Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-08-21T16:18:12Z No. of bitstreams: 2 Dissertação - Poliana Gabriel Oliveira - 2017.pdf: 1600551 bytes, checksum: 9daa3ca3392ebdf0732f4b572d3884dc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-15T11:55:30Z (GMT) No. of bitstreams: 2 Dissertação - Poliana Gabriel Oliveira - 2017.pdf: 1600551 bytes, checksum: 9daa3ca3392ebdf0732f4b572d3884dc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-09-15T11:55:30Z (GMT). No. of bitstreams: 2 Dissertação - Poliana Gabriel Oliveira - 2017.pdf: 1600551 bytes, checksum: 9daa3ca3392ebdf0732f4b572d3884dc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The current research consist o analyzing the Russian writer Fyodor Dostoyevsky through the constitution of a narrative identity in Memoirs from the House of The Dead, which points to a shift in his writings if compared to former works. This novel is an autobiograph that narrates the events of his in Siberia, from his analysis, is possible to identify elements that, interconnected to a historic reconstruction of that time, forms a narrative identity, a category of studies that is connected to life experience and the act of narrate with the purpose of provide meaning. Through this constitution, is noticeable a shift in his writings, that points to a nihilism concept as the finishing line of his post prison works, bringing forward the Slavophile aspect on his later works in detriment of his previous Occidentalism. / A atual pesquisa consiste em analisar o escritor russo Fiódor Dostoiévski através da constituição de uma identidade narrativa na obra Recordações da casa dos mortos, a qual aponta para uma mudança em sua escrita em relação às obras publicadas anteriormente. Essa obra é uma autobiografia que narra os acontecimentos de sua prisão na Sibéria e, a partir da sua análise, é possível identificar elementos que, quando interligados a uma reconstrução histórica do período, formam uma identidade narrativa, uma categoria de estudos que está ligada a experiência de vida e a atividade de narrar com intuito de oferecer sentido. Através dessa constituição, é perceptível uma mudança em sua escrita, a qual aponta para o conceito de niilismo como ponto de chegada de suas obras posteriores à prisão, ressaltando mais o aspecto eslavófilo posterior em detrimento ao ocidentalismo anterior do escritor.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-03-07T17:58:40Z No. of bitstreams: 1 vicentedepaulaferreira.pdf: 1182339 bytes, checksum: 1abe957b7502e76239163f34c1b292f9 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T02:02:12Z (GMT) No. of bitstreams: 1 vicentedepaulaferreira.pdf: 1182339 bytes, checksum: 1abe957b7502e76239163f34c1b292f9 (MD5) / Made available in DSpace on 2016-04-24T02:02:12Z (GMT). No. of bitstreams: 1 vicentedepaulaferreira.pdf: 1182339 bytes, checksum: 1abe957b7502e76239163f34c1b292f9 (MD5) Previous issue date: 2013-12-20 / Esta Tese parte do pressuposto de que a Filosofia de Gianni Vattimo possui importante relevância no cenário do pensamento pós-moderno, de maneira particular em sua defesa pela hermenêutica niilista. Partindo de Nietzsche, com sua máxima sobre a morte de Deus, e de Heidegger, com a proposta de um enfraquecimento da metafísica, o filósofo pesquisado inaugura o pensamento enfraquecido como proposta para a época do niilismo, do fim dos fundamentos absolutos. Ao afirmar que o Ocidente é a terra do ser como evento, Vattimo segue a convicção de que tal assertiva se fundamenta na herança cristã da kênosis como esvaziamento de Deus, encarnado, elemento secularizante da história como lugar salvífico. Dessa maneira, retornar ao cristianismo na pós-modernidade não se trata de um movimento especificamente acidental, trata-se de voltar à raiz mesma de uma cultura que se constitui pela caritas. O Cristianismo não religioso seria, de fato, a vivência de uma práxis amorosa que combate toda forma de violência a começar por aquelas que emanam de concepções religiosas metafísicas que pregam a separação entre sagrado e profano, céu e terra, razão e fé. Assim sendo, o encontro da filosofia vattimiana com a tradição cristã promove não uma verdade abstrata à qual o ser humano deve corresponder, mas um projeto existencial que tem como meta a vivência de um amor encarnado na história. As consequências estéticas de tal pensamento apontam para a criatividade como resposta às interpelações do ser que, em sua entrega relacional, convoca o Dasein a respostas concretas. Ainda, o engajamento ético revela que o que é, realmente ético, na interpretação, é tomar posse da finitude como lugar de hospitalidade, concretizada na construção da comunidade fraterna. / This thesis assumes that the philosophy of Gianni Vattimo has an important significance in the backdrop of postmodern thinking in a particular way in his defense of nihilistic hermeneutics. Starting with Nietzsche, with his maxim about the death of God, and Heidegger, with the proposal of a weakening of metaphysics, the Italian philosopher inaugurates the weak thought as a proposal for the time of nihilism, the end of the absolute essentials. By stating that the West is the land of being as an event, Vattimo is conviced of following the Christian tradition of kenosis (κένωσις), the self-emptying of God made flesh from which he draws a secularizing element of history as a place of salvation. Thus, returning to Christianity in postmodernity is not specifically an accidental movement: it is to go back to the very root of a culture constituted by caritas. The non-religious Christianity would be, indeed, the experience of a loving praxis that stands against all forms of violence starting with those emanated from religious metaphysical conceptions, which preach the divide between the sacred and the profane, heaven and earth, reason and faith. Thus, the encounter between Vattimo´s philosophy and the Christian tradition promotes not an abstract truth to which humans must abide by, but an existential project that aims at the experience of a love incarnate in history. The aesthetic consequences of such thinking point to creativity as a response to the quest of being, which summons the Dasein to give concrete answers in its relational surrender. Even more, the ethical engagement reveals that, what is truly ethical in hermeneutics, is to take possession of the finitude as a place of hospitality, embodied in the construction of the fraternal community.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-15T12:32:58Z No. of bitstreams: 1 vicentedepaulaferreira.pdf: 787461 bytes, checksum: 9e1cad067ff968792113902950bcd2dd (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2016-07-19T15:52:12Z (GMT) No. of bitstreams: 1 vicentedepaulaferreira.pdf: 787461 bytes, checksum: 9e1cad067ff968792113902950bcd2dd (MD5) / Made available in DSpace on 2016-07-19T15:52:12Z (GMT). No. of bitstreams: 1 vicentedepaulaferreira.pdf: 787461 bytes, checksum: 9e1cad067ff968792113902950bcd2dd (MD5) Previous issue date: 2011-02-28 / O niilismo, na perspectiva do pensamento enfraquecido de Gianni Vattimo, é expressão do cristianismo secularizado. Partindo de uma releitura dos filósofos Nietzsche e Heidegger, o autor mostra como o ocidente é terra do declínio do ser. Depois da longa trajetória metafísica, a morte de Deus põe fim à crença nos valores absolutos e abre o tempo da pós-modernidade. Época da pluralidade e propícia para o florescimento da hermenêutica que tem sua proveniência na tradição cristã. A idade da interpretação é possível porque, em suas raízes, encontra-se a inaugural experiência da kênosis de Jesus. Esvaziamento do divino que, na encarnação, aceita os limites do secular para transformar-se em amor sempre relacional. Com isso, a caritas, principal mandamento deixado pelo Cristo, é interpelação inesgotável e critério para qualquer vivência atual do cristianismo. Ao mostrar a íntima relação entre cristianismo e niilismo, Vattimo postula também uma igreja católica já não mais centrada na força dos seus dogmas, mas testemunha do diálogo e da hospitalidade. Algumas questões emergem de tal proposta, a saber: o que seria um cristianismo não religioso? Relativismo ou identidade relativa? Fim da instituição ou uma igreja enfraquecida? É possível crer sem transcendência? / Nihilism, in view of Gianni Vattimo’s weak thought, is a secularized expression of christianity. Based upon a reinterpretation of Nietzsche’s and Heidegger’s master works, Vattimo describes how the West became the land of the demise of being. After the long metaphysical journey, the death of God puts an end to the belief in absolute values and inaugurates postmodernity. Time of plurality and conducive to the flourishing of hermeneutics which finds its origin in the christian tradition. The age of interpretation is possible because, in its root, there is the inaugural experience of kenosis of Jesus. Emptying of the divine that, in the incarnation, accepts the limits of the secular in order to turn it into an ever relational love. Accordingly, caritas, the only commandment left by Christ, has become the inexhaustible claim and the formal criteria for any current experience of christianity. By showing the intimate relationship between Christianity and nihilism, Vattimo also advocates a secularized church no longer centered on the strength of their dogmas, but a witness to the dialogue and hospitality. Some questions arise from this proposal, namely: what would a nonreligious christianity be? Relativism or relative identity? End of the institution or the emergence of a weak church? Can one believe without transcendence?

