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Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 276-280). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 276-280). Also available on the Internet.

Le présent mémoire se propose d'étudier les conditions d'intelligibilité de l'oxymore dans le cadre des sciences des religions et du travail théologique. Dans la première moitié du mémoire, nous observons d'abord l'oxymore dans les formalismes sémiotiques (où il est appelé "terme complexe/neutre"). L'aporie rencontrée tient à la difficulté d'inscrire formellement sa genèse. Nous inspirant des thèses récentes des mathématiciens René Thom et Jean Petitot-Cocorda, ce problème sur la genèse est reconduit à la difficulté de penser positivement la discontinuité, mais surtout de la mathématiser. La seconde moitié du mémoire se tourne vers Gilles Deleuze qui a élaboré une métaphysique qui conçoit positivement la discontinuité (ou genèse). Deux conceptions "génétiques" de l'oxymore sont alors dégagées de la métaphysique deleuzienne : l'oxymore comme "coupure" et l'oxymore comme "mot-valise". Nous interrogeons enfin le statut épistémique de ces dernières en demandant si l'espace métaphysique dont elles procèdent pourrait être fondé transcendantalement, i.-e. recevoir une constitution mathématique explicite, notamment par la Théorie des catastrophes de René Thom.

Três eram as principais tarefas da retórica clássica: instruir, deleitar e mover as almas à ação. Nas Confissões, contudo, percebe-se que elas são excedidas por um emprego nada convencional dos recursos da ars, de que rhetor Agostinho era mestre, a fim de perse-guir finalidade filosófica ulterior: dizer o indizível. Trata-se do uso duma palavra retórica que se quer circular, tautócrona, oblíqua, poética, oracular e paradoxal, em sua eloquência silenciosa. Numa primeira parte, pretende-se ressaltar a circularidade e tautocronia dessa palavra retórica que quer invocar, louvar e conhecer o incognoscível, mas que não prescinde da fé, tampouco da inteligência daquilo em que pretende crer e que quer apregoar, o que se faz por meio duma leitura analítica dos dois primeiros parágrafos do livro inaugural (Conf. 1,1,1-2). Na sequência, procura-se analisar os mecanismos elocutórios, de modo especial o oximoro, da palavra retórica com que Agostinho pretende dar conta da própria Palavra divina, Verbum que se fez carne. De duas maneiras se destacam essas ferramentas retóricas. Primeiro, por sua obliquidade, própria a uma linguagem que busca incessantemente extrapolar seus limites, encontrando um certo modo novo de dizer com arte, segundo a definição de figura de Quintiliano. Depois, por seu inusitado silêncio, próprio dum dizer que nada diz, em sua pretensão de exprimir o inexprimível, e que nesse não dizer diz mais do que se tivesse dito muito. Trata-se, pois, duma retórica do silêncio, que não se conforma em não dizer o indizível, pretendendo superar os limites impostos por um discurso de gênero redutor, que nega qualquer possibilidade de dizer aquilo que se tem por inefável, o Ser supremo, ainda que se veja reduzida a fazê-lo através dum espelho, em enigma (1Cor 13,12). Lo-go, desenvolve-se neste trabalho um estudo filosófico das técnicas retóricas utilizadas pelo pensador de Hipona, de modo especial as figuras de elocução, que se utilizam como meio de ultrapassar os limites duma linguagem estritamente apofática, a fim de que se cumprisse a missão cristã da pregação do Verbo encarnado. / Three were the main tasks of classical rhetoric: instruct, delight and move souls to action. In the Confessions, however, one realizes that they are exceeded by an uncon-ventional application of the arss resources, of which the rhetor Augustine was master, in order to pursue a further philosophical purpose: saying the unsayable. This is done primarily by the use of a rhetoric word that pretends to be circular, simultaneous, oblique, poetic, oracular and paradoxical, in its silent eloquence. Firstly it is intended to emphasize the circularity and simultaneity of this rhetoric word that wants to invoke, praise and know the unknowable, but that neither prescinds from faith nor from the un-derstanding of what it wants to believe in and proclaim, what is done by means of an analytical reading of the first two paragraphs of the opening book (Conf. 1.1.1-2). Sub-sequently, with an special emphasis on the oxymoron, the elocution mechanisms are analyzed: the rhetoric word with which Augustine gives an account of the divine Word, the Verbum that was made flesh. These rhetorical tools stand out in two ways. First, by their obliquity, peculiar to a language that ceaselessly seeks to extrapolate its limits, finding a certain new way to say with art, according to Quintilians definition of figure. Then, by its unaccustomed silence, peculiar to a saying that nothing says, in its aspira-tion to express the inexpressible, and by not saying it says more than if it had much said. And that is what is named a rhetoric of silence: one that does not resign itself to not saying the unsayable and intends to overcome the limits imposed by a reductive gender of discourse which denies any possibility of saying what is considered to be ineffable, the Supreme Being, even if it sees itself obliged to perform it through a mirror, in a riddle (1Cor 13,12). Therefore, it is developed in this work a philosophical study of the rhetorical techniques utilized by the thinker of Hippo, especially the figures of speech, which are put to use as a means to overcome the limits of a strictly apophatic language, so that the Christian mission could be fulfilled, preaching the Incarnate Word.

