Made available in DSpace on 2016-04-27T17:27:11Z (GMT). No. of bitstreams: 1 Carla Caminata Carminholi.pdf: 1308248 bytes, checksum: 8c1bc8250eb2da4011b4f77b1a9eaed5 (MD5) Previous issue date: 2015-09-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to discuss the metaphysical context upon which Psychology established itself as Science departing from the phenomenological method of Martin Heidegger such as laid down, mainly, in Being and Time. The dissertation also aims at presenting how this method suspends, from the human being, the definition of subject imposed onto it all along the History of Philosophy. Ever since Plato and Aristotle, Philosophy veils the question concerning the sense of being . Ever since, Philosophy and Metaphysics are mingled in the attempt to represent determinate regions of entities. Further on, French philosopher René Descartes, while attempting to set down safe paths for Science, drives even farther away the originary foundation later unfolded by Heidegger. In such a scientific context one attributes to the human being the determination of subject, as that which is capable of knowing, in opposition to the object, that is, to all the other entities which do not possess reason as a peculiar characteristic. Psychology raises itself as Science departing from such a presupposition, conceiving consciousness as its object of study. But when Heidegger describes the mode-of-being of the human being as Dasein, he allows that it no longer be defined as subject, but rather as an entity which exists and that arouses a large array of interests in the psychological field. This dissertation, therefore, is divided in three chapters: the first intends to show the metaphysical and scientific contexts upon which Psychology comes to be established; the second presents Heidegger s phenomenological method and his description of the mode-of-being of Dasein; the third, in conclusion, points out to possible contributions of Heidegger s thinking to the sphere of Psychology / O presente trabalho tem como objetivo discutir o contexto metafísico sobre o qual a Psicologia edificou-se como Ciência a partir do método fenomenológico de Martin Heidegger, apresentado principalmente em sua obra Ser e tempo, e como esse método suspende do ser humano a definição de sujeito que lhe foi imposta ao longo da História da Filosofia. A Filosofia, desde Platão e Aristóteles, encobre a pergunta pelo sentido do ser. Desde então, Filosofia e Metafísica confundem-se na tentativa de representar domínios demarcados dos entes. Mais adiante, o filósofo francês René Descartes, na tentativa de erguer caminhos seguros para a Ciência, distancia-se ainda mais do fundamento originário explicitado posteriormente por Heidegger. Nesse contexto científico é atribuída ao homem a determinação de sujeito, aquele que tem a capacidade de conhecer, em diferenciação ao objeto, os outros entes que não possuem a razão como característica peculiar. A Psicologia ergue-se como Ciência admitindo esse pressuposto e concebendo a consciência como objeto de estudo. Ao descrever o modo-de-ser do homem como ser-aí Heidegger permite que ele não seja mais definido como sujeito, mas como um ente que existe e desperta largo interesse no campo da Psicologia. Essa apresentação é feita em três capítulos: o primeiro pretende mostrar o contexto metafísico e científico sobre o qual a Psicologia se estabelece; o segundo apresenta o método fenomenológico de Heidegger e sua descrição do modo-de-ser do ser-aí; o terceiro, por fim, aponta para as possíveis contribuições do pensamento heideggeriano para a esfera da Psicologia

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-10-18T17:03:33Z No. of bitstreams: 1 Luís Fernando Crespo.pdf: 1635484 bytes, checksum: 39c7d3ee30e2e431e1d95970e55f1295 (MD5) / Made available in DSpace on 2016-10-18T17:03:33Z (GMT). No. of bitstreams: 1 Luís Fernando Crespo.pdf: 1635484 bytes, checksum: 39c7d3ee30e2e431e1d95970e55f1295 (MD5) Previous issue date: 2016-08-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Trailing the work Serenity (Gelassenheit), the thesis deals with that issue as a philosophical proposal; this problem is found in the phase known as "second Heidegger". Always having as horizon guide, the question of Being and its meaning, the goal is to understand how serenity can be affirmed as proposal and to whom it is intended. Serenity is attitude and, dealing with the relationship that man establishes with himself, with the world and with Being, the center of the reflection occurs in a threefold way, establishing itself in problems 1) of thought as human response to the call of Being, 2) of the world in its constitution and in beings’ occurences and 3) of the act of naming things. As a singular element, emerges the word that names, in particular, the poetic word with its genuine name (as stated by the thinker), not subjecting the being to the desire of the reason that calculates. As the themes appear and relate, one observes the appearance of a new way of representing the world, whose main feature is the let-be (sein-lassen). It is exactly the let-be that approaches thinker and poet. Anyway, the other model of rationality that prevails in the thinking of Heidegger presented in this thesis is in constant tension with the technique - its talk and its doing - which, in turn, follows the ways of objectifying and calculating reason (whose main representative is science). The thesis concludes with portuguese-speaking poets' texts that, in our view, allow us to experience the thinking poetizing / Tomando como fio condutor a obra Serenidade (Gelassenheit), a tese trata do referido tema como proposta filosófica; tal problemática é encontrada na fase conhecida como “segundo Heidegger”. Tendo sempre, como horizonte-guia, a questão do ser e seu sentido, o objetivo é entender de que modo a serenidade pode ser afirmada como proposta e a quem ela se destina. Serenidade é postura e, tratando da relação que o homem estabelece consigo, com o mundo e com o ser, o centro da reflexão se dá de forma tríplice, firmando-se nos problemas 1) do pensamento como resposta do homem ao chamado do ser, 2) do mundo em sua constituição no dar-se dos entes e 3) do ato de nomear as coisas. Como elemento singular, aparece a palavra que nomeia – de modo especial, a palavra poética com seu nomear genuíno (como afirma o pensador), não sujeitando o ente ao desejo da razão que calcula. Conforme os temas aparecem e se relacionam, vê-se surgir um novo modo de representação do mundo, que tem o deixar-ser (sein-lassen) como característica principal. É exatamente o deixar-ser que aproxima pensador e poeta. Enfim, o outro modelo de racionalidade que vigora no pensar de Heidegger apresentado neste trabalho está em constante tensão com a técnica – seu falar e seu fazer – que, por sua vez, segue os caminhos da razão objetivadora e calculadora (cuja representante maior é a ciência). A tese se encerra com textos de poetas de língua portuguesa que, em nosso entendimento, permitem-nos fazer a experiência do poetar pensante

