ANOTATION The work deals with translation and interpretation of the original Hebrew text of Genesis 11, making the use of synchronous exegetical method. The method focuses mostly on careful observation of multi-layered meanings of Hebrew terms, direct speeches, macrosyntactical markers, parallelisms and sentence constituents. To reach deeper dimension of the text, the work also takes into account the original non-vocalized text, graphical form of the text, consonances and metathesis. One of the most significant features of this work is the attention paid to the timeless nature of Hebrew verbs, which allows to read the narrative about human desire, pride, non-hearing, illusions, inner decay and the way back to God not as a story from the past, but as a lively anthropological message.

This work deals with the symbolism of trees in the Old Testament considering the mythology of the ancient Near East, using relevant literature, concordant exploration, and synchronic and diachronic analyses of biblical texts. It aims to present an intersection of the most important aspects of the appearance of trees in the Scripture, both in a literal and figurative sense. Drawing on work with biblical and mythological texts from the ancient Near East, it presents the tree as a comprehensible symbol with strong explanatory power, which constitutes its potential to contain even the most complex messages of the Scripture and of the human condition as such.

Les mythes grecs « font signe sans signifier, montrant, dérobant, toujours limpides disant le mystère transparent, le mystère de la transparence1 ». Maurice Blanchot dans cette remarque met en valeur le mystère inhérent à tout mythe. Il en va ainsi pour le mythe de Narcisse qui a connu un succès considérable à l’époque médiévale mais dont il n’est pas aisé de fixer un sens stable. C’est de la version du célèbre poète de l’époque augustéenne, Ovide, que les auteurs médiévaux ont hérité. La richesse de la légende, conférée par les nombreux ajouts d’Ovide, leur a permis de déployer à leur tour de nombreux sens nouveaux.Narcisse est avant tout perçu comme figure amoureuse. Narcisse est l’amant malheureux qui souffre d’une passion si forte qu’il finit par en mourir. L’objet de l’amour de Narcisse est bien souvent tu et oublié dans les reprises médiévales. Peu importe finalement qu’il ait aimé une ombre, l’accent est mis sur l’intensité de son amour et surtout sur ses funestes conséquences. La passion entraîne Narcisse sur le chemin de la mort : mort de l’esprit sous le coup de la folie et mort physique. Narcisse a été un objet de choix pour la poésie de la fin’amor. Troubadours et trouvères ont réélaboré la figure de Narcisse en parfait représentant du fin amant entre les XIIe et XIIIe siècles. Par ailleurs, la figure de Narcisse entretient des liens étroits avec les représentations du mélancolique, issues des théories psychophysiologiques sur l’amour de la philosophie et de la médecine.Le mythe a également inspiré des lectures morales. En effet, tout un pan des reprises du mythe – le pan chrétien – dévoile Narcisse sous les traits d’un pécheur entaché de défauts. L’orgueil dont il fait preuve est dans la conception chrétienne laracine de tous les maux ; ce vice engendre la vanité et l’arrogance. De la fin du XIIe au XIVe siècles, les clercs font de Narcisse l’incarnation parfaite de tous ces défauts. Selon la perspective adoptée la condamnation change légèrement mais l’idée reste lamême : Narcisse est imbu de sa propre personne et en tire une satisfaction trop haute.Enfin l’eau de la source, l’un des motifs essentiels du mythe de Narcisse, a été le point de convergence de plusieurs traditions qui ont fini par s’entremêler dans les œuvres médiévales : le motif biblique de l’eau d’un côté, de l’autre les conceptions néoplatoniciennes sur le reflet et le mythe antique de Narcisse. Un réseau d’images similