Doctorat d'Etat : Sciences de l'éducation : Lyon 2 : 1985. / Titre provenant de l'écran-titre. Bibliogr.. Index.

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Ob ein literarisches Kunstwerk von einer spaeteren Generation, im Lichte von dessen Zeit und Kunstanschauung, umgedichtet werden darf, ist eine Frage, die die Kunstkritiker und -historiker lange beschaeftigt hat. Diejenigen, die vor allem die Eigentuemlichkeit eines Genies preisen, werden jede Bearbeitung, jede Auslassung, jeden Zusatz, wodurch die urspruengliche Gestalt und das Wesen des Originals bedroht werden, bekaempfen. [...]

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This Master's thesis analyses the connection between the Illuminati ideology and the sociopolitical ideals contained in pre-classical works---contemporary to the existence of the order---of Johann Wolfgang Goethe and Friedrich Schiller. The first chapter examines the creation, the development and the eventual collapse of the Illuminati Secret Society (Geheimbund der Illuminaten) founded in 1776 by Adam Weishaupt in the context of the Enlightenment. The second chapter explores the ideological similarities between the young Goethe and this secret society through the analysis of his works Gotz von Berlichingen (1771--1773), Egmont (1775--1784) and Der Gross Cophta (1791). The third chapter expounds Schiller's ideological opinion of the Illuminati through Don Carlos (1787), and discusses their republican visions of freedom and human rights. The conclusion integrates the findings made in each chapter and demonstrates, through both authors' discussed works, the similar ideals of both authors and Illuminism.

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Made available in DSpace on 2014-06-11T19:26:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-16Bitstream added on 2014-06-13T20:34:56Z : No. of bitstreams: 1 rosa_ep_me_arafcl.pdf: 934093 bytes, checksum: e8923f38d0c273124682f279188c39f2 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente dissertação delineará as noções que baseiam a oposição goethiana entre símbolo e alegoria (a partir dos textos do autor que dissertaram sobre arte, dos anos de 1772 a 1798), visando torná-la produtiva para a análise literária de passagens de As afinidades eletivas e Os sofrimentos do jovem Werther. Nosso trabalho traz um histórico sobre o signo em Goethe, observando a relação que este estabeleceu com a natureza e a Antiguidade, bem como o correspondente esforço em superar a dependência destas mesmas influências até atingir uma forma de expressão e pensamento próprias. O símbolo, como emergência de uma reflexão sobre linguagem não mais como meio, jaz também na teoria de Goethe. Sob a sugestão de Todorov em “A crise romântica”, relacionaremos o par símbolo-alegoria às ideias linguísticas de motivação e arbitrariedade (respectivamente): tal intento insere Goethe na tradição de discussão sobre a possibilidade de origem motivada para a linguagem iniciada pelo Crátilo de Platão, e continuada por autores de linguística e teoria literária, principalmente no que concerne às bases da fundamentação de uma linguagem poética. Arbitrariedade e motivação, ainda que inexistentes na Goethezeit, apresentam-se como conceitos que clareiam a distinção entre símbolo e alegoria. Uma origem motivada ou arbitrária para a linguagem encontrou destaque desde a declaração saussuriana de que todo signo é arbitrário – princípio fundador de sua ciência. Em seus textos teóricos, Goethe se detém numa defesa do signo linguístico como essencialmente motivado, noção esta que passa por nuances ao longo de sua carreira e se articula com o conceito de arbitrariedade em linguagem, culminando numa ideia de signo que englobe ambas as características contraditórias: o simbólico se torna mistério, que é velado e se... / This dissertation intend to outline the underlying concepts of the Goethean opposition symbol-allegory (using his texts whose main theme concern to art, written between 1772 and 1798), in order to make them productive for literary analysis on passages from Elective Affinities and The Sorrows of Young Werther. Our work provides a background about the idea of sign in Goethe: we note the relationship his art established with nature and antiquity, as well as his effort to overcome the dependence of these two influences, aiming to achieve an autonom form of expression and thinking. The emergence of language as a being able to self-expression (and no more as a mean serving institutions) is a atributtion of the symbol also present in Goethe's theory. Following the suggestion of Todorov in Romantic crisis, we will link the pair symbol-allegory to the linguistic ideas of motivation and arbitrariness (respectively): Goethe inserts such intent in the philosophic line which discuss the possibility of a motivated origin to the language – started with “Cratylus's” Plato, and continued by authors of literary and linguistic theory, especially the ones who concern to the basis fundamenting poetic language. Arbitrariness and motivation, even nonexistent in Goethezeit, can be presented as concepts that clarify distinctions between symbol and allegory. A motivated or arbitrary origin for the language has found prominence since the Saussurean declaration that, as a whole, the sign is arbitrary – the founding principle of his science. In his theoretical writings, Goethe holds up a defense of the linguistic sign as essentially motivated – a concept that goes through nuances throughout his career and is linked to the concept of arbitrariness in language, culminating in the construction of conventionality in the sign. It embraces... (Complete abstract click electronic access below)