Três eram as principais tarefas da retórica clássica: instruir, deleitar e mover as almas à ação. Nas Confissões, contudo, percebe-se que elas são excedidas por um emprego nada convencional dos recursos da ars, de que rhetor Agostinho era mestre, a fim de perse-guir finalidade filosófica ulterior: dizer o indizível. Trata-se do uso duma palavra retórica que se quer circular, tautócrona, oblíqua, poética, oracular e paradoxal, em sua eloquência silenciosa. Numa primeira parte, pretende-se ressaltar a circularidade e tautocronia dessa palavra retórica que quer invocar, louvar e conhecer o incognoscível, mas que não prescinde da fé, tampouco da inteligência daquilo em que pretende crer e que quer apregoar, o que se faz por meio duma leitura analítica dos dois primeiros parágrafos do livro inaugural (Conf. 1,1,1-2). Na sequência, procura-se analisar os mecanismos elocutórios, de modo especial o oximoro, da palavra retórica com que Agostinho pretende dar conta da própria Palavra divina, Verbum que se fez carne. De duas maneiras se destacam essas ferramentas retóricas. Primeiro, por sua obliquidade, própria a uma linguagem que busca incessantemente extrapolar seus limites, encontrando um certo modo novo de dizer com arte, segundo a definição de figura de Quintiliano. Depois, por seu inusitado silêncio, próprio dum dizer que nada diz, em sua pretensão de exprimir o inexprimível, e que nesse não dizer diz mais do que se tivesse dito muito. Trata-se, pois, duma retórica do silêncio, que não se conforma em não dizer o indizível, pretendendo superar os limites impostos por um discurso de gênero redutor, que nega qualquer possibilidade de dizer aquilo que se tem por inefável, o Ser supremo, ainda que se veja reduzida a fazê-lo através dum espelho, em enigma (1Cor 13,12). Lo-go, desenvolve-se neste trabalho um estudo filosófico das técnicas retóricas utilizadas pelo pensador de Hipona, de modo especial as figuras de elocução, que se utilizam como meio de ultrapassar os limites duma linguagem estritamente apofática, a fim de que se cumprisse a missão cristã da pregação do Verbo encarnado. / Three were the main tasks of classical rhetoric: instruct, delight and move souls to action. In the Confessions, however, one realizes that they are exceeded by an uncon-ventional application of the arss resources, of which the rhetor Augustine was master, in order to pursue a further philosophical purpose: saying the unsayable. This is done primarily by the use of a rhetoric word that pretends to be circular, simultaneous, oblique, poetic, oracular and paradoxical, in its silent eloquence. Firstly it is intended to emphasize the circularity and simultaneity of this rhetoric word that wants to invoke, praise and know the unknowable, but that neither prescinds from faith nor from the un-derstanding of what it wants to believe in and proclaim, what is done by means of an analytical reading of the first two paragraphs of the opening book (Conf. 1.1.1-2). Sub-sequently, with an special emphasis on the oxymoron, the elocution mechanisms are analyzed: the rhetoric word with which Augustine gives an account of the divine Word, the Verbum that was made flesh. These rhetorical tools stand out in two ways. First, by their obliquity, peculiar to a language that ceaselessly seeks to extrapolate its limits, finding a certain new way to say with art, according to Quintilians definition of figure. Then, by its unaccustomed silence, peculiar to a saying that nothing says, in its aspira-tion to express the inexpressible, and by not saying it says more than if it had much said. And that is what is named a rhetoric of silence: one that does not resign itself to not saying the unsayable and intends to overcome the limits imposed by a reductive gender of discourse which denies any possibility of saying what is considered to be ineffable, the Supreme Being, even if it sees itself obliged to perform it through a mirror, in a riddle (1Cor 13,12). Therefore, it is developed in this work a philosophical study of the rhetorical techniques utilized by the thinker of Hippo, especially the figures of speech, which are put to use as a means to overcome the limits of a strictly apophatic language, so that the Christian mission could be fulfilled, preaching the Incarnate Word.

No description available.

