Thesis (Ph. D.)--Indiana University, 1975. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 380-393).

Thesis (Ph. D.)--Indiana University, 1975. / Vita. Typescript. Includes bibliographical references (leaves 380-393). Also issued in print.

Thesis (doctoral)--Universität, Münster. / Includes bibliographical references (p. 298-320).

Este trabalho tem o objetivo de investigar a dramaturgia do francês Jean-Luc Lagarce (1957-1995) examinando algumas características da sua escrita que chamamos de \'estratégias narrativas\' e que evidenciam o lugar central da palavra, escrita e falada, no seu teatro. Propõe-se adentrar o universo de Lagarce tomando-se como objeto de estudo elementos de alguns dos seus textos que permitem apontar tais esratégias e tentar definir como operam. A análise comparativa das duas versões do texto de Lagarce História de amor permite refletir sobre o personagem lagarceano, sua configuração e condição própria, dentro de um \'teatro da palavra\' que, por consequência, pode também ser pensado como um \'teatro da escuta\' e esculpido por um conjunto de vozes. Deseja-se, ainda, experimentar um olhar sobre a própria pesquisa, fazendo uso do diário enquanto estratégia narrativa e tentando buscar, no encontro com as diversas vozes que a atravessaram, a emergência de voz própria capaz de traduzir uma história de amor. / This work has as objective to investigate the dramaturgy of Jean-Luc Lagarce (1957-1995) examining some of his writing characteristics that we call \'narrative strategies\' to show the centrality of the word, written and spoken, in his theater. It is proposed to enter the Lagarce\'s universe taking as object of study some elements of their texts that may point out such strategies and try to define how they operate. In-depth analysis of the two versions of the text Love Story allows reflect on the lagarceano character, its own configuration and condition within a \'word theater\' which therefore can also be thought of as a \'theater of listening\' and sculpted by a set of voices. We wish to also experience a glimpse into the research itself, using the diary as narrative strategy and trying to get on meeting the diverse voices that crossed the emergence of own voice able to translate a love story.

Este trabalho tem o objetivo de investigar a dramaturgia do francês Jean-Luc Lagarce (1957-1995) examinando algumas características da sua escrita que chamamos de \'estratégias narrativas\' e que evidenciam o lugar central da palavra, escrita e falada, no seu teatro. Propõe-se adentrar o universo de Lagarce tomando-se como objeto de estudo elementos de alguns dos seus textos que permitem apontar tais esratégias e tentar definir como operam. A análise comparativa das duas versões do texto de Lagarce História de amor permite refletir sobre o personagem lagarceano, sua configuração e condição própria, dentro de um \'teatro da palavra\' que, por consequência, pode também ser pensado como um \'teatro da escuta\' e esculpido por um conjunto de vozes. Deseja-se, ainda, experimentar um olhar sobre a própria pesquisa, fazendo uso do diário enquanto estratégia narrativa e tentando buscar, no encontro com as diversas vozes que a atravessaram, a emergência de voz própria capaz de traduzir uma história de amor. / This work has as objective to investigate the dramaturgy of Jean-Luc Lagarce (1957-1995) examining some of his writing characteristics that we call \'narrative strategies\' to show the centrality of the word, written and spoken, in his theater. It is proposed to enter the Lagarce\'s universe taking as object of study some elements of their texts that may point out such strategies and try to define how they operate. In-depth analysis of the two versions of the text Love Story allows reflect on the lagarceano character, its own configuration and condition within a \'word theater\' which therefore can also be thought of as a \'theater of listening\' and sculpted by a set of voices. We wish to also experience a glimpse into the research itself, using the diary as narrative strategy and trying to get on meeting the diverse voices that crossed the emergence of own voice able to translate a love story.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-25T14:21:30Z No. of bitstreams: 1 carolinadetonimarquesvieiracoutinho.pdf: 765959 bytes, checksum: a5296aa67ab4062e23e975cc17ceee10 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-25T19:34:15Z (GMT) No. of bitstreams: 1 carolinadetonimarquesvieiracoutinho.pdf: 765959 bytes, checksum: a5296aa67ab4062e23e975cc17ceee10 (MD5) / Made available in DSpace on 2016-01-25T19:34:15Z (GMT). No. of bitstreams: 1 carolinadetonimarquesvieiracoutinho.pdf: 765959 bytes, checksum: a5296aa67ab4062e23e975cc17ceee10 (MD5) Previous issue date: 2014-02-27 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho tem por objetivo abordar o pensamento do filósofo francês Jean-Luc Marion acerca do amor. A busca pela univocidade do conceito filosófico de amor e a relação do mesmo com o tema do dom articulam-se em sua fenomenologia bastante particular. O amor, não mais dividido entre, por exemplo, eros e ágape, é tema da redução erótica de Marion, desenvolvida, principalmente, em sua obra Le phénomène érotique. A pretendida univocidade radical do amor, nos interpostos limites da fenomenologia e da teologia, em Marion, relaciona-se diretamente com a ipseidade, a alteridade e o conhecimento que, de Platão a Santo Agostinho, inserem-se na lógica própria do amor. / La proposition de ce travail c’est approcher la pensée du philosophe français Jean-Luc Marion par rapport à l’amour. La quête vers l’univocité du concept philosophique de l’amour et la relation de celui-ci avec le sujet du don s’articulent dans sa phénoménologie très particulière. L’amour, non plus divisé entre, par example, eros et agapè, c’est le sujet de la reduction érotique chez Marion, developpée surtout dans son oeuvre Le phénomène érotique. L’intentionée univocité radicale de l’amour, dans les limites interposées de la phénoménologie et la théologie, chez Marion, s’articulent directement avec l’ipseité, l’alterité e la connaissance qui, de Platon à Saint Augustin, s’intègrent à la logique même de l’amour.

