Thesis advisor: John J. Makransky / The purpose of this work is to differentiate the autonomous `self-compassion' of therapeutic modernist Buddhism from pre-therapeutic Mahâyâna Buddhist practices of refuge, so that refuge itself is not obscured as a fundamental Buddhist orientation that empowers the possibility of compassion for self and other in the first place. The work begins by situating issues of shame and self-aversion sociologically, in order to understand how and why self-aversion became a significant topic of concern during the final quarter of the twentieth century. This discussion allows for a further investigation of shame as it has been addressed first by psychologists, for whom shame is often understood as a form of isolating self-aversion, and then by philosophers such as Bernard Williams and Emmanuel Levinas, for whom shame attunes the person to the moral expectations of a community, and therefore to ethical commands that arise from beyond the individual self. Both psychologists and philosophers are ultimately concerned with problems and possibilities of relationship. These discussions prepare the reader to understand the importance of Buddhist refuge as a form of relationship that structures an integrative rather than destructive self-evaluation. The second chapter of the dissertation closely examines Friedrich Nietzsche's work on shame. In a late note, Nietzsche wrote that "man has lost the faith in his own value when no infinitely valuable whole works through him"; the second chapter argues that Nietzsche's vision of a relatively autonomous will to power cannot fully incorporate this important Nietzschean insight, and helps to drive the kind of self-evaluation typical of modernist `personality culture,' which is likely to become harsh. The third chapter first discusses contemporary therapeutic Buddhist responses to self-aversion, particularly practices of `self-compassion' that claim to be rooted in early Pali canonical and commentarial sources, before developing a commentary on the medieval Tibetan lojong teaching Drive all blames into one. Drive all blames into one, though often discussed in contemporary commentaries as a form of self-blame, should be understood more thoroughly as a simultaneous process of refuge and critique--a process that drives further access to compassion not only for self, but for others as well. Chapter Four discusses mourning and self-reproach in the apophthegmata of the Desert Fathers, showing how `self-hatred' in this context is in a form of irony: the self that is denigrated is not an ultimate reality, and the process of mourning depends upon both an access to love and a clear recognition of our many turns away from that love. In conclusion, I draw attention to the irony of modernist rejections of religious self-critique as supposedly harmful forms of mere shaming, even as the modernist emphasis on autonomy is what enables self-critique to become harsh and damaging. / Thesis (PhD) — Boston College, 2014. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

Durante os anos 1947 a 1953, o Museu de Arte de São Paulo (MASP) dedicou-se a colecionar obras-primas das artes antigas e modernas. Também trouxe ao Brasil uma série de exposições de design. Nesse contexto, o presente trabalho busca discutir a importância do MASP na promoção do design têxtil e de moda nacional de 1950 e 1953, datas que correspondem ao lançamento da revista Habitat e o encerramento das atividades do Instituto de Arte Contemporânea (IAC-MASP). Para tanto, foi necessário compreender e analisar quais foram as referências em design, educacionais e museológicas que influenciaram a formação de cursos, a constituição de acervo, a exibição de moda e tecelagem nas dependências da instituição e os textos na revista Habitat, além da criação do Centro de Estudos da Moda. A partir de uma revisão de literatura, foi possível inferir que as ações praticadas no MASP em prol do design têxtil e de moda têm reflexos até os dias atuais para a área, com destaque para os acontecimentos na década de 1960, gerando uma produção em diálogo com o modernismo brasileiro, pois usaram a experiência internacional para valorizar o nacional / From 1947 to 1953, the São Paulo Museum of Art (MASP) collected masterpieces from ancient and modern art. Moreover, it brought some design exhibitions to Brazil. This work discusses MASP\'s relevance in promoting national textile and fashion design between 1950 and 1953, years that correspond to the launch of Habitat magazine and the closing of the Instituto de Arte Contemporânea (IAC-MASP). In order to reach this goal, it was necessary to understand and to study which educational and museological references had influenced MASP in the creation of disciplines, their collection, fashion and weaving exhibitions in the institution and texts published in Habitat magazine, besides the creation of the Fashion Design Center. A literature review made it possible to infer that actions promoting textile and fashion design at MASP have been fruitful until nowadays, especially for education during the 1960s, representing a production that dialogs with the Brazilian Modernism, because used an international experience to valorize the national one