Centrée sur l’analyse systématique de l’oeuvre poétique de Z. Gippius, la présente thèse tâche de démontrer que le mythe de l’androgyne sous-tend la poésie de cet auteur et permet de la lire comme une première mise en action d’un projet utopique d’humanité transfigurée. La thèse procède des points de convergence entre les thèmes propres aux réflexions utopiques (personne, amour et société) et les principales situations discursives de la poésie lyrique. Aussi se structure-t-elle en trois parties qui progressent de l’androgynie comme principe constitutif de la personne idéale (étudiée à travers le JE du sujet lyrique) vers la conception de l’amour androgyne (qui établit la relation entre le JE du sujet lyrique et le TU de l’allocutaire) et, enfin, vers la dimension collective de l’androgynie (avec le NOUS comme reflet d’une divino-humanité androgyne) Se penchant sur l’emploi que Gippius fait de l’antithèse, cette étude tente de saisir la démarche créatrice du poète-symboliste qui partirait d’une recherche quasi obsessionnelle des opposés pour aboutir à la synthèse universelle et se traduirait à travers le champ sémantique de l’union et de la fusion, à travers la place stratégique en fin de texte des mots et des séquences qui expriment cette sémantique et, surtout, à travers l'emploi de l’oxymore et du paradoxisme, tous deux relevant de la coincidentia oppositorum dont le mythe de l’androgyne est une des manifestations.C’est à un véritable acte démiurgique que l’on assimilerait l’écriture de Gippius au fil de laquelle, grâce à la fluidité des genres et des incarnations des principes masculin et féminin l’androgynie devient le principe fondateur de l’univers poétique tout entier. / By systematically analysing the poetry of Zinaida Gippius, this thesis attempts to show that the myth of the androgyne underlies the poet’s work, letting it be read as the initial stage of implementation of a utopian scheme of transfigured humanity. The thesis proceeds from the points of convergence of the themes characteristic of utopian thinking (person, love and society) and the principal discursive situations found inlyric poetry. It is ordered in three parts, progressing from the androgynous as a constitutive principle of the ideal human being (examined through the lyric subject I) to the conception of androgynous love (establishing the relationship between the lyric I and the YOU addressed), and finally to the collective dimension of theandrogynous (where the WE is the reflection of an androgynous humanity-divine).Considering the use Gippius makes of antithesis, this study attempts to grasp the symbolist poet’s creative process, which appears to spring from an almost obsessive search for opposites, and to lead to universal synthesis, as translated through the semantic field of union and fusion, through the strategic positioning at theend of the text of the words and sequences that express this semantic field, and especially through the use ofthe oxymoron and the paradox, both being part of the coincidentia oppositorum of which the myth of the androgyne is one manifestation.The writing of Gippius can be likened to a veritable demiurgic act via which, thanks to the fluidity of the genders and the incarnations of the two fundamental principles – the masculine and feminine – the androgynous becomes the founding principle of the whole poetic universe.