An artists's approach to studio practice reflects knowledge acquired from a variety of source. Various methods are tried, modified, and re-interpreted, culmination in a studio practice that reflects one's own understanding of process and work ethic. This process is the work and the work practice concealed in the artwork, is rarely framed in verbal language. Martin Heidegger offers a particular philosophy of work practice that is clarified in words, allowing me to place my present understanding of studio practice within the notion of Greek techne. This essay is an explication of two works by the German philosopher Martin Heidegger, namely 'The Question Concerning Technology' and 'The origin of the Work of Art.' Heidegger's notion of authentic production and truth in art, provide a contextual framework within which I place my own understanding of studio practice and creative process. This method of work practice positions the artist as facilitator, co-dependent and co-responsible with the materials and form. The artist responds to the needs of the work allowing the materials and form to interact and ultimately reveal the work's true identity. Inherent in this work practice is the artist's knowledge, technical skill and commitment to process rather than outcome. This method of work practice is used in many cultures, from eastern calligraphy to western action painting, and has influenced contemporary artists too numerous to name individually. I am indebted to them all / Master of Arts (Hons) Visual Arts

Is the Swedish author Stig Dagerman an existentialist? This work takes a close look at Dagerman’s novel Island of the Doomed to see if it is possible to consider it an expression of existentialist thinking and to see if it interacts with any specific existentialist tradition. Dagerman’s novel was compared with select works of five existentialist thinkers – Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre, Albert Camus and Karl Jaspers, all read in the light of the four categories of existentialistic thinking identified by the Swedish scholar Lennart Koskinen. All the four categories appeared to be central themes within the novel and a few subcategories were identified. An analysis based on these subcategories showed that the novel had obvious similarities with all of the five existentialistic thinkers. The main conclusion of my work is thus: it is reasonable to consider Stig Dagerman’s novel Island of the Doomed an expression of existentialist thinking, but it doesn’t match any specific existentialist tradition. Dagerman is therefore to be considered an independent existentialist.

<p>Traditional approaches to the empirical research of human action, rational choice theory dominant amongst them, have implicitly adopted philosophical pre-suppositions about human action that are untenable and in need of correction. In this project, I seek to both (a) diagnose these problems by showing that rational choice theory is insufficiently attentive to both the question of what agents are and of what kind of world they occupy, and (b) overcome these problems by offering a conception of practical reason that is more "realistic" in that it incorporates a philosophically convincing account of world and of the practical agent's relation with it. To that end, I develop a conception of praxis that is centered on the idea that practical agents act within and toward practical horizons rather than exercising a faculty of choice within stable decision spaces.</p> / Dissertation

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El trabajo se propone descubrir el ángulo exacto que permite una clara visión del pensamiento de Karl Jaspers. Seguimos en esto la consigna del propio filósofo que considera a la "situación" como un existenciario irrenunciable. En oposición al cogito cartesiano -despojado de mundo y de historia, como decía Ortega- se trata de poner al descubierto las raíces vivientes que nutren el nuevo pensamiento. Mi indagación encontró que los tres tomos de la principal obra de Jaspers, la Philosophie, se iluminan viéndolos como versiones actualizadas de las tres "ideas" de la metafísica clásica, cuyo "conocimiento" Kant demostró imposible. Dios, la libertad, el mundo- son Ideas "regulativas", que guían la marcha del pensamiento y de la acción, pero no constituyen objetos de conocimiento. Jaspers hablará de "Cifras", saberes simbólicos no reductibles a la ciencia-. Hay primero una aprehensión general de los resultados de las ciencias (Tomo 1§: "Orientación en el mundo", de la idea kantiana de mundo) . Esta reflexión conduce a la experiencia del límite, y lleva a la "Aclaración de la existencia" (Tomo 2§) que transpone en nuevo lenguaje existencial la idea kantiana del alma o de la libertad. -Por último (tomo 3§), la "Metafísica", analiza los modos en que la libertad se refiere a la Trascendencia y muestra el lenguaje cifrado de esa misma Trascendencia. Desde este centro en que nuestra tesis sitúa a Jaspers, pasamos luego a exponer su peculiar interpretación del mundo entorno, das Umgreifende, lo abarcador o englobante; así como el lenguaje indirecto; la relación con la teología, etc. En el curso de la exposición, Jaspers es confrontado con la fenomenología de Husserl y con las mal llamadas "filosofías de la existencia" de su colega alemán Heidegger y de su colega francés Gabriel Marcel.

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This thesis is based on two readings on death. The first one is Martin Heidegger&rsquo / s Being and Time chapter two, part one and the second one is Jacques Derrida&rsquo / s Aporias. The first reading is based on the phenomenological analysis of death. The line of argument of Heidegger is figured out. The second reading is based on Derrida&rsquo / s deconstruction of Heidegger&rsquo / s account of death in Being and Time. The thesis and the conclusion part is based on the idea that, on death, these philosophers are fundamentally similar and radically different. This is shown by the comparison of these philosophers.

Zugl.: Wuppertal, Bergische Universiẗat, Diss., 2007.