Foram investigadas neste trabalho algumas das conexões entre a produção artística e intelectual brasileira e o mundo dos sentidos, especialmente entre as décadas de 1920 e 1940. Tomado como motivo político e estético, o sensorium foi matéria-prima no delineamento de propostas para a identidade artística e cultural do país, conectando-se de forma visceral à própria idéia de cultura popular, que passa por variações significativas no período compreendido entre os primórdios do Modernismo e a Era Vargas. Foram privilegiadas as relações entre os universos visual e sonoro, sobretudo em suas manifestações pictórica e escrita, analisadas a partir dos diálogos com a música. Esta última emerge como representante de um nacionalismo de base sensorial que se afirma ao longo da década de 1920, mas que pode ser mapeado já desde meados do século anterior, caracterizando a percepção acerca da cultura popular nas formas eruditas de expressão. O mundo dos sentidos, representado em grande medida pela dimensão sonora, funcionou ora como tema estruturador dos debates ideológicos, ora como veículo de divulgação e inserção internacional do país pela via da cultura, ou ainda, como instrumento político de intervenção social. A inclusão desta problemática na interpretação do Modernismo brasileiro fortalece os laços entre arte, cultura e política ao problematizar o impacto de suas formulações estéticas nas ações empreendidas na sequência pelo Estado Novo. Nesse cenário, a pintura, a literatura, a crítica e a produção intelectual serviram como plataforma de observação, através da qual se pode visualizar o alcance do problema, dando a ver a articulação entre a invenção artístico-intelectual e as querelas político-culturais de então. / This research deals with the connections between the Brazilian artistic and intellectual production and the world of the senses during the decades of 1920-1940. Taken as a political and aesthetic motive, the sensorium was the raw material of the proposals for the artistic and cultural identity, connected to the ideal of popular culture, which undergoes significant changes from the beginnings of modernism to the Vargas Era. The relations between visual and audio worlds were privileged, especially in its written and pictorial demonstrations and its dialogues with music. This last emerges as representative of a nationalism based on sensorial materials that asserts itself throughout the 1920s. And it can also be mapped as early as a mid-century earlier, characterizing the perception of popular culture in the forms of scholarly expression. The world of the senses, represented largely by sound dimension, worked as part of ideological debates and as a political tool for social intervention. The inclusion of this issue in the interpretation of Brazilian modernism strengthens the ties between art, culture and politics by questioning the impact of their aesthetic formulations on the actions taken following the Estado Novo. In this scenario, painting, literature, criticism and intellectual production served as a viewing platform through which we can see the scope of the problem, highlighting the link between artistic and intellectual invention and the quarrels of cultural and political field of the time.

O presente trabalho aborda a vida do artista Amedeo Clemente Modigliani, judeu não ortodoxo, que sempre buscou um saber artístico e filosófico e que se lançou na busca da arte e da mística judaica: a Cabala. Este estudo revela a maneira como questões místicas são expostas em suas obras de modo pouco perceptível. Para atingir os objetivos propostos, foi realizada uma pesquisa bibliográfica e exploratória, em busca de um referencial teórico e prático para a compreensão e elucidação dos fatos e a demonstração de como este artista abriu-se para o mundo sem perder suas raízes fundamentadas na tradição judaica. / The present work deals with the life of the artist Amedeo Clemente Modigliani, an unorthodox Jew, who has always sought artistic and philosophical knowledge and who has launched the quest for Jewish art and mysticism: the Kabbalah. This study reveals how mystical questions are exposed in their works in a barely perceptible way. In order to reach the proposed objectives, a bibliographical and exploratory research was carried out, in search of a theoretical and practical reference for the understanding and elucidation of the facts and the demonstration of how this artist opened up to the world without losing its roots based on the Jewish tradition.

This dissertation is a study of the early 20th-century Pan-Islamist reform movement in Bosnia-Herzegovina, tracing its origins and trans-imperial development with a focus on the years 1901-1914. Its central figure is the theologian and print entrepreneur Mehmed Džemaludin Čaušević (1870-1938), who returned to his Austro-Hungarian-occupied home province from extended studies in the Ottoman lands at the start of this period with an ambitious agenda of communal reform. Čaušević’s project centered on tying his native land and its Muslim inhabitants to the wider “Islamic World”—a novel geo-cultural construct he portrayed as a viable model for communal modernization. Over the subsequent decade, he and his followers founded a printing press, standardized the writing of Bosnian in a modified Arabic script, organized the country’s Ulema, and linked these initiatives together in a string of successful Arabic-script, Ulema-led, and theologically modernist print publications. By 1914, Čaušević’s supporters even brought him to a position of institutional power as Bosnia-Herzegovina’s Reis-ul-Ulema (A: raʾīs al-ʿulamāʾ), the country’s highest Islamic religious authority and a figure of regional influence between two empires. Methodologically, the project functions on two primary levels. The first is a close reading of the reform movement’s multilingual and multi-scriptural periodical press and publishing scene, situating this fin-de-siècle Muslim print culture in its late imperial and trans-regional context. The second is a prosopographical approach to the polyglot generation of writers and theologians who stood behind it, emphasizing networks of collaboration, education, and kinship that tied them both to the wider world and previous generations of Bosnian scholars. The dissertation ultimately argues that Čaušević and his movement emerged from and represented a locally grounded tradition of Muslim cosmopolitan reform, which insisted on religious instruction in the Bosnian vernacular not at the expense of the classical languages of higher Islamic learning or the Ottoman (and later Habsburg) imperial order, but rather as a foundation that would enable Muslims to pursue the former and buttress the latter as well. In making this case, the project contributes to the wider historiography on empires and nationalism in Eastern and Southeast Europe, reconsidering the role of multilingualism in imperial demise and moving beyond the prevailing top-down focus on Muslims and other ethno-religious minorities as beleaguered subjects of nationalizing states. At the same time, it serves as a Bosnian case study for outstanding concerns in global Islamic intellectual history, arguing that the late and post-Ottoman Balkans played an active and underappreciated role in the formation of transnational Pan-Islamist thought during the late imperial period.

Orientador: Marcio Roberto Pereira / Banca: Rosane Gazolla Alves Feitosa / Banca: Regina Célia dos Santos Alves / Resumo: Álvaro Lins (1912-1970) foi um importante crítico literário do movimento modernista brasileiro que marcou o século XX pela grande influência de seus artigos e ensaios publicados nas páginas de diversos jornais. Por ter exercido ao longo de sua carreira a crítica de rodapé, Lins acabou sendo excluído do panteão literário da academia por não se ajustar às novas vertentes dos estudos críticos brasileiros: o uso do método para realizar a análise literária. Este trabalho pretendeu desmistificar a conotação de "impressionista" atribuída a ele, demostrando que possuía uma concepção ampla de métodos literários. Para tanto, foi feito um estudo aproximando os conceitos de crítica de Álvaro Lins com os conceitos de Erich Auerbach e o seu método da "explicação de textos". E para a comprovação de que Álvaro Lins foi um crítico essencial para a formação de nossa história literária modernista, objetivou-se estudar uma de suas maiores produções bibliográficas, a antologia Os mortos de sobrecasaca: obras, autores e problemas de literatura brasileira. Ensaios e estudos 1940- 1960, em que reuniu diversos artigos oriundos de seus estudos anteriores para realizar um exame da poesia, do romance, do teatro e da posição de intelectuais e críticos para o estabelecimento de um cânone que consolida vinte anos de produção literária modernista. Entende-se que o estudo da personalidade crítica de Álvaro Lins e o estudo de sua antologia são essenciais para a avaliação de um período tão prolífico de nossa história literária, o movimento modernista brasileiro / Abstract: Álvaro Lins (1912-1970) was an important literary critic of the Brazilian modernist movement that marked the twentieth century by the great influence of his articles and essays published in the pages of several newspapers. For having exercised the footnote critique throughout his career, Lins ended up being excluded from the literary pantheon of the academy for not adjusting to the new strands of Brazilian critical studies: the use of the method to perform the literary analysis. This paper aims to demystify the rating of "impressionist" attributed to him, demonstrating that he had a broad conception of literary methods. Therefore, a study was done approximating the critical concepts of Alvaro Lins with the concepts of Erich Auerbach and his method of "explication de texte". And to prove that Álvaro Lins was an essential critic for the formation of our modernist literary history, the objective was to study one of his greatest bibliographical productions, the anthology Os mortos de sobrecasaca: obras, autores e problemas de literatura brasileira. Ensaios e estudos 1940-1960, in which he collected several articles from his previous studies to carry out an examination of poetry, novel, theater and the position of intellectuals and critics for the establishment of a canon that consolidates twenty years of modernist literary production. It is understood that the study of the critical personality of Alvaro Lins and the study of his anthology are essential for the evaluation of such a prolific period of our literary history, the brazilian modernist movement / Mestre

