Este trabalho investiga discursos e modelos de amor romântico construídos em filmes do cinema hollywoodiano, especialmente nas décadas de 1990 e 2000. Debate-se o papel do cinema na constituição de referências sobre a idealização e a experiência de relacionamentos amorosos e como esse contribui para reproduzir crenças e valores morais a respeito do amor que são pertinentes à modernidade e suas especificidades sociais, culturais e históricas. Nisso, observam-se no período analisado citações constantes de produções de outras épocas, indicando, especialmente em um contexto de grande presença de mídias audiovisuais na vida cotidiana, que o próprio cinema se utiliza como referência ao tratar do tema amor e reproduz isso como algo corriqueiro e culturalmente estabelecido. / This research investigates the discourses and models of romantic love constructed in Hollywood movies, more specifically in the 90s and 2000s. One argue the role of cinema in constituting references about the idealization and experience of love relationships and how this cinema contributes on reproducing beliefs and moral values about love that are pertinent to modernity and its social, cultural and historical specificities. Thus, in the analysed period, it could be observed constant quotations of films from other times, suggesting, especially in a context of great presence of audiovisual medias in everyday life, that cinema uses itself as reference when it comes about love and reproduces it as a commonplace, culturally established.

Esta tese toma o pensamento de Henri Bergson como objeto de reflexão. Ao mesmo tempo que situa o homem como tema central nesse universo teórico, pretende perscrutar a natureza da subjetividade que nele se delineia. Acompanha, assim, a crítica bergsoniana à psicologia, cujo intento de subsumir o humano à matéria condena ao fracasso sua pretensão de conhecê-lo. A superação da visão associacionista, tal como Bergson a desenha, evidenciará a natureza de uma subjetividade outra, obscurecida pelas instâncias mais superficiais, nas quais se configura a consciência que julgamos conhecer. O alcance dessa dimensão mais profunda do Eu impõe a inspeção acerca da inteligência racional, orientada por uma temporalidade ficitícia e pela linguagem, de modo que se esclareça a distância entre a superficialidade da consciência e a subjetividade livre e indômita, cuja natureza, aliás,é a do tempo, ou seja, a duração criadora que nos ultrapassa e nos vincula ao ser em geral. Ante os obstáculos apresentados pela consciência na persecução de nossa interioridade movente, recursos outros que não os conceituais, pertinentes ao pensamento analítico e científico, passam a figurar como alternativa para o conhecimento da interioridade humana, quais sejam, as imagens qeu se originam justamente nas regiões mais recônditas do Eu. Atribuir às imagens a potencialidade de nos conduzir ao ser, leva-nos ao equacionamenteo do lugar a elas conferido pela tradição - cópia/coisa, simulacro, erro, alteridade do ser. Pretendemos, pois, interrogar se Bergson logra ou não um rompimento com o pensamento tradicional, visto que as imagens precedentes da memória pura e do esforço imaginante passam a ser consideradas meios privilegiados que nos conectam ao ser. Nessa senda, tematizaremos a ambiguidade que a imagem assume na obra bergsoniana, uma vez que ora se coaduna à realidade da coisa, ora nos revela o ser temporal e criador que nos habita. Posto que o conhecimento do tempo em seu movimento criador se dá pela intuição, e que os recursos da inteligência não logram a sua tradução ou comunicação, as imagens resultantes do esforço criador, as imagens prevalecentes na arte, cuja natureza se aproxima da duração, revelar-se-ão como o caminho da expressão daquilo que o conhecimento intuitivo nos revela. Particularmente, as imagens literárias, decorrentes de uma linguagem que se volta contra si mesma, tornam-se a referência privilegiada para a expresssão filosófica do ser e para o alcance da interioridade criadora que nos constitui. / This thesis takes Henri Bergson´s thought as its object of reflection. Focusin on mankind as its central subject in that theoretical univers, it intends to search the nature of the subjectivity sketeched in it. It thus folloes bergsonian criticism of psychology, whose intente do subsume human realm into matter condemns its purpose of knowing it to failure. The overcoming of the associacionist view, the way Bergson portrays it, will attest the nature of a differente subjectivity, blurred by instances most superficial, in which the consciousness we believe to know is delineated. the reach of this mor profound dimension of the self imposes the inspection concerning rational intelligence, guided by a fictititous temporality and by language, so that we carify the distance between consciousness ´superficiality and free untamed subjectivity, whose nature is that of time, that is, the creative duration which surpasses us and entails us to being in general. Berfore the obstacles introduced by consciousness in pursuit of our moving interiority, resources other than conpectual, relevant to analytic and scentific thougt com as an alterntive for the knowledge of human interiority, which ar the imagens originatede precisely in the most hidden regions of the Self. To attribute images the potentiality of guiding us to Being leads us to the questioning of the place given to them by tradition - copy/thing, simulacrum, misake, alterity of Being. we intend thus to question whether Bergson succeeds or not at breaking with traditional thinking, inassmuch as the imagens comin from pure memory and from the imagining effort come to be considered the privileged means that connect us to being. In this way, we will discuss the ambiguity that images take on in Bergsonian work, since it now combines with the reality of the thing, now reveals us the temproal and creative being which inhabits us. Since knowledge of time in its creative action is given by intuition, and that intelligence´s resources do not provide its translation or communication, the resulting images of the creative effort, those images prevailing in arte, whose natue approaches duration,will reveal themselves particularly, which como from a language that goes against itself, become the reference for the philosophical expression of being and for reaching the creative interiority that constitutes us.