Vouée à la diffusion de la décadence littéraire, la fin du siècle s’est forgée une généalogie tutélaire. Par le biais des essais que Barbey d’Aurevilly, Théophile Gautier et Paul Bourget lui ont consacrés, Baudelaire est devenu le poète de la décadence. Mais alors que cette postérité décadente a suscité plusieurs études, il manquait un travail de synthèse sur le sens que le concept de décadence prend sous la plume de Baudelaire. Accusé de propager la décadence, le poète s’en est défendu, en appliquant cette même catégorie à l’idéologie du progrès, puis à l’« art philosophique ». Malgré cette ambiguïté constitutive, la décadence est aussi pour Baudelaire un objet de fascination : c’est ainsi qu’il l’allégorise à travers le couchant du soleil, source de poésie et image d’une civilisation vieillissante. Cette thèse se propose d’aller aux sources de la pensée de l’histoire de Baudelaire. Nous associons ensuite à l’hétérodoxie philosophique du poète un autre versant de la réflexion sur la décadence au XIXe siècle : imprégné de culture française, conforté par les critiques de son époque, Nietzsche élève Baudelaire au rang d’alter ego littéraire de Wagner, chez qui modernité et décadence s’amalgament. Tour à tour rapprochée du pessimisme et du nihilisme, profondément renouvelée, la décadence, loi fatale ou métaphysique, redécouvre ainsi toutes ses nuances. / The fin de siècle assured its own lasting genealogy by contributing to the diffusion of literary decadence. Through the essays that Barbey d’Aurevilly, Théophile Gautier and Paul Bourget devoted to him, Baudelaire became the poet of decadence. While this legacy of decadence gave rise to several studies, no work has exhaustively addressed the meaning that this concept takes on in Baudelaire’s works. Accused of propagating decadence, the poet attempted to defend himself by applying this aesthetic category to the ideology of progress and to « philosophical art ». Despite his constitutive ambiguity, decadence nonetheless fascinated Baudelaire. The poet allegorized decadence in the image of the sunset, which served both as a source of poetic inspiration and evoked an ageing civilization. This thesis proposes to trace the sources of Baudelaire’s historical thinking. It then attempts to associate another side of the reflection on decadence in the nineteenth century with the philosophical heterodoxy of the poet. Nietzsche, who was impregnated with French culture and supported by many critics of his time, elevated Baudelaire to the rank of a literary alter ego of Wagner, since like the composer, the poet brought together modernity and decadence. Reconciling with both pessimism and nihilism, the concept of decadence emerges as deeply renewed, a fatal or metaphysical law that exposes all of its nuances.

Syftet med uppsatsen är att analysera meningen bakom den franska filmen Climax (2018) regisserad av Gaspar Noé. Filmen är vag i sin struktur, berättelse och natur vilket gör det svårt för en tittare att förstå vad filmen försöker kommunicera för mening. Analysen strukturerar uppsatsen i fem kapitel, skapat från filmens sex olika titelkort som kommer upp under dess duration samt ett sjätte kapitel för att analysera titelkortens mening. I varje kapitel analyserar uppsatsen filmens karaktärer och gruppdynamik genom användningen av flera filosofiska begrepp som stärkande teori. Begreppen är existentialism, nihilism, ego och gemenskap. Först undersöker uppsatsen hur filmen gestaltar dessa teman, sedan sammanfattas vad dessa gestaltningar försöker kommunicera. Uppsatsen kommer fram till att filmen är en representation samt kritik om att forma ens livssyn efter filosofiska begrepp. Det är en representation av karaktärernas ageranden samt en kritik från hur berättelsen negativt behandlar dessa karaktärer.

The following work explores the phenomenon of death, one of the oldest questions of mankind. It tracks the evolution of the perception of death in the tradition of European Thought since the intention for eternity, through the gradual replacement of eternity with the pursuit of immortality, which ends up in nihilism. It also follows the gradual obfuscation of the death question to a state, where we do not understand our own death. In the second part we formulate paths from the implied nihilism through being to death and the authentic existence from Martin Heidegger, the oblation love from Gabriel Marcel, and experience with death of the nearest from P. L. Landsberg. Following these three philosophers we then formulate the concept of a concrete world as a world tied with us and therefore the non- indifferent world. In the third part of the thesis we project the whole issue into the education domain, which we formulate as an education to death, to love, and to courage. Education such as the one that teaches us to be, cannot avoid death. On the contrary, it is its core theme.

Nihilism is a popular and heavily studied topic which is prominently displayed in Javier Marí­as' novel Berta Isla. In this article, both Nietzschean and Heideggerian concepts of nihilism will be identified and analyzed within the context of Marí­­as's novel. Through textual analysis, the origin of nihilism will be explored as it relates to the will to power and valuative schema of the individual. It will be suggested that nihilism stems from valuative thinking induced by the herd-mentality of a community and that the fulfillment of such is the acceptance of absolute truth grounded in being and becoming.

Abstract 1: Master Thesis - Investigating the relationship between the aesthetics of Black Metal and its ecological and nihilistic implications with contemporary painting, comics and Chaos Magick spiritual practice. Abstract 2: Documentation of solo exhibition titled Zurbaráns' Dream. The works take as a starting point the paintings of Saint Francis by Francisco De Zurbarán. The depictions of Saint Francis within Catholic mythology in the 16th/17th century used symbolic postures and objects to create paintings that were instructional for spiritual transcendence. My paintings are developed from an esoteric fiction manipulated by the process of lucid dreaming. They are inspired by Zurbaráns' 'dream' of using art and iconography as tools for spiritual transcendence.

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