Notre hypothèse est la suivante : pour des raisons différentes et avec des méthodes différentes, Derrida et Goodman ont, chacun, ébranlé l’un des deux piliers qui sous-tendent l’essentiel de la tradition philosophique. Derrida, par le jeu subtil de la différance, a fait vaciller la vaste entreprise de mise en ordre. Goodman, par la profusion de mondes construits et irréductibles les uns aux autres, remet en cause l’aspiration à l’unité. Nous avons tenté d’établir que la métaphysique s’est développée dans une dialectique de l’un et de l’ordre, se rétablissant sur l’un de ses pilastres quand l’autre faiblissait. Si donc les soubassements de l’histoire philosophique devaient être revisités – peut-être révisés – il serait fructueux d’user simultanément des propositions derridiennes et goodmaniennes. C’est l’originalité de ce projet. Il s’agit, pour neutraliser la récupération dialectique par l’autre pilier (par l’unité quand l’ordre faillit ou par la mise en ordre dans la multitude s’immisce) d’interroger la tradition suivant le double impératif de la déconstruction et du nominalisme, suivant le double prisme du dés-ordre de Derrida et du multiple de Goodman. Nous avons tenté d’établir que l’efficace d’une remise en cause du « mythe de l’un » ne peut se faire sans ébranler le « mythe de l’ordre ». Considérer conjointement les systèmes (ou des dé-systématisations) de Derrida et Goodman serait donc, suivant ce dessein, non seulement utile mais presque indispensable. Chacun d’eux permet d’éviter la récupération dialectique du schème de l’autre. L’étude est menée à partir d’un inconfort partagé face au concept de vérité. / Our hypothesis is the following : for different reasons and with different methods, Derrida and Goodman have both deconstructed one of the pillars of the Western philosophical tradition. Derrida, using the subtleties of the differance concept, has shaken the general entreprise of « organisation ». On the other hand, Goodman, by considering numerous constructed worlds that cannot be reduced one to the other, questions the desire of unity. We have tried to establish that metaphysics has developed in a dialectic articulation of order and unity, using one when the other fails. If the groundings of the history of philosophy were then to be revisited, it would be useful — if not necessary — to use simultaneously the derridean and goodmanian views. This the originality of this project. To break the dialectic mechanics using order to cure multiplicity, or the other way round, we have reconsidered the tradition using both deconstruction and nominalism, Derrida’s disorder and Goodman’s diversity. We have tried to show that the efficiency of the questioning of the « unity myth » depends on how far the « order myth » has been revised. Considering simultaneously both Derrida’s and Goodman’s systems allows to avoid the dialectic neutralisation of the proposal. The study is performed through the question of truth.

This work is a mere fragment, a modest start, at what must be said and written about Paul Goodman. I wish to thank John Wildeman of Hofstra University who in his own way showed mutual aid to be something more than a book title. Special thanks to Dean Albertson of the University of Massachusetts. I would also like to acknowledge my personal gratitude to those others who were there when they were needed. Finally, I must acknowledge my personal debt to the creatures, trees, fields, sky, bays, waters and earth of the island of Paumanok who helped me in ways that are beyond words.

Made available in DSpace on 2014-07-29T15:06:25Z (GMT). No. of bitstreams: 1 Carlos Eduardo Silva Barbosa.pdf: 1481152 bytes, checksum: 737706fb61ccbda441ad3975a2bff8ec (MD5) Previous issue date: 2010-08-30 / This work concerns of the notation concept by Nelson Goodman in the book Languages of Art. From a general approach to the language notion, the concept of notation is presented as an intermediary between the verbal languages and general communication. Goodman proposes an interesting theory about notation, whose principle relates to the need at providing means to identify plays. In this work the concept of Goodman and the criteria used to define the notational structure is going to be discussed and exemplified. Then this approach is applied in discussions case, music, chemistry, painting, electronic diagram, floor plan, especially in the "literature" of the (brazilian) movimento concretista / Este trabalho diz respeito ao conceito de notação tal qual o mesmo é desenvolvido por Nelson Goodman no livro Languages of art. A partir de uma abordagem geral da noção de linguagem, o conceito de notação é apresentado entre as linguagens verbais e a comunicação em sentido amplo. Goodman propõe uma interessante teoria da notação, cujo princípio se prende na necessidade de fornecer meios para se identificar execuções. Neste trabalho será abordado e exemplificado o conceito de Goodman e os critérios utilizados para se definir uma estrutura notacional. Em seguida, esta abordagem é aplicada na discussão de casos: música, química, pintura, diagrama eletrônico, planta arquitetônica baixa e escrita, especialmente na literatura do movimento concretista.

