[pt] Frequentemente os termos morte de Deus, fim da poética e dessacralização são associados à ideia de Modernidade que constrói uma nova explicação do mundo e, a seu turno, porta ideia de superação de um tempo mítico. Com efeito, a relação entre poética ficcional e secularização é ambígua e ambivalente. Se a secularização opera uma aparente marginalização do poético e do mito-teológico (por julgar sua capacidade de enunciação provisória), ela também pode ser concebida como um modo de apropriação de ambos na tentativa de sanear e superar suas deficiências enunciativas. O projeto cartesiano excluía a provisionalidade da linguagem metafórica enquanto construtora de uma imagem de mundo para pôr em seu lugar a inequivocidade de uma linguagem instrumental. Se tal projeto de superação caminhou em direção à sua concretização, em que consistira, contemporaneamente, a reflexão de Heidegger ao se apropriar da poesia de Holderlin: para quê poetas?. A sua conclusão requer uma indissolubilidade entre o poético e o teológico enquanto agentes não capturados pela razão técnico-científica. Pode a poética, enquanto linguagem metafórica, dizer algo sobre o humano ou sobre Deus? Ela possui ferramentas propícias para sustentação de uma imagem de mundo? Aqui, emerge a problemática da Teopoética, seja vista como apropriação ficcional do conceito de Deus, seja concebida como uma potência narrativa criadora do divino, como possibilidade de superar a hiperespecialização tão comum na Modernidade. As tentativas de refletir sobre o humano e seu lugar no mundo, muitas vezes em um contexto já de suposta secularidade realizada, choca-se nos próprios limites da razão técnico-científica. Poderia o espaço do poético - e, com ele, do mito-teológico – superar uma normatividade? O que se está em jogo ultrapassa uma mera virtualidade poética para se lançar numa efetividade política. A reflexão heideggeriana fornece novas perspectivas para uma valoração e entendimento substancial do papel heurístico desempenhado pelo universo da ficção. Revigorando, ou restabelecendo, o senso de poiésis, as reflexões de Nietzsche e Heidegger parecem corroborar para definir o espaço que o poeta (ficcionalista) ocupa na sociedade, revertendo o estatuto ético platônico. Ao afirmar que o humano tem o desejo recôndito de fazer da literatura vida (numa espécie de apropriação do Dasein heideggeriano), o escritor José Saramago parece oferecer veredas para um entendimento da poesia não apenas como criadora de novos valores, mas como a própria forma de enunciar o humano como consciência de si e no conhecimento da alteridade. Poetas em tempos indigentes, para além de indicar uma volta aos tempos míticos, fornecem o campo propício para a ruptura da dogmatização que petrifica o mito em términos categoriais e resgata, como afirma Hans Blumenberg, a sua liberalidade metafórica. Permitir a repovoação do mundo pelos deuses faz do poeta o legislador platônico por excelência que, rejeitando o estabelecimento de uma perspectiva totalitária, busca abarcar a existência humana numa profusão de possibilidades e amplia o horizonte do entendimento da poesia/ficção como instrumento heurístico, capaz de pensar soluções e romper com o estatuto da realidade absoluta do qual, inclusive, o conceito de Deus tornou-se refém. / [en] Often the terms death of God, end of poetics and desecration are associated with the idea of Modernity that builds a new explanation of the world and, in turn, bears the idea of overcoming a mythical time. Indeed, the relationship between fictional poetics and secularization is ambiguous and ambivalent. If secularization operates an apparent marginalization of the poetic and the myth-theological (considering its provisional enunciation capacity), it can also be conceived as a way of appropriating both in an attempt to heal and overcome their enunciative deficiencies. The Cartesian project excluded the provisionality of metaphorical language as a constructor of an image of the world in order to put in place the unambiguity of an instrumental language. If such a project of overcoming went towards its realization, what did Heidegger s reflection consist of, contemporarily, appropriating Holderlin s poetry: what are poets for?. Its conclusion requires an indissolubility between the poetic and the theological as agents not captured by technical-scientific reason. Can poetics, as a metaphorical language, say something about the human or about God? Does it have the right tools to support an image of the world? Here, the problematic of Theopoetics emerges, either seen as a fictional appropriation of the concept of God, or conceived as a creative narrative power of the divine, as a possibility to overcome the hyperspecialization so common in Modernity. The attempts to reflect on the human and its place in the world, often in a context of supposedly accomplished secularity, clash with the very limits of technical-scientific reason. Could the space of poetics - and, with it, the myth-theological - overcome a normativity? What is at stake goes beyond a mere poetic virtuality to launch itself into political effectiveness. Heidegger s reflection provides new perspectives for a substantial appreciation and understanding of the heuristic role played by the universe of fiction. Invigorating, or reestablishing, the sense of poiesis, the reflections of Nietzsche and Heidegger seem to corroborate to define the space that the (fictionalist) poet occupies in society, reversing the Platonic ethical status. When affirming that the human has the hidden desire to make life from literature (in a kind of appropriation of Heideggerian Dasein), the writer José Saramago seems to offer paths for an understanding of poetry not only as a creator of new values, but as the very form to enunciate the human as its own self-awareness and in the knowledge of otherness. Poets in destitute times, in addition to indicating a return to mythical times, provide the propitious field for the breakdown of dogmatization that petrifies myth in categorical terms and rescues, as Hans Blumenberg says, its metaphorical liberality. Allowing the repopulation of the world by the gods makes the poet the quintessential Platonic legislator who, rejecting the establishment of a totalitarian perspective, seeks to embrace human existence in a profusion of possibilities and broadens the horizon of understanding poetry / fiction as a heuristic instrument, capable of thinking about solutions and breaking with the absolute reality statute, of which inclusively the concept of God has become hostage.