This thesis is an investigation into fundamental questions concerning the aims, purpose and goals of the university within the emerging 21st Century post-industrial, Knowledge Society (KS). Inquiries of this nature are often referred to as the 'idea' of the university and whilst a growing academic literature questions what an 'idea' for the institution may look like in light of the arguably unique context of the Knowledge Society, it has yet to be fully addressed. In order to do so, this thesis is methodologically framed by the sociological school of neo-institutionalism. This is a perspective within institutional theory which views institutions as not passive recipients of social values but able to dictate their own ideals upon society. The university in this view becomes a 'primary institution' capable to imprint its values upon the KS and thus giving it a prominent role in that society. In order to articulate an 'idea' of the university, the thesis begins with a critical review of the literature, specifically the manner in which university-KS relations are conceived. This concludes with a summative statement about such relations in the form of the 'problem of knowledge' i.e. an attitude which increasingly reduces knowledge in the university to means-end and economic propositions. An alternative conceptualisation is proposed which offers an optimistic approach to the university in the KS, one conceived through presumptions by the neo-institutionalist school and coined 'Knowledge Plasticity'. As there are no formal methods for creating an 'idea', the second part of the thesis undertakes an extensive review of seminal works in the field revealing three conditions to which such proposals generally conform. Taken together, these conditions serve as the methodological frame for creating an 'idea' for the university. The first of these, contextual clarity, having been achieved through the literature review, moves to the second condition, theoretical development, and entails an exploration of Knowledge Plasticity. This investigation reveals a 'tension of imbalance' within this concept which the 'idea' of the university must resolve, this being the final condition of the 'idea'. In order to do this, the 'University of Imagination' is identified as the 'idea' whose purpose is to bring about dynamic balance within the institution. Finally, the proposed University of Imagination is compared with the classical Liberal university suggesting a more effective means for the liberal 'idea' to become realised in the KS namely, through engaging with the former. As a philosophical contribution to the literature, the University of Imagination encourages us to be optimistic and emboldened by the project of education and offers a path to navigate the challenges and uncertainties facing the university in the 21st Century.

Numerosos são os estudos sobre a eternidade na filosofia de Espinosa, contudo, poucas são as pesquisas sobre o tempo e a duração, afinal, por que perguntar-se sobre o tempo numa filosofia da eternidade? Diferentemente dos seus primeiros escritos, na sua obra máxima, a Ética, a singularidade da definição espinosana da eternidade e da duração encontra-se justamente em se restringir à relação entre essência e existência, sem qualquer relação com o tempo. Contudo, acompanhando a gênese dos conceitos de tempo, duração e eternidade, desde os seus primeiros escritos até a Ética, veremos como este deslocamento conceitual revela um duplo movimento: é por desvincular o tempo da duração e da eternidade que a existência ganhará uma profundidade ontológica, ética e política; por outro lado, o tempo ganhará preponderante papel na constituição da imaginação. Nesse duplo movimento, compreenderemos como os conceitos de duração e eternidade, que têm sua terra natal em âmbito ontológico, permitem iluminar outras paisagens, estas sim diretamente vinculadas ao problema da temporalidade: a vida passional e a vida política. / There are numerous studies about the eternity in Spinozas philosophy, however, there are few researches about the time and duration, after all, why to ask on the times quote in a philosophy of the eternity? Differently of his first writings, in Ethics, the singularity of Spinozas definition of eternity and duration is exactly going to restrict essence and existence relation, without any relation with time. However, following the time, duration and eternity concepts genesis, since his first writings until the Ethics, we will see how this conceptual displacement opens to a double movement: for separating duration and eternity from time, the human existence will gain a ontological, ethical and politics depth; on the other hand, time will gain prominent role in the imaginations constitution. In this double movement, we will understand how these concepts, duration and eternity, that has its native land in ontological scope, allows us to illuminate other landscapes directly tied with the problem of the temporality: the passional life and the political life.

The fate of Susan Pevensie has been one of the most controversial and interesting topics of debate about The Chronicles of Narnia since readers realized that she was no longer a friend of Narnia. Many critics have condemned C. S. Lewis for being sexist, thus making the stereotypically feminine Susan with her love of parties, nylons, and lipstick ineligible for salvation. This thesis proposes to look at Susan's choices and fate from the perspective of moral imagination. It argues that Lewis did not bar Susan from heaven to belittle femininity, but rather to comment on the consequences of choice, belief, and the vital exercise of moral imagination. Placing Susan in a fairy-tale world highlights the differences between what is real and what seems impossible and pushes both Susan and the readers to develop their own moral imagination in the pursuit of belief in the truth. Looking at Susan's ambiguous fate and comparing her story to other characters' journeys throughout the series shows readers the power of the imagination and offers hope that Susan, like the rest of her siblings, may make it to Aslan's Country after all.

A la fin des années 1920, l’écrivaine américaine moderniste H.D. considère le cinéma comme un art majeur, supérieur à la littérature car plus à même de représenter le réel. En réponse à un questionnaire lui demandant de faire le bilan de sa carrière, elle choisit de se concentrer sur sa découverte du septième art et sur l’importance que prend ce nouveau mode d’expression pour elle. Spectatrice, mais aussi actrice, monteuse et critique, H.D. adopte une approche polyvalente. Des réalisateurs comme G. W. Pabst ou Sergueï Eisenstein deviennent des modèles que les écrivains devraient imiter, selon l’auteur. Pendant environ cinq ans, H.D. s’implique directement dans la production cinématographique, de par son travail avec un jeune artiste britannique, Kenneth Macpherson, réalisateur de Borderline, long-métrage d’avant-garde dont elle tient le rôle féminin principal. H.D. rédige également plusieurs critiques de films, qui paraissent dans Close Up, un magazine qu’elle co-dirige avec l’auteur et mécène britannique Bryher ainsi que Macpherson. Par la suite, ses activités cinématographiques diminuent mais nous avançons l’idée que le septième art et les théories qu’elle en retient influencent de façon durable son imaginaire et son mode d’écriture.Cette thèse propose donc d’analyser l’influence du cinéma dans l’œuvre de H.D., en prenant en compte sa carrière dans son ensemble, de la période imagiste aux écrits ésotériques de la fin de sa vie. A travers l’étude de poèmes, de romans semi-autobiographiques, d’essais et de critiques de cinéma rédigés par l’auteur, sont mises en exergue deux tendances “imaginales” divergentes, l’une participant d’une saturation du texte et l’autre d’un désir d’immédiateté et de rejet de la composition artistique / In the late 1920s, American modernist writer H.D. presented the cinema as a major artform, superior even to literature as it could represent reality better and more directly according to her. Answering a questionnaire sent to her to reflect on her career so far, she chose to focus on her keen interest for the moving picture and the importance that new artform was taking in her own artistic ventures. Moviegoer, actor, film editor, critic, H.D. approached the film from all sides. She wanted to give that artform the recognition it deserved. Filmmakers such as G. W. Pabst and Sergei Eisenstein were true great artists and writers should even look to them to renew literature. For about five years, H.D. directly engaged with the film, through production - in her work with young British artist Kenneth Macpherson, director of Borderline, an avant-garde feature-film in which she also held the female lead role -, as well as through film reviews. Macpherson, H.D. and British author and art patron Bryher edited the film magazine Close Up, in which H.D. published various articles and poems. Beyond that short period, the author’s involvement with the film became less direct but this work argues that the motion pictures and the theories she derives from that artform lastingly inspired her imagination and her writing.This thesis provides an analysis of the influence of the film on H.D.’s works., taking into account her literary career as a whole, from the Imagist period to her late esoteric writings. Through the study of poems, romans à clefs, memoirs, and film reviews, two diverging image dynamics are identified, one participating in textual saturation and the other seeking for more immediacy and less artistic elaboration