This essay explores the idea of revelation of two French philosophers, Jean-Luc Marion and Paul Ricoeur. Ricoeur and Marion are very important figures not only in contemporary continental philosophy, but also in their contributions to the discussion of religion, or what some may call the "theological turn." Marion contends that revelation is the saturated phenomenon ' par excellence', free from the constraints of reason and metaphysics. For Ricoeur, a longer route in approaching the phenomenology of religion through the detour of hermeneutics is much needed. Such a longer path serves to concretely ground the discussion of revelation in a historic, linguistic, and textual milieu. Therefore, while Marion thinks that revelation is immediate and unconditionally given, Ricoeur maintains that revelation as manifestation names the possibility for biblical Scripture, and through hermeneutic interpretation, is able to open a world into which one might project one's ownmost possibilities.

Doctor en filosofía con mención en estética y teoría del arte / Esta investigación significó algo así como una puesta en común del cuerpo de la palabra, sostenido en la expresión del sentido que expone su permanente imposibilidad de cerrar la significancia del acontecimiento que lo revela. Su estado de reclamación no vendría a ser sino una suerte de distanciamiento a los sentidos originarios que provocó su aparición en el primer lector, en este caso quien reclama desde esta escritura. Agradezco que este texto se mire así mismo desde el borde, desde un horizonte que recordaría al náufrago que anhela el madero, en una estadía aparentemente sin retorno. Quizás su venida, su vuelta a la lectura, hace necesaria esta especie de “toque”, sensación justamente de rozar aquello que no cierra la posibilidad de pensarlo como un desciframiento de sus significaciones, sino volver a presentarlo como presencia del cuerpo de la escritura que se revela en mi propia sensación.