Le but de ce mémoire est d'expliquer ce que signifie la mimèsis dans la philosophie esthétique de Gadamer et de montrer comment, par une réinterprétation de cette notion, laquelle rompt avec la dépréciation traditionnelle de l'image artistique, celui-ci redonne une dignité à l'œuvre d'art et une signification à l'expérience esthétique. À partir d'une étude de l'interprétation platonicienne de la mimèsis comme imitation (rapport copie/modèle), le dépassement gadamérien de la tradition et de l'opposition entre chose représentée et représentation sera analysé par le biais du phénomène du jeu. Ce dernier servira à définir la mimèsis par la notion de représentation, plutôt que par celle d'imitation. Il apparaîtra, en conclusion, que la notion gadamérienne de mimèsis insiste sur le rapport de non-distinction qui prévaut entre la représentation et ce qu'elle représente, et que celle-ci implique une reconnaissance qui fait de l'expérience esthétique une expérience authentique de sens.

In Hans Zender’s oeuvre manifold traces of an intense confrontation with intercultural questions can be found. More specifically, many of Zender’s works relate to East Asian cultures. Generally, Zender highlights heterogeneity and his concepts of interculturality seem to be opposed to a hybrid mixture of idioms as described by the term »creolisation«. Most recently Zender’s opera Chief Joseph (2001-2003), a complex work about cultural conflict, oscillated between familiarity and strangeness, between descriptive and cryptic layers. Zender has referred to the ancient Chinese magical square luo shu and to ancient Chinese theories of tuning to widen eurocentric discourses of contemporary music, although the references in his scores can often hardly be labelled specifically »Asian«. On a similar conceptual level, three main traditions from East Asian philosophy have had substantial influences on him, namely: the anti-logocentric ideas of Zen-Buddhism (obviously partly triggered by John Cage), the Confucian ideals of music set forth in the ancient »Book of Rites« Liji, and the philosophers of the Kyoto-School – mainly Kitaro Nishida and his idea of »pure experience«. Zender’s works such as Fünf Haiku (1982) or Lo-Shu VI (1989) exemplify the composer’s transformation of traditional Japanese aesthetics into forms of obvious simplicity that establish a continuous change between uninterrupted flow and sudden silence. The notion of a »dissolution of time« is present in these pieces as well as in the earlier Muji no kyo (1975) which, conversely, ends in an intensification of the musical structure on all levels. Likewise, Furin no kyo (1989) and Nanzen no kyo (1992) superimpose different concepts of time associated with different cultures. In the final section of Furin no kyo the superimposition of different concepts of time and languages results in a collage-like microstructure. These examples confirm that Zender’s aesthetic focuses on contradiction and does not aim to harmonise cultural differences or conflicts. For Hans Zender interculturality means a fundamental »concussion of [established] meanings« (Roland Barthes).

Ce mémoire tentera de reconstruire la controverse qui a eu lieu entre Habermas et Gadamer dans les années 1960 et 1970. Ce débat porte sur notre rapport à l'histoire, à la réflexivité et à la raison. À l'aide d'ouvrages majeurs tels que Connaissance et intérêt et Vérité et Méthode, en plus d'articles ayant encadré la polémique entre les deux auteurs, il sera possible de rendre compte des positions de Habermas et de Gadamer au sujet de la possibilité critique de la réflexion, soit l'enjeu qui servira de ligne directrice à ce mémoire et qui permettra d'aborder les autres enjeux tout aussi importants. Gadamer suggère une réflexion herméneutique attentive et réceptive à notre mode d'être qui est par le fait même critique, tandis que Habermas propose une autoréflexion de la société en collaboration avec un sociologue critique qui la guide en vue de son autocritique et de son émancipation. À l'issue de leur dialogue, la pensée de Gadamer se sera développée, alors que celle de Habermas se sera transformée : les deux philosophes auront donc appris l'un de l'autre.