This thesis consists of a collection of poems which explore the relationship between the imagination and that mysterious thing we call reality. They engage with the Emmanuel Kant's notion of the dichotomy between subject and object; thus, one of the central concerns of the project is whether the object can ever be understood by a subject, whose mind imposes its categories and other forms of mediation upon whatever it perceives. The poems also engage with Wallace Stevens' notion of a "Supreme Fiction," as the only means left to us, however imperfect it may be, with which we might approach the "original idea" that all other perceptions of reality only approximate. In the absence of the certainty of an interrogated reality, negative space, that which cannot be perceived by the senses, is explored, proposed, gestured toward. That genius behind the infinity of the world.

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Narratives of place have always been crucial to the construction of Australian identity. The obsession with identity in Australia betrays longstanding uncertainty. It is not difficult to interpret in this uncertainty a replaying of the deeper insecurities surrounding the settler community's legal and more broadly cultural claims to the land. Such insecurities are typically understood negatively. In contrast, this thesis accepts the uncertainty of identity as an activating principle, appropriate to any interpretation of the narratives and themes that inform what it means to be Australian. Fundamental to this uncertainty is a provisionality in the post-colonial experience of place that is papered over by misleadingly coherent spatial narratives that stem from the imperial inheritance of Australian mythology. Place is a model for the tension between the coherence of mythic narratives and the actual rhizomic formlessness of daily life. Place is the ???ground??? of that life, but an ambivalent ground. An Ambivalent Ground approaches postcolonial Australia as a densely woven text. In this text, stories that describe the founding of a nation are enveloped by other stories, not so well known, that work to transform those more familiar narratives. ???Re-placing Australian literature??? describes the process of this transformation. It signifies an interpretative practice which seeks to recuperate the open-ended experience of place that remains disguised by the coherent narratives of nationhood. The process of ???re-placing??? Australian literature shifts the understanding of nation towards a landscape that speaks not so much about identity as about the constitutive performances of everyday life. It also converges with the unhomely dimension that is the colonist's ambiguous sense of belonging. We can understand this process with an analogy used in this thesis, that of music ??? the colonising language, and noise ??? the ostensibly inchoate, unformed background disruptive to cultural order yet revealing the spatial realities of place. Traditionally, cultural narratives in Australia have disguised the much more complex way in which place noisily disrupts and diffracts those narratives, and in the process generates the ambivalence of Australian identity. Rather than a text or a narrative, place is a plenitude, a densely intertwined performance space, a performance that constantly renders experience ??? and its cultural function ??? transgressive. The purpose of this thesis is not to displace stereotypical narratives of nationhood with yet another narrative. Rather, it offers the more risky proposition that provisionality and uncertainty are constitutive features of Australian social being. The narrative in the thesis represents an aggregation of such an ambivalent ground, addressing the persistent tension between place and the larger drama of colonialist history and discourse.