As fascist movements took hold across Europe in the 1920s and 1930s, there emerged a body of lyric poetry concerned with revolution, authority, heroism, sacrifice, community, heritage, and national identity. While the Nazi rise to power saw the deception, persecution, and brutalization of conservatives both in the Reichstag and in the streets, these themes resonated with fascists and conservatives alike, particularly in Germany. Whether they welcomed the new regime out of fear or opportunism, many conservative beneficiaries of National Socialism shared, and celebrated in poetry, the same ideological principles as the fascists. Such thematic continuities have made it seem as though certain conservative writers, including T. S. Eliot, Stefan George, and Hugo von Hofmannsthal, were proto-fascist, their work cohering around criteria consonant with fascist ideology. My dissertation, however, emphasizes the limits of such cohesion, arguing that fascist poetry rejects, whereas conservative poetry affirms, the possibility of indeterminacy and inadequacy. While the fascist poem blindly believes it can effect material political change, the conservative poem affirms the failure of its thematic content to correspond entirely to material political reality. It displays neither pure political commitment nor aesthetic autonomy, suspending these categories in an unresolved tension. Paul de Man's work on allegory hinges on identifying a reading practice that addresses this space between political commitment and aesthetic autonomy. His tendency to forget the immanence of history, however, is problematic in the context of fascism. Considering rhetorical formalism alongside dialectical materialism, in particular Adorno's essay "Lyric Poetry and Society," allows for a more rounded and ethical methodological approach. The poetic dramatization of the very indeterminacy that historically constituted conservative politics in late-Weimar Germany both distinguishes the conservative from the fascist poem while also accounting for its complicity. Fascism necessitated widespread and wild enthusiasm, but it also succeeded through the (unintentional) proliferation of political indifference as registered, for example, by the popularity of entertainment literature. While the work of certain conservative high modernists reflected critically on its own failures, such indeterminacy nonetheless resembles the failure to politically commit oneself against institutionalized violence and systematic oppression.

[pt] O presente trabalho almeja uma análise da reflexão de Paulo Prado, centrada, sobretudo, em seu Retrato do Brasil: ensaio sobre a tristeza brasileira. Pretendendo demonstrar que o quadro negativo da formação nacional composto por Paulo Prado, antes de configurar uma obra cética e alheia a ação, mostra-se como grande baluarte de uma postura altiva e contestadora do gênio. A percepção das ruínas, bem como sua posterior tentativa de superação ou construção de uma nova identidade nacional, surge como crítica avassaladora das origens pecaminosas da brasilidade. Sua obra desenha um novo horizonte para o país, por conta de sua Vontade de superação e inovação, sintetiza um esforço de romper abruptamente com o passado que se manifesta como fardo e estorvo para modernização nacional. / [en] This present work aims at an analysis of Paulo Prado`s reflexion, centered, above all, in his Retrato do Brasil: ensaio sobre a tristeza brasileira. Intending to demonstrate that the negative picture of the national formation built by Paulo Prado, instead of configurating a skeptic and apathetic work, shows itself as a great bulwark of a high and contestant behavior of the genius. The perception of the ruins, as well as his later attempt of overcoming or constructing a new national identity, comes out as a vehement criticism of the sinful origins of the brasilidade. His work draws a new horizon for the country, because of his Will of surpass and innovation, and summarizes an effort of abruptly breaking with the past that manifests itself as a burden for the national modernization.

Esta pesquisa trata das discussões em torno da apropriação do mobiliário dito moderno, no período de 1930 a 1955, a partir de matérias e anúncios publicitários publicados nas revistas ilustradas A Cigarra e O Cruzeiro, e nas revistas de arquitetura Acrópole e A Casa. A partir de textos e imagens divulgados por esses periódicos, com a finalidade de apresentar questionamentos estéticos e funcionais relativos ao uso de móveis domésticos, incluindo o seu arranjo no espaço da casa, analisamos o fenômeno social de difusão dos móveis modernos, trazendo à tona a diversidade de apropriações dos preceitos modernistas e à constituição de noções correlatas, como conforto, domesticidade e bom gosto decorativo. / This research deals with the discussions about the appropriation of the furniture called modern, from 1930 to 1955, from articles and advertising published in the illustrated magazines A Cigarra and O Cruzeiro, and in the architecture magazines Acrópole and A Casa. Using texts and images published by these journals, we have the purpose of presenting aesthetic and functional questions regarding the use of domestic furniture, including their arrangement in the home space. We analyze the social phenomenon of diffusion of modern furniture, bringing up the diversity of appropriations of modernist precepts and the constitution of related notions such as comfort, domesticity and decorative taste.

Manuel Machado is known as one of the most innovative Spanish modernist poets of the twentieth century. Despite his recognition as a literary figure in Spain, the mimetic descriptions in Machado's poetics are interpreted as mere innovations in Spanish poetry. Those mimetic descriptions are examples of ekphrasis in Spanish literature. Ekphrasis is both a literary and representational art. The mimetic dimension in Machado's poetry is ignored or misinterpreted by the critics of his poetics. This study written in Spanish investigates the use of ekphrasis in terms of Machado's poetic style. An analysis of Manuel Machado's ekphrastic poems will determine: ekphrastic poetry is a representational art; how visual and acoustic aspects of Machado's poems create enargeia; and the manifestation of ekphrasis in Spanish verse. In using Machado's poems, this project will contribute to future explorations of ekphrasis in Spanish literature.