The phenomenon of enantiosemy in contemporary French The diploma thesis deals with enantiosemy in contemporary French. It is a linguistic phenomenon, which by its nature falls into the field of lexical semantics, but it receives much less, if any, attention. Despite the fact that the term « enantiosemy » was introduced in scientific circles more than a hundred years ago, its terminological definition has no fixed contours. The aim of the work is to define the term enantiosemy in a broader linguistic environment, to compare its grasp and to present the main lines of its characteristics. At the same time, we will notice the presence-absence of the analyzed phenomenon in the relevant study material of the French language. Also in this work will be shown different types of opposites of enantiosemic words. The selected enantiosemic words will be subjected to diachronic analysis. In addition, the phenomenon of interlingual enantiosemy will be investigated using the example of French and English. Key words : enantiosemy, opposites, homonymy, antonymy, semantics, polysemy, interlingual enantiosemy

The objective of this thesis is not only to design a building or investigate an idea, but also to explore and learn to appreciate what is truly important and, hope- fully, to discover that part of truth which may lead us to a serenity in our souls. My entire struggle is basically to try to achieve a comprehension of the order of nature. At some point in my life as an architect, if I have to build an artifact, that artifact should remind people of the everlasting merits of the invisible world and awaken the imagination of others in the pursuit of truth. This book recounts the attempt to articulate an idea, one which I believe to be a part of the order of nature, into the design environment. / Master of Architecture

Made available in DSpace on 2016-04-28T20:39:12Z (GMT). No. of bitstreams: 1 Maria do Socorro Miranda Prado.pdf: 1268099 bytes, checksum: 50298c8a1310dcc5f8c995bd06f24557 (MD5) Previous issue date: 2016-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present research aimed at understanding the Philomena s route, the protagonist of the film with the same name, and her relation with many aspects of Echo Myth. The applied qualitative method fit the model of Penafria (2009) for analyzing film scenes. After the selection of images to be evaluated and taking into consideration the obtained literature, the film was divided in three moments, which express the Philomena s experiences and their relation with Echo aspects and Echo and Narcissus s relationship. The analysis suggests that Philomena, who, at the beginning of the film, had a unilateral identification with Echo, develops an opposing polarity (Narcissus) going beyond the pure Echo s dynamic. The results led to an analysis of the women s experience stuck in this dynamic, suggesting them new possibilities for their live / A presente pesquisa buscou compreender a trajetória de Philomena, protagonista do filme que leva o mesmo nome, e sua relação com os aspectos do mito de Eco. Foi utilizado o método qualitativo, adaptando-se o modelo de Penafria (2009) para análise das cenas fílmicas. Após a escolha das imagens a serem analisadas e tendo em vista a literatura levantada, o filme foi dividido em três momentos que expressam as vivências de Philomena e sua correlação com aspectos de Eco e do relacionamento de Eco e Narciso. A análise sugere que Philomena, a qual se identificara unilateralmente com Eco, no início do filme, consegue desenvolver a polaridade oposta (Narciso), tramitando além da dinâmica puramente ecoísta. Os resultados ampliaram a análise do filme à vivência de mulheres presas nessa dinâmica, sugerindo-lhes novas possibilidades em sua existência