This master thesis examines commercial video games and their relation to the concept of immersion and realism. Games as a communicative medium is quite a new area of interest within rhetorical research in Sweden. Most of the research conducted has, however, been focused on gaming and formation on opinion – games that explicitly tries to persuade the player, unlike commercial games that focus on entertainment, that is. But that does not mean that commercial games cannot influence us. From time to time we can read about video games in the press and the discussions they generate. Most recently, China has banned the Swedish video game Battlefield 4 when Chinese government officials was claiming that the game portrays the Chinese military in an unfair manner. Thus we seem to ascribe meaning to the things that happen to us in the digital world, and that what happens in the digital world also has effects in the physical world, which the example clearly implies. With all the advanced gaming consoles today, I often find that game journalists and game developers in many contexts are talking about realism and immersion as two concepts that make up a good gaming experience. But what is realism and immersion: what does it mean and how do they relate to each other, and what kind of rhetorical impact do they really have on the player in the game? Although there is more research about commercial games and rhetoric in an international context, there is no one to my knowledge that has been exploring the concept of immersion and realism in games in this way. In this essay I argue that it is crucial to understand immersion and realism in order to fully understand the video game medium and its persuasive aspects. By examining three popular games Battlefield 4, Grand theft auto V, and The last of us, and by applying the theories of Nelson Goodman and Kenneth Burke to my examination, my aim is to increase the understanding of the effect of realism and immersion in games. I find that there are several ways that rhetoric can help us in understanding the two concepts. Both realism and immersion could be seen as something that enables the creation of identification within the realms of gaming. My suggestion is that we should understand realism as something that is enabled by the use of symbols and that it is enabled through the use of procedures in gaming. While my other suggestion is to perceive immersion as something that transfer the player from the couch and into the game world through argumentation and narrative. Both realism and immersion is something that make the player feel that he or she is one with the characters, the events and the story in the game.

Book Summary: While other works cover individual ethnic literary traditions, this encyclopedia is the first to offer a comprehensive introduction to the spectacularly diverse range of ethnic American writing. Included are more than 1100 alphabetically arranged entries by more than 300 scholars. While most of the entries are biographical, others cover genres, ethnic stereotypes, seminal works, significant places, major historical events, key pieces of legislation, and various other topics that are part of the context of multiethnic America literature. While some of the writers profiled have international reputations, others are emerging artists. The encyclopedia is accessible to students and general readers, and numerous illustrations enhance its appeal to a broad audience.

Kenneth Goodman's view of the reading process suggests that the reader utilizes three cue systems (grapho-phonic, semantic and syntactic) in obtaining meaning from the visual array. The study was designed to explore means by which first year high school students could be taught syntax informally to facilitate their utilization of syntactic cues in reading. The literature was reviewed to provide an understanding of those syntactic structures which were likely to present difficulty and to discover theoretically sound bases for teaching strategies. Because of the absence of data on Australian students in the first year of secondary school, a survey of the Grade 8 population of a large metropolitan high school was undertaken. This survey linked syntactic knowledge to scores obtained on a standardized test of reading comprehension. Suggestions on the informal teaching of grammar were then proposed.

<p>Since the Renaissance, the normative approach to a philosophy of music has concerned itself primarily with the subjective experience of the listener. This was not always the case. From Greek Antiquity to the Renaissance, music was considered a rigorous, mathematical discipline that shed light on objective truths concerning cosmology and cosmogony. <i>Musica theorica</i>, therefore, took precedence over musica practica and was taken much more seiously in musical scholarship. Although tension had always existed between <i>Musica theorica</i> and <i>Musica practica</i>, such tension reached its peak during the Renaissance and as a result, a shift occurred: <i>Musica theorica</i> was pushed into the background, and <i>Musica practica</i> stepped forward.</p><p>The intention of this thesis is to convince its reader of the need to bring <i>Musica theorica</i> back to its proper place in musical and philosphical scholarship, where objective answers can be found, and music's innate eternal nature is revealed. The thesis begins with a historical survey of musical scholarship that eventually brings the reader to the center of the controversy that ensued during the Renaissance, and then forward to present day discussions in philosphy of music that are concerned with music's subjective and temporal properties. It is hoped that the reader will see the need for a new shift to occur in philosophy of music that focuses on music's objective and eternal properies (that are wholly distinct from the subject experiencing it), and will come away with a new perspective regarding the interdisciplinary nature of philosphy and music.

Il existe deux grands groupes de théories sur la dimension politique de la psychanalyse, autrement dit sur la nature de son influence politique: certaines théories supposent qu'elle est un facteur de libération, de subversion sociale et politique, alors que d'autres, au contraire, aperçoivent en elle un facteur d'assujettissement. Il est possible d'approcher cette question à partir de l'étude du cas de Paul Goodman (1911-1972), un intellectuel étatsunien du XXe siècle qui s'inspira de la psychanalyse pour appréhender le monde politique. Nous abordons pour ce faire certains de ses textes (autant politiques que psychologiques), à partir de différentes méthodes (analyse textuelle et mise en contexte politique et linguistique), afin de comprendre et expliquer la manière dont Goodman abordait le monde politique à partir de théories psychanalytiques. L'utilisation que faisait Goodman de la psychanalyse fut changeante: dans les années 1942-1945, d'abord, il l'utilisait afin d'élaborer une théorie de la fausse conscience qui dans la situation de marginalité politique et sociale où il se trouvait alors lui permettait de s'expliquer le comportement, qu'il ne comprenait pas, de ses contemporains; en 1951, Goodman formula une remise en question incertaine et vite abandonnée de la psychanalyse; dans les années 1958-1972, enfin, il utilisa plutôt la psychanalyse afin de justifier l'élaboration d'une critique de la société étatsunienne à partir des idéaux et valeurs de cette même société. Il ressort de l'examen de ces utilisations que la psychanalyse autorise des usages politiques très variés et qu'elle est par le fait même beaucoup moins contraignante que ne le supposent la plupart des références traitant de sa dimension politique. Les particularités politiques des discours qui s'appuient sur la psychanalyse, de même que leur force de persuasion, s'expliquent donc en grande partie par des éléments externes à la psychanalyse. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Aliénation, Gellner Ernst 1925-1995, Gestalt thérapie, Goodman Paul 1911-1972, Idéologie.

<p>Since the Renaissance, the normative approach to a philosophy of music has concerned itself primarily with the subjective experience of the listener. This was not always the case. From Greek Antiquity to the Renaissance, music was considered a rigorous, mathematical discipline that shed light on objective truths concerning cosmology and cosmogony. <i>Musica theorica</i>, therefore, took precedence over musica practica and was taken much more seiously in musical scholarship. Although tension had always existed between <i>Musica theorica</i> and <i>Musica practica</i>, such tension reached its peak during the Renaissance and as a result, a shift occurred: <i>Musica theorica</i> was pushed into the background, and <i>Musica practica</i> stepped forward.</p><p>The intention of this thesis is to convince its reader of the need to bring <i>Musica theorica</i> back to its proper place in musical and philosphical scholarship, where objective answers can be found, and music's innate eternal nature is revealed. The thesis begins with a historical survey of musical scholarship that eventually brings the reader to the center of the controversy that ensued during the Renaissance, and then forward to present day discussions in philosphy of music that are concerned with music's subjective and temporal properties. It is hoped that the reader will see the need for a new shift to occur in philosophy of music that focuses on music's objective and eternal properies (that are wholly distinct from the subject experiencing it), and will come away with a new perspective regarding the interdisciplinary nature of philosphy and music.

Reproduction de : Thèse de doctorat : Philosophie : Paris 8 : 2006. / Titre provenant de l'écran-titre. Bibliogr. p. 445-459. Gloss.