Cet essai se veut une analyse critique du Principe responsabilité de Hans Jonas. Le but de notre recherche consiste à expliquer la notion jonassienne de responsabilité afin d'en saisir les forces et les limites. Après avoir exposé le contexte particulier au sein duquel se dessine la problématique éthique contemporaine eu égard aux technosciences, et montré que les modèles antérieurs tant éthiques que politiques s'avèrent inaptes à combler le vide éthique devant lequel nous place !'agir contemporain, l'analyse du fondement métaphysicoontologique de la théorie éthique jonassienne - élément central, à notre avis, de l'ouvrage de Jonas - dévoile la fragilité des hypothèses sur lesquelles s'érige cette théorie Finalement, l'explicitation de la notion de responsabilité identifie le champ du politique comme le lieu privilégié de la responsabilité collective comprise comme une responsabilité, non seulement à l'égard de ce qui fut fait, mais pour ce qui sera et devra être fait.

Univ., Diss.--Erlangen-Nürnberg, 2006.

Humboldt-Univ., Diss.--Berlin, 2002. / Literaturverz, S. [434] - 450.

Diss. Univ. Mainz, 2006.

[pt] A presente dissertação diz respeito a um dos temas centrais da Teoria do Direito: o conceito de sanção. Muitos dos conceitos jurídicos básicos - inclusive o próprio conceito de Direito - encontram-se estritamente conectados com ele, de forma que um estudo cuidadoso sobre esse tema possibilitará que muitas outras questões fundamentais do Direito sejam, senão resolvidas, ao menos aclaradas. As inúmeras subdivisões que a complexidade do tema acarreta tornaram necessárias delimitações quanto ao objeto de estudo. Portanto, dentro da ampla esfera interessante ao pesquisador empenhado em deslindar o tema, optou-se por centrar a pesquisa em objetivos mais modestos: o de reconhecer e apresentar os principais problemas que encerram o conceito de sanção para a teoria do direito em três autores específicos - Jeremy Bentham, John Austin e Hans Kelsen - pertencentes a uma mesma tradição de pensamento jurídico, a Teoria Analítica do Direito (analytical jurisprudence). Tal escolha é facilmente justificável, em virtude da centralidade do conceito em suas concepções de Direito. / [en] The present work refers to one of the central subjects of the Legal Theory: the concept of sanction. Many of the basic legal concepts - and the concept of Law itself - are strictly connected with it, in such a way that a careful study on this subject will make possible that many other basic questions of the Law are, if not solved, at least clarified. Because of the innumerable subdivisions caused by that the complexity of the subject, it had become necessary to delimitate the studied object. Therefore, within the wide area of interest presented by the subject, the researcher has opted to focus his/her work on more modest objectives: to recognize and to present the main problems concerning the concept of sanction inside the work of three specific authors - Jeremy Bentham, John Austin and Hans Kelsen -, being them all part of the same legal thought tradition, the analytical school of jurisprudence. Such choice is justified by the unquestionable importance that the authors confer to the sanctions in their legal theories.

Comment raconter le nazisme aux enfants ? En particulier comment trois auteurs de littérature de jeunesse racontent-ils la guerre ? Chacun des six romans a ses particularités liées à son auteur et à la perception nationale de l'histoire européenne. Les romans de Joseph Joffo se passent en France sous l'occupation allemande et le régime de Vichy ; ceux de Judith Kerr présentent l'exil d'une famille juive allemande en Suisse, en France puis en Angleterre ; ceux de Hans Peter Richter racontent l'ascension du nazisme en Allemagne. La dureté de la Deuxième Guerre Mondiale est rendue supportable par l'instinct de survie des héros : enfants comme tous les autres ils sortent vivants des difficultés et des dangers qu'ils croisent. Ces romans ont à la fois un rôle de mémoire collective et de préparation à la vie. / How to explain Nazism to children? How, in particular, do three youth literature authors talk about war? Each of the six novels has distinctive features related to its author and to the national perception of European history. Joseph Joffo's novels are set in France under the German Occupation and the Vichy Regime; those of Judith Kerr present the exile of a Jewish German family in Switzerland, France and eventually England; Hans Peter Richter's novels describe the rise of Nazism in Germany. The harshness of World War II becomes bearable thanks to the survival instinct of the protagonists: everyday children, prevailing over hardships and dangers. These novels play a dual role, acting as collective memory and preparing for adulthood.