Thesis (MTech (Design))--Cape Peninsula University of Technology, 2016. / This study explores appropriate responses to some of the challenges inherent to life today, and how a holistic design education can bring about a new reality. The approach to design learning advocated here acknowledges the present reality of fragmentation and reductionism as the fundamental and pervasive mode of understanding our world and ourselves, and seeks to develop instead a design approach grounded in inclusion, context and connectedness. Under the primary concept of profound engagement with self, culture and environment, I developed a complementary design education model exploring the role of designer as mediator between culture and nature. This model proposes future design knowing situated in environmental, social and self-awareness so as to offer a vital interface between ecology, public and the personal. Three themes emerged during the research that helped me to approach and engage with complexity during particular experiences of teaching and learning. These themes are: Wild, representing quality; Conversation, representing experience; and Transformation, representing consciousness. With these themes in mind I entered into the untamed territory of my research seeking the dynamic connections and interrelationships of living processes in education. The Ensembles or modules constituting this model evolved from the work of Rudolf Steiner’s concepts of higher perception: Imagination, Inspiration and Intuition, made clear through following Johann Wolfgang von Goethe’s phenomenological method. Goethe’s phenomenological method – “delicate empiricism” – is essentially a participatory, perceptive practice with which to harness qualitative ways of knowing. The methodology supports students to cross the divide between abstraction and holistic relational modes of knowing that are context-sensitive. The research study reconsiders the current worldview and determines ways in which to develop relational awareness through deliberate learning experiences. These ways imply re-focusing existing awareness with personal qualities and active participation. The Ensembles open up new ways of perceiving emergent process rooted in integrated, flexible and evolutionary processes. Students’ learning experiences are traced as they develop their capacity for interconnected decision making modelled on living processes. This in turn helps develop the model further, so that in the future designers may embrace ways of thinking and doing design that are more flexible, mobile, delicate and sustainable. The radical humanist perspective and qualitative methods used in the study advance the pedagogical approach embedded in human engagement and interaction, and encompass logic, intellect, creativity, imagination and philosophical reflection. Thus the critical shift, from perceiving the world as abstract and as “something out there” to a deeper inner knowing and understanding, is embedded in the education model as an opus of Ensembles reflecting a pedagogy of lived experience, grounded in embodied creative practice.

Orientador: Jeanne-Marie Gagnebin de Bons / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-26T19:53:16Z (GMT). No. of bitstreams: 1 Fontanella_MarcoAntonioRassolin_M.pdf: 26891013 bytes, checksum: cacaa68b8a452eedd83017e52aed2e89 (MD5) Previous issue date: 2000 / Resumo: A presente dissertação de mestrado dedica-se a verificar como o romance de Thomas Mann A montanha mágica poderia filiar-se ao gênero literário do Bildungsroman. Sua introdução é um breve comentário sobre o estabelecimento do gênero literário do Bildungsroman enquanto tal, seguido de um excurso, igualmente breve, aos temas que ocupavam Thomas Mann aquando da redação deste seu romance, mediante a identificação de temas centrais das Betrachtungen eines Unpolitischen (Considerações de um apolítico). Feito isto, parte-se ao trabalho propriamente dito de pôr A montanha mágica ao lado do romance de Goethe Anos de aprendizado de Wilhelm Meister, paradigma do gênero em causa, para investigar o proveito em lê-Io como Bildungsroman. A própria questão sobre o que seria efetivamente um Bildungsroman desperta polêmica até os dias atuais. Discutir A montanha mágica na qualidade de Bildungsromanimplica,pois - sempretacitamente-, em voltar à pergunta sobre o que teria feito dos Anos de aprendizado de Wilhelm Meister o primeiro romance de uma série que constituiu tradição dentro da literatura de língua alemã. Mas esta pergunta não é apresentada como tal no corpo do texto, pois o que se pretendeu foi cingir-se a aproximar ambos os romances e esclarecer como este expediente é eficaz para compreendê-Ios. Seja como for, espera-se que mesmo a investigação do gênero tomada em si mesma sempre possa aproveitar-se das diversas incursões que se têm feito ao longo do tempo àquelas obras a ele imputadas / Zusammenfassung: In der vorliegenden Arbeit wird der Frage nachgegangen, inwieweit Thomas Manns Roman Der Zauberberg der literarischen Gattung des Bildungsromans zugeordnet werden kann. Die Einleitung der Arbeit besteht aus einem Kurzkommentar über die Entstehung der literarischen Gattung des Bildungsromans; dem folgt, indem die zentralen Themen aus Betrachtungen eines Unpolitischen bestimmt werden, ein Exkurs über die Themen, die Thomas Mann zur Zeit der Niederschrift des Romans beschãftigten. Im Hauptteil der Arbeit wird Der Zauberberg dem Roman von Goethe Wilhelm Meisters Lehrjahre - dem Paradigma der Gattung - zur Seite gestellt, und es wird untersucht, ob Thomas Manns Buch in produktiver Weise aIs Bildungsroman gelesen werden kann. Die Frage, was eigentlich ein Bildungsroman sei, ist auch in heutiger Zeit noch umstritten. Eine Betrachtung Des Zauberbergs aIs Bildungsroman impliziert aIso immer auch - wenngleich unausgesprochen - eine Rückbetrachtung der Gründe, die Wilhelm Meisters Lehrjahre zum ersten Roman einer Gattung werden lieBen, die sich dann - aus heutiger Sicht - aIs Tradition in der deutschsprachigen Literatur etabliert hat. Dieser Fragestellung wird jedoch im HauptteiI der Arbeit nicht nachgegangen, da dieser sich darauf beschrãnkt, beide Romane gegenüberzustellen, um dadurch aufzuklãren, ob dieser Weg geeignet ist, sie zu verstehen. Es wird jedoch gehofft, dass eine Untersuchung der Gattung aIs solche aus den verschiedenen Annãherungen, die im Lauf der Zeit an ihr unterstellte Werke gemacht wurden, Nutzen ziehen kann / Mestrado / Teoria Literaria / Mestre em Letras