Le grand projet à l’origine de la réalisation de cette thèse est de proposer une nouvelle manière de comprendre la nature instable et décloisonnée du pop art, ce courant pictural presque sorti de l’histoire de l’art pour s’ériger en signe diffus de la culture populaire.Les enjeux plus conceptuels, qu’il dissimule derrière une imagerie devenue familière, sont pourtant d’une importance capitale pour la reconfiguration de la définition contemporaine de l’œuvre d’art. Toujours entre surface et profondeur, l’image pop se développe insidieusement.Le concept de « coïncidence des opposés », hérité d’une tradition théologico-philosophique dont Nicolas De Cues est le dépositaire le plus illustre, nous servira d’outil opératoire pour tenter de comprendre les implications sémantiques liées à la nature glissante de cet espace artistique aux contours flous. L’instabilité de ses frontières s’exprime d’abord par la proximité entre « art » et « non-art ». Elle s’illustre ensuite et surtout par le développement d’une multitude de microstructures internes reproduisant le même schéma conceptuel de « coïncidence des opposés ». Nous utiliserons alors, pour faciliter notre approche philosophique le concept d’ « ambivalences instables ».Trois grands moments jalonneront notre enquête. Ils seront synthétisés par les trois notions suivantes : « le paradoxe de la destruction créatrice », « la littéralité anti-littérale », et « la désacralisation hyper-sacralisée ». / The aim of this PhD project is to propose a new way of understanding the profoundly unstable and essentially decompartmentalized nature of pop art, this pictorial stream which is almost going beyond the scope of art history to elevate itself to be a vague symbol of popular culture.However, its familiar image hides more conceptual matters of dispute which are of crucial importance when it comes to reconfiguring the contemporary definition of a work of art. Always between surface and depth, pop imagery is developing insidiously.The “coincidence of opposites” concept, inherited from a theological-philosophical tradition, with Nicolas De Cues as its most famous depositary, will be used as an operating tool in our attempt to understand the semantic implications bound to the changing nature of this artistic space, the limits of which are still clearly blurry. This fuzziness of its frontiers appears first and foremost through the proximity between “art” and “non-art”, and then, most of all, through the development of a multitude of internal microstructures mimicking the pattern of the “coincidence of opposites” concept. In order to facilitate the philosophical flexibility of our approach, we will therefore use the concept of “unstable ambivalences”. Three milestones mark our investigation. They are summarized by the three following notions: “the creative destruction paradox”,”anti-literal literalism” and ”hyper-sacralized desecration”.

Construit sur un réseau de contrastes, le monde romanesque de Fred Vargas arbore le masque de la fiction policière. Les meurtres au présent cachent les meurtrissures de l’amour au passé. Médiateur entre ces pôles diégétiques, la passion du personnage vargassien fait faillir les règles du jeu que lui impose le monde. Car derrière les apparences civilisées perdure l’ordre originel de Nature : la prédation. Face à son échec, le personnage doit relever un défi qui transforme son enquête sur le crime en une quête identitaire. Choisir la transgression ou le sacrifice de soi décide de sa chute ou du resurgissement de sa dignité. Superposant l’intrigue et l’Histoire, le hic et nunc diégétique confère au personnage le rôle de trait d’union entre les Ici et les Ailleurs identitaires adverses. L’enquête approche la psyché du meurtrier et de l’enquêteur, reconstituant l’interaction de l’individu et du monde précisé en tant que son chronotope synchronique et diachronique. La relation entre l’homme et ses Autres révèle la personne derrière le personnage. La confrontation de l’animal humain aux animaux réels et mythifiés, remet en question les frontières entre l’identité et l’altérité. Le réel meurtrier s’avère incarner un des masques de l’imaginaire, tandis que l’imaginaire, érigé en idéal de l’humanité, devient une réalité à conquérir au prix du sacrifice de soi, et dévoile la polyvalence des réalités de l’échec et l’accomplissement. L’analyse du jeu de miroirs entre l’opposition et la complémentarité conclut à l’union des contraires qui fait coexister l’horreur et le sublime, l’amour et la mort dans le couple d’opposés que forment l’homme et le monde. / Built on a network of contrasts, the romantic world of Fred Vargas bears the mask of detective fiction.The murders of the present hide the bruises of love in the past.Mediator between these diegetic poles,the passion of Vargas’s character breaches the rules of the game that is imposed on him by the world.For behind these civilized appearances ,the original order continues:predation. Confronted by his failure,the character must take up a challenge that will transform his investigation in a quest for identity. Selecting either transgression or self-sacrifice will determine whether he collapses or reappears with his dignity.Converging the plot and the Story, the diegetic here and now bestows upon the character the role of linking the Here and Elsewhere, and adverse identities. The enquiry approaches, the psyche of the murderer and the investigator, reconstituting the interaction between the individual and the world, defined as its synchronic and diachronic chronotope. The relationship between humans and their Others reveals the person behind the character.The confrontation between the human animal and real and mythologized animals challenges the borders between identity and otherness.The real murderer turns out to embody one of the masks of the imagination, while the imagination, established as an ideal of humanity, becomes a reality to conquer at the price of self-sacrifice, and reveals how flexible the realities of failure and fulfillment can be. Analysing the mirror effect between opposition and complementarity accentuates the union of opposites that create the coexistence of horror and the sublime, and love and death in the dichotomy that make up mankind and the world.

Summary This thesis uses poststructural theory to question how language shapes educational policy and practice. It starts from the premise that the tendency for categorising knowledge as binary opposites, whilst potentially useful, also encourages polarisation, is reductive, and produces closure. Thus, by interrogating the ‘/’ [slash], the boundary between the pairs, the intention is to produce a different, more equable, productive, and openly uncertain way of questioning unresolved educational dilemmas, hence the search for a question. Educational inclusion/exclusion foregrounds this research. It did not start out this way. As a scientist, a zoologist by training, and steeped in the rigidity of scientific method, the original study concerned proving a hypothesis, using questionnaires to collect the data and followed by some sort of statistical analysis. However, this approach did not acknowledge the complexity, nuances and shades of meaning within the language of inclusive education that I wished to explore. Poststructural theory offered a different strategy and interrupted my positivist thinking throughout. Thus, a Foucauldian approach has been used to interrogate the inclusion/exclusion binary in the literature. Searching for the historical a priori is followed by an interrogation of the different discourses and the power relations therein. An empirical analysis succeeds the textual analysis, for which data was collected in the form of interviews. Called participatory interactions, secondary teacher educator colleagues were asked to talk about inclusion, and activatory phrases were used to stimulate discussion. Poststructural interruptions about ethics suggested an innovative method of discourse analysis developed using Derrida’s metaphor of a postcard, in which he enacts the performative stance of deconstruction. Aspects of the data that troubled the inclusion/exclusion binary are presented as verse alongside a reflexive response that stimulates theoretical discussions called ‘new lines of flight’. On the reverse side of every postcard is a photograph, a graphic representation of some feature pertaining to the data selected, and the stamp is a picture of the philosopher whose work inspired the theorisation. Interrogating the ‘/’ [slash] reveals the complex interplay of each side of the binary and surfaces a system of ethics regarding legitimation. The final chapter, therefore, proposes a deliberate ethical interruption – an interruption of practice in order to interrupt practice. Professional practice should be deliberately interrupted by research in order to interrupt oppositional binary thinking. This research should have a deliberately ethical component foregrounding personal values and attitudes. As a consequence, inclusive education could be reconceptualised. The current discourse of a failing educational experiment might then be transformed into an ethical project worth going on with.

Quoi de plus inné que les concepts d’oblique, d’horizontal ou de vertical ? Pour nous, moderne, ces concepts fondamentaux sont la base de tout notre système de pensée, tant mathématique qu’artistique. Tout porterait à croire que ces principes soient présents dans la civilisation grecque, dont nous nous réclamons les héritiers. Ce n’est pourtant pas une évidence au vu des textes qui nous ont été rapportés. Homère n’a pas connu le concept d’oblique – aucun mot ne saurait le traduire dans la langue de son époque. Et même plus tard. Les Grecs ont cinq adjectifs pour signifier approximativement l’oblique : λοξός, πλάγιος, λέχριος, σκολιός et δόχμιος. Chaque discipline (cosmologie, optique, géographie, artistique, etc.) a sa façon d’appréhender ces cinq termes, qui ne recouvrent à chaque fois que partiellement notre notion d’oblique. Paradoxalement, ce que le langage écrit n’a pas synthétisé se retrouve en abondance dans l’imagerie. Plus surprenant encore, l’oblique dans l’image, que nous considérons comme signe du mouvement dans notre langage iconographique, se retrouve aussi bien pour signifier le mouvement que le repos. Deux monuments de l’art grec attirent notre attention sur ce nouveau paradoxe : la frise du Mausolée d’Halicarnasse et l’Athéna Pensive. A chaque fois l’oblique est présente, à chaque fois elle porte deux sens bien distincts. Ces deux formes de langage, écrit et imagé, apportent un éclairage différent, et pour le moins complémentaire, sur la façon dont les Grecs de l’Antiquité ont appréhendé (ou non) le concept d’oblique. / What could be more innate than the concepts of oblique, horizontal or vertical ? For us, modern, these three concepts are the basis of our whole system of thought, both mathematical and artistic. It would appear to be obvious that these principles are present in the Greek civilization, whose we claim the heirs. However that isn't so obvious in view of the texts that have survived. Homer didn’t know the concept of oblique - no words can translate it into the language of his time. And even later. The Greeks have five adjectives to mean approximately oblique : λοξός, πλάγιος, λέχριος, σκολιός and δόχμιος. Each discipline (cosmology, optic, geography, art, etc.) has its own way of looking at these five words, which cover partially our notion of oblique. Paradoxically, what the written language has not synthesized, can be found in many images. Even more surprising, the oblique in the image, which we consider as a sign of movement in our iconographic language, is found both here to signify the movement than the rest. Two monuments of Greek art call our attention to this new paradox : the frieze of the Mausoleum of Halicarnassus and the Mourning Athena. In each of them the oblique ligne is present, and wears two distinct senses. These two forms of language, written and pictorial, bring a different perspective, furthermore complementary, on how the ancient Greeks apprehended (or not) the concept of oblique.

The object of this study is good governance, the context for its consideration is the New Partnership for Africa’s Development (NEPAD), and the disciplinary perspective from which it is considered is Public Administration. Good governance is a conceptual problematique. It is multi-dimensional, value-laden, trans-contextual and nebulous. The question of what good governance means is a subject of contestation. Good governance is used in NEPAD as a principle without the attempt to clarify its meaning at the conceptual level. Much of the existing body of scholarship on NEPAD also considers good governance largely as a principle rather than a concept. This erroneously presupposes unanimity on its meaning. The African leadership is divided on what good governance means in the context of NEPAD. In this regard scholarship largely fails to provide an intellectual solution. The extent of complexity of the concept in the study lies in the fact that the context of its consideration [NEPAD] is itself a subject of contestation whereas the disciplinary perspective [Public Administration] from which it is considered has not yet reached a consensus with itself about its theoretical base. Against this background the question that the study asks is, what does the concept good governance in the context of NEPAD mean for Public Administration? The study examines this question to make a contribution towards a better insight into, and broadening of, the body of scientific knowledge by engaging in conceptual, theoretical and philosophical studies to understand good governance in the context of NEPAD and determine its meaning for Public Administration. The study finds that the paradigm of engagement in the existing body of literature is framed in the binary logic, which is rooted in realist epistemology or positivism. This approach to scientific discourse is limited in dealing with complex conceptual, theoretical and philosophical questions. The study develops, as a contribution to science, an alternative epistemological framework from which good governance in the context of NEPAD could be understood. Such epistemological framework is, for the purpose of this study, termed the contingent co-existence of opposites. It is used to conceptualise good governance in the context of NEPAD and determine its meaning for Public Administration. / Public Administration / D.Litt. et Phil. (Public Administration)

The object of this study is good governance, the context for its consideration is the New Partnership for Africa’s Development (NEPAD), and the disciplinary perspective from which it is considered is Public Administration. Good governance is a conceptual problematique. It is multi-dimensional, value-laden, trans-contextual and nebulous. The question of what good governance means is a subject of contestation. Good governance is used in NEPAD as a principle without the attempt to clarify its meaning at the conceptual level. Much of the existing body of scholarship on NEPAD also considers good governance largely as a principle rather than a concept. This erroneously presupposes unanimity on its meaning. The African leadership is divided on what good governance means in the context of NEPAD. In this regard scholarship largely fails to provide an intellectual solution. The extent of complexity of the concept in the study lies in the fact that the context of its consideration [NEPAD] is itself a subject of contestation whereas the disciplinary perspective [Public Administration] from which it is considered has not yet reached a consensus with itself about its theoretical base. Against this background the question that the study asks is, what does the concept good governance in the context of NEPAD mean for Public Administration? The study examines this question to make a contribution towards a better insight into, and broadening of, the body of scientific knowledge by engaging in conceptual, theoretical and philosophical studies to understand good governance in the context of NEPAD and determine its meaning for Public Administration. The study finds that the paradigm of engagement in the existing body of literature is framed in the binary logic, which is rooted in realist epistemology or positivism. This approach to scientific discourse is limited in dealing with complex conceptual, theoretical and philosophical questions. The study develops, as a contribution to science, an alternative epistemological framework from which good governance in the context of NEPAD could be understood. Such epistemological framework is, for the purpose of this study, termed the contingent co-existence of opposites. It is used to conceptualise good governance in the context of NEPAD and determine its meaning for Public Administration. / Public Administration and Management / D.Litt. et Phil. (Public Administration)