abdellatif Kechiche, Jean-Charles Hue and Rabah Ameur-Zaïmeche ; a set of movies staging figures of refugees. The premise of this research is that the « people » can not be conceived as an eternal substance or a fixed identity, but is to be understood as the product of historical and symbolic configurations specifics to each epoch or épistémè (Michel Foucault is another leading reference of this work, altogether with Jacques Rancière), therefore carving the political subjectivities of an age. The analyses are guided by the hypothesis that, put together, these figures can outline the common characteristics of the people of our time : the erasure of its predicates, the deletion of its former historical perspectives and the fact that it is ideologically and socially disaffiliated. This tends to prove that the proletariat has been replaced by a « precariat » whose existence is determined by a phenomenon of « unbelonging ». This research looks for the aesthetic

Made available in DSpace on 2016-03-15T19:45:27Z (GMT). No. of bitstreams: 1 Maria de Lourdes Lima Nunes.pdf: 963562 bytes, checksum: 1e1b274e80926613f8ae7025dce9fa70 (MD5) Previous issue date: 2011-08-09 / Many studies have been undertaken in order to develop theories in the field of text analysis. For the diversity of study methods and the great variety of meanings that may result from such studies, it is necessary to apply these procedures to assess its effectiveness in practice. This work is studied, based on theories of discourse analysis and text linguistics, the effect of a sense of figurative language in the translated text in three versions that aim to reach different audiences. The text chosen is The Sermon on the Mount, in the Bible, the passage of the Gospel of Matthew, chapters 5-7. The examination of the text include the identification of the terms of the figurative meaning and its relation to other elements of phrasal construction, followed by application of the theories of the discursive possibilities for finding meaning and purpose as a form of rhetoric. / Muitos estudos têm sido empreendidos com objetivo de desenvolver teorias no campo da análise de textos. Pela diversidade de métodos de estudos e pela grande variedade de sentidos que podem resultar de tais estudos, torna-se necessária a aplicação desses procedimentos para avaliação de sua eficácia na prática. Neste trabalho é estudado, com base em teorias da Análise do Discurso e da Linguística Textual, o efeito de sentido da linguagem figurativa em texto traduzido em três versões que pretendem alcançar diferentes destinatários. O texto escolhido é O Sermão do Monte, descrito na Bíblia, no trecho do evangelho de Mateus, capítulos 5 a 7. O exame do texto compreende a identificação dos termos de sentido figurativo e sua relação com os demais elementos da construção frasal, seguido da aplicação das teorias discursivas para constatação das possibilidades de sentido e seu efeito como figura de retórica.

Abstract available in the Medicine and Sciences in Sports and Exercise.

The ceramic forms in this thesis project represent a study of the sculptural and figurative qualities of the ceramic process. This study includes a search for a personal form language, development of the slab construction technique, and development of a glazed surface appropriate to the work. The subject of the work is the human torso, with the vessel-like forms focusing on the core of the body as a metaphor for the core of the human spirit.

Sustainable and renewable energy is an incredibly important area in today’s society and investigation into avenues to improve this wide ranging technology are underway in many different fields. Thermoelectric devices possess the ability for the direct solid-state interconversion of heat and electrical power, which not only allows for sustainable refrigeration but also waste heat recovery. One current restriction on the efficiency of thermoelectric devices is the disparity in thermoelectric performance of p-type and n-type materials. Furthermore, a key physical attribute shared by the majority of high performing thermoelectric materials is low thermal conductivity. Thus in this thesis three separate p-type material systems exhibiting low thermal conductivity will be discussed. The Cu-excessed quaternary chalcogenides, CuM2InTe4 (M = Zn, Cd), and ternary chalcogenide, CuSbS2, were investigated due to their intrinsically low thermal conductivity. Whereas, skutterudites typically have good electrical properties but do not exhibit an intrinsically low thermal conductivity. Nevertheless low thermal conductivity can be achieved by taking advantage of their unique crystal structure by filling large voids with loosely bound atoms that act as phonon scattering centers. Therefore double-filled Fe substituted skutterudites with nominal compositions Yb0.4In0.02Co3FeSb12 and Yb0.8In0.02Co2.5Fe1.5Sb12 were also investigated. The CuM2InTe4 (M = Zn, Cd) and skutterudite specimens were synthesized by direct reactions, whereas the CuSbS2 specimens were synthesized by mechanical alloying. Structural and stoichiometric compositions were analyzed by a combination of X-ray diffraction, Rietveld refinement and energy dispersive spectroscopy. High-temperature transport properties were measured for all specimens and will be discussed in detail. The Cu-excessed quaternary chalcogenides display intrinsically low thermal conductivity that appears to be unaffected by the change in electrical properties that is a result of differing stoichiometries. This may provide a possible route to furthering the enhancement of the thermoelectric properties of these materials. Similarly the CuSbS2 ternary chalcogenides display a very low thermal conductivity due to stereochemically active lone-pair electrons and would potentially allow an optimization of the power factor without a significant increase of the very low thermal conductivity, thus improving the figure of merit. For the case of p-type skutterudites, (Yb, In) double-filled skutterudites have a maximum ZT of 0.6, which is promising in the hunt for improved p-type materials. This fundamental investigation provides insight that can lead to a deeper understanding of all three material systems outlined in this thesis and provides a platform for new research in the quest for materials suitable for thermoelectric applications.

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