Thesis advisor: Jeffrey Bloechl / Is it possible for a finite thing to mediate an infinite God? Would it not be as futile as a hand trying to grasp the entire earth, or a seashell to contain the ocean? A finite thing is by definition limited, and thus its attempt to reveal an infinite God seems to lead immediately to two possible outcomes: (a) idolatry, where the finite fails to adequately capture God, where mediator becomes imposter, and (b) iconoclasm, which recognizes the inevitable failure of mediation and seeks to avoid or destroy any further attempts to carry it out. While taking different courses of action, their opposition reveals a deeper unity: both posit an implicit competition between the infinite God and finite reality. And yet most religions still claim mediation of God is possible. How do they avoid this impasse? To explore this possibility of mediation, I turn to the things themselves, focusing on the particular case of the icon. As something to be looked at, touched, or kissed, the icon reminds us how deeply rooted we are in the senses we prefer to take for granted, and cuts short any attempts to “spirit away” the finite limitations of human existence. The Introduction contextualizes this first problem, but upon turning to the icon in Chapter 1 a second problem immediately arises. What is an icon, and how do we approach it? Aesthetics, history, patristics, and contemporary theology have a legitimate claim on its identity, but also suffer from significant blind spots. By untangling the lines of these debates, I show that two questions critical to my inquiry remain without a satisfactory answer: 1) What is an image, and how does it mediate the truth in what it shows? 2) What would it mean for God to “show” himself? I argue that phenomenology will serve as a productive way forward on both these fronts. Chapter 2 uses the work of Hans-Georg Gadamer to address the first of these questions with a hermeneutic phenomenology of the image. Chapter 3 addresses the second in dialogue with Jean-Luc Marion. Although Marion does engage with the question of the painted icon in several places, the “icon” for Marion is not primarily a question of images, but of the unique way that God shows himself. When combined with Gadamer’s aesthetics this will offer the launching point for my phenomenological analysis of the icon in Chapters 4 and 5. The icon is something to be seen, but also something to be touched and kissed. It is a kind of representational art, with a unique style and clearly defined content, but also embedded in a practice of substitutional prayer and shared with a liturgical community. I show how each of these dimensions of meaningful mediation arises within ordinary human experience and how its structure changes as it is extended in prayer. Chapter 6 closes the inquiry by drawing these particular results into a final and general model of “iconic mediation.” This begins to explain how a finite thing in its limitations and particularities can mediate an infinite God, but only once we have exposed and subverted the layers of iconoclasm implicit in the original question. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

Thesis advisor: Jeffrey Bloechl / Is it possible for a finite thing to mediate an infinite God? Would it not be as futile as a hand trying to grasp the entire earth, or a seashell to contain the ocean? A finite thing is by definition limited, and thus its attempt to reveal an infinite God seems to lead immediately to two possible outcomes: (a) idolatry, where the finite fails to adequately capture God, where mediator becomes imposter, and (b) iconoclasm, which recognizes the inevitable failure of mediation and seeks to avoid or destroy any further attempts to carry it out. While taking different courses of action, their opposition reveals a deeper unity: both posit an implicit competition between the infinite God and finite reality. And yet most religions still claim mediation of God is possible. How do they avoid this impasse? To explore this possibility of mediation, I turn to the things themselves, focusing on the particular case of the icon. As something to be looked at, touched, or kissed, the icon reminds us how deeply rooted we are in the senses we prefer to take for granted, and cuts short any attempts to “spirit away” the finite limitations of human existence. The Introduction contextualizes this first problem, but upon turning to the icon in Chapter 1 a second problem immediately arises. What is an icon, and how do we approach it? Aesthetics, history, patristics, and contemporary theology have a legitimate claim on its identity, but also suffer from significant blind spots. By untangling the lines of these debates, I show that two questions critical to my inquiry remain without a satisfactory answer: 1) What is an image, and how does it mediate the truth in what it shows? 2) What would it mean for God to “show” himself? I argue that phenomenology will serve as a productive way forward on both these fronts. Chapter 2 uses the work of Hans-Georg Gadamer to address the first of these questions with a hermeneutic phenomenology of the image. Chapter 3 addresses the second in dialogue with Jean-Luc Marion. Although Marion does engage with the question of the painted icon in several places, the “icon” for Marion is not primarily a question of images, but of the unique way that God shows himself. When combined with Gadamer’s aesthetics this will offer the launching point for my phenomenological analysis of the icon in Chapters 4 and 5. The icon is something to be seen, but also something to be touched and kissed. It is a kind of representational art, with a unique style and clearly defined content, but also embedded in a practice of substitutional prayer and shared with a liturgical community. I show how each of these dimensions of meaningful mediation arises within ordinary human experience and how its structure changes as it is extended in prayer. Chapter 6 closes the inquiry by drawing these particular results into a final and general model of “iconic mediation.” This begins to explain how a finite thing in its limitations and particularities can mediate an infinite God, but only once we have exposed and subverted the layers of iconoclasm implicit in the original question. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.