[pt] É importante diferenciar o Maquiavelismo do Maquiavelianismo. O primeiro está baseado na crença de que todos os meios disponíveis são justificáveis para ascender e manter o poder, ainda que imorais; enquanto o outro consiste na verdadeira essência do pensamento de Nicolau Maquiavel, trazer as lições deixadas pelos antigos para os tempos moderno, principalmente no que consiste a chamada liberdade republicana. Isto faz total sentido se enxergarmos a renascença como o período de substituição da vida passiva, marcada pela pura reflexão espiritual e contemplação divina, pela vida ativa em que o homem assume uma atividade criadora perante o mundo, não apenas nas artes como nas instituições políticas. Essa é a pratica do viver civiles, em que toda forma de organização social é moldada pela própria comunidade com o objetivo de aprimorar o convívio social. Esta noção está na própria essência do movimento do humanismo cívico que marcou todo o período da Renascença. É sob esta perspectiva que devemos interpretas a obra de Nicolau Maquiavel. O príncipe novo nada mais é que a forma alegórica desta engenharia institucional que posteriormente ganharia a alcunha de Poder Constituinte, mas já estava presente na dinâmica renascentista. Ainda segundo Maquiavel, o príncipe novo necessariamente assumiria a forma de um Oxímoro, figura alegórica em que duas partes de natureza opostas se unem contraditoriamente em um todo harmônico. Aqui, ele se refere aos pequenos e aos grandes que em uma eterna disputa, sempre dentro de um determinado arcabouço institucional, colaboram para aprovar leis uteis para o beneficio mutuo de toda a sociedade. Este processo consiste na fundação continua que deve ser encarado como a próprio essência do poder constituinte que possuía uma natureza invariavelmente aberta. É assim que devemos ler as referencias ao governo misto ao longo de toda a obra maquiaveliana. A figura do Oxímoro exclui qualquer associação do pensamento do secretário florentino com o fenômeno populista, ao menos se levarmos em consideração a definição dada por Laclau em a Razão Populista. O populismo é marcado pela ascensão de uma particularidade (plebe) e sua consolidação como totalidade (populus), enquanto Maquiavel propôs com a cooperação ainda que forçada entre os dois polos antagônicos da sociedade com a manutenção de suas respectivas funções sociais. Entretanto, podemos identificar no conceito de virtù, a vagueza conceitual necessária para caracterizar o conceito de significante flutuante. Isto explica a facilidade das mais diversas correntes ideológicas em se apoderar do legado do secretário florentino em prol de uma causa própria. Ironicamente, Maquiavel parece ter aberto a caixa de pandora do populismo, ainda que contra a própria vontade. / [en] It is important to distinguish the Machiavellianism from the Machiavellian commonwealth. The first is based on the believe that all available means are justifiable to ascend and preserve power, yet imoral; while the other consistes on the true essence of Nicolà Machiavelli s thought: apply the leassons let by the ancient to modern times, specially about the so called republicana liberty. It makes all sense if we analyse the renaissance as the moment of substituition of the passive life, marked by purê spiritual reflexion and divine contemplation, for the active life that the man adopts a creative active before the world, not just in the arts as the political instituitions as well. This is the practice of the viver civiles in which all the forms of social organization are shaped by the own community. in order to improve the social life. This concept is in the own essence of the civic humanism that forged all the period of the Renaissance. It is under this perspective that we should interpret all the Machiavellian work. The príncipe novo is just the alegorical form of the popular statecraft that would later be named constituitional power, but it was already present in the renascence dynamic. Accorduing to the florentina secretary, this príncipe novo would necessarily assume the shape of an Oxymoron, figure of speech in which two parts of opposite nature contradictorily unite in a harmonious whole. Here, he refers to the eternal dispute among the small and the big when operete inside a framework tend tocooperate aproving useful laws for the whole civil society. This process consists in the continuos foundation and caracterizes the own essence of the constitucional power which always have an opened nature. That is the way we should read the references to the mixed government all along the machiavellian works. The Oxymoron figure exculpes any association of the machiavellian Thoughr to the populista phenomenom, at least if we consider the definition given by Ernesto Laclau in his Razão Populista. The populism is caracterized by the ascention of a particularity (plebe) and it s consolidation as totality (populus), while Machiavelli proposed the cooperation yet forced between two antagonical Poles with the preservativos of their respectiva social functions. Nevetheless, we might identify in the concept of virtù, enough conceptual vaporousness to classify it as a flowing significant. It explains the easiness with the most diverse ideologia corrents apropriated from the Machiavellian Legacy. ironically, Machiavelli seemed to have opened the populism pandora box, yet unwittingly.

Geoffrey Hill’s The Orchards of Syon (2002) occupies a contradictory position in twenty-first century poetry in being a major religious work in a post-religious age. Contemporary secular and atheistic insistence on the fundamentally crafted and flawed nature of religious faith has led Hill not to the abandoning of religious vision, but to a theologically disciplined approach to syntax, grammar and etymology. This dissertation examines Hill’s claim to a poetics of agnostic faith that mediate his alienation from a cynical and debased Anglophone contemporaneity. The oxymoronic nature of a faith co-existent with existential loss is the primary focus. The semantic distinction between paradox and poetic oxymoron is examined, and the agonistic and aporetic dimensions of the oxymoron are considered as affording theological significance. Poetic oxymoron as site of both foolish babbling and Pentecostal exuberance is made explicit, as is Hill’s relation to the oxymoronic nature of beatitudinous expression and the Kenotic Hymn. Hill’s reading of and relation to other theologically engaged poets is outlined. Thomas Hardy’s tragic-comic vision, Gerard Manley Hopkins’ restrained rapture in ‘The Windhover’, and T. S. Eliot’s expression of kenotic dissolution in ‘Marina’ are read as precursors to Hill’s revisionary God-language. William Empson’s significant difficulties with aspects of Hopkins’ and Eliot’s poetics is appraised as evidence of an oxymoronic and theological dimension within poetic ambiguity. Hill’s imperative to embody and enact theological vision and responsibility is tested in a reading of The Orchards of Syon. Paul Ricoeur’s perception of the religious significance of atheism is provocation for my own creative practice, as is the performative theology implicit in both Graham Shaw’s hermeneutic approach, and Hill’s visionary philology. Creative process draws on Simone Weil’s notion of decreation, the kenotic paradigm as exemplified in the life and writings of Dietrich Bonhoeffer, and the continuing secular vitality of the apostrophic lyric mode.