Made available in DSpace on 2016-08-29T15:08:23Z (GMT). No. of bitstreams: 1 tese_4917_Adolfo.pdf: 660983 bytes, checksum: 199fbcde67663d9d74159bfa250ea260 (MD5) Previous issue date: 2011-06-16 / Seguindo a indicação nietzschiana de que a metafísica opera no sentido moral de desnaturalização e espiritualização das paixões, lançando-as ao reino do mal a ser universalmente combatido pelas instituições formadoras dos valores comuns e controladoras do ser e do agir religião, ciência, filosofia , tratarei aqui de abordar o desmascaramento da metafísica produzido pela tematização das paixões em Assim falou Zaratustra. Para tanto, tomo como base, sobretudo, o discurso Das alegrias e das paixões, ao qual outros também vêm se juntar. Pensando negar as paixões em favor do conhecimento conceitual-representativo referido à racionalidade, à consciência , os metafísicos divinizam a verdade, impedindo-se, assim, a investigação acerca do valor da verdade, isto é, dos elementos que, para além do que poderia ser a natureza da verdade, fundamentam a relação que eles próprios, enquanto criadores de suas filosofias, têm com a verdade. A perseguição às paixões é, pois, a paixão diretora dos metafísicos. Sintoma de uma pulsão dominante provém ela de ordens intransparentes, inconscientes, afetivas, apaixonadas. Contrária à tradição dualista racionalista e subjetivista , a filosofia de Nietzsche equipara vida e paixão, identificando na dimensão afetiva o motor da atividade humana, incluindo-se aí o pensamento.

History, forgetfulness and remembrance in Hegel and Nietzsche”. Albeit the evident distance between Hegel´s and Nietzsche´s philosophical projects, there is a shared terrain from which both authors respond to the excesses of modern illustration, which reacted against history and tradition, in the name of a subjective conscious understood as the unconditioned nucleus of reality. This paper wants to contribute to show how close to each other are this so called antagonists, showing that in their doctrines there is an intuition about the fundamental temporality that lies in human existence and experience. From this common point of view, articulated in both cases with the notions of remembrance” and forgetfulness”, it is the purpose to generate a living dialogue, however full of tensions, between Hegel and Nietzsche, as critics of Modernity. / Pese a la evidente distancia que separa a los proyectos filosóficos de Hegel y Nietzsche se ha venido poniendo en evidencia un terreno compartido desde el cual ambos autores hacen frente común contra los excesos de una modernidad ilustrada que renegó de la historia y de la tradición en nombre de una conciencia subjetiva concebida como el núcleo incondicionado de la realidad. El presente ensayo pretende contribuir a este acercamiento entre estos dos presuntos antagonistas mostrando que en sus doctrinas se alcanza una profunda intelección sobre la temporalidad fundamental que está a la base de la naturaleza esencialmente histórica de la existencia y la experiencia humana. Desde este punto de referencia común, articulado también en ambos casos con ayuda de las nociones de recuerdo” y olvido”, se busca generar aquí un diálogo vivo y lleno de tensiones entre Hegel y Nietzsche, críticos de la Modernidad.

Uppsatsen utgår från en aforism (§327) i Den Glada Vetenskapen av Friedrich Nietzche. Den tar sig an frågan om förhållandet mellan skratt, glädje och vetande i framförallt Nietzches tänkande. Det är dock inte en regelrätt Nietzche-studie som försöker härleda och urskilja dessa specifka begrepp. Istället utgör uppsatsen, med visst stöd i Gilles Deleuze, en fri undersökning av en serie Nietzchianska teman som knyts samman i frågan om vad ett glatt vetande kan betyda. Uppstatsen belyser hur Nietzches idé om glad vetenskap förhåller sig till befintliga teorier om humor - och hur vetandet självt har en "humoristisk dimension".

Made available in DSpace on 2016-04-27T17:27:13Z (GMT). No. of bitstreams: 1 ImadeddineAbdouni.pdf: 287656 bytes, checksum: d273653d9c6b10bf864d58f221992396 (MD5) Previous issue date: 2006-05-22 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta dissertação acompanha a construção e a evolução da figura do espírito livre em Nietzsche, rastreando sua função desde a sua criação teórica até o seu caráter prático experimental. O tema será desenvolvido em duas etapas. No primeiro capítulo, o espírito livre é focado sucessivamente pelo prisma da investigação científica, da paixão (sobretudo a do conhecimento) e da distância artística. No segundo capítulo, é analisada a oposição entre espírito livre e livre-pensador, com ênfase na importância da abordagem deste último para a construção do primeiro. O presente trabalho revela a lapidação que Nietzsche faz do espírito livre, ao corromper os antigos ideais da humanidade: a metafísica, a moral e a religião, em busca de um novo olhar para a existência e de uma nova ordem para a valoração humana

The Lofoten Maelström in Norway, one of the world’s most powerful systems of tidal eddies, has been a locus of terror and imagination for centuries. First depicted in renaissance cartography, the myth of the vortex was propagated through the occult science of Athanasius Kircher and found its most current expression in Edgar Allan Poe’s “A Descent into the Maelström”. This thesis is a work of exegesis. That is, a work of interpretation that leads out of a text, or a site, towards another level of meaning. Poe’s text refers to the geographic site of the thesis but also becomes a site in itself. It is out of this text/site that the author unfolds a series of exegetical pathways, constructing an ambiguous ground between the real and imaginary dimensions of the Maelström. This thesis is also a work of synthesis. It explores how the speculative architectural proposition can crystallize subtle conceptual material in ways that text and image alone cannot. While the thesis is heavily invested in various modes of representation, architectural and otherwise, it also acts as a critical investigation into the nature of representation itself. The document is composed as a performance in three parts. Each part broadly engages a fundamental binary that is latent in the work of architecture: 1) history and fiction 2) figure and ground 3) ritual and design. Part I introduces the site through various historical and fictional portrayals of the Maelström which have contributed to the co-authorship of its mythologized identity. Part II consists of a suite of three discursive essays that address the sublime, the death instinct, romanticism, negative theology, the chora, and 20th century performance theory. This material is organized under the umbrella of three figure/ground conditions: the figure against the sublime ground of the romantic-era painting, the negative ground of medieval mysticism, and the ritual ground of the Greek chorus and its spatial counterpart, the chora. Finally, Part III includes two movements: the design of a wave energy research facility, and a series of episodic vignettes that subvert the intentions of the designer by re-casting the facility as a place of ritual. With the Maelström as a backdrop, the architectural proposition offers itself as the stage upon which this struggle between design and ritual is enacted.

The Lofoten Maelström in Norway, one of the world’s most powerful systems of tidal eddies, has been a locus of terror and imagination for centuries. First depicted in renaissance cartography, the myth of the vortex was propagated through the occult science of Athanasius Kircher and found its most current expression in Edgar Allan Poe’s “A Descent into the Maelström”. This thesis is a work of exegesis. That is, a work of interpretation that leads out of a text, or a site, towards another level of meaning. Poe’s text refers to the geographic site of the thesis but also becomes a site in itself. It is out of this text/site that the author unfolds a series of exegetical pathways, constructing an ambiguous ground between the real and imaginary dimensions of the Maelström. This thesis is also a work of synthesis. It explores how the speculative architectural proposition can crystallize subtle conceptual material in ways that text and image alone cannot. While the thesis is heavily invested in various modes of representation, architectural and otherwise, it also acts as a critical investigation into the nature of representation itself. The document is composed as a performance in three parts. Each part broadly engages a fundamental binary that is latent in the work of architecture: 1) history and fiction 2) figure and ground 3) ritual and design. Part I introduces the site through various historical and fictional portrayals of the Maelström which have contributed to the co-authorship of its mythologized identity. Part II consists of a suite of three discursive essays that address the sublime, the death instinct, romanticism, negative theology, the chora, and 20th century performance theory. This material is organized under the umbrella of three figure/ground conditions: the figure against the sublime ground of the romantic-era painting, the negative ground of medieval mysticism, and the ritual ground of the Greek chorus and its spatial counterpart, the chora. Finally, Part III includes two movements: the design of a wave energy research facility, and a series of episodic vignettes that subvert the intentions of the designer by re-casting the facility as a place of ritual. With the Maelström as a backdrop, the architectural proposition offers itself as the stage upon which this struggle between design and ritual is enacted.

Confucius is often considered a great teacher and the sage of Chinese philosophy for thousands of years. His teachings laid the foundation for an education system that prevailed for almost 2000 years before being outlawed by the revolution in 1905. Confucius himself was adamant about the need for education in the society at large, where he saw the need for the people to return to the golden ages of past kings where the kings ruled with benevolence and with righteousness.    But what did Confucius teachings say? What did the students read and study, and what ideals were presented to the students? What were the teacher’s roles and how did the Chinese society look upon them? What was considered valuable knowledge, and how was this argued in the actual works that were studied?    These are some of the questions that this essay examines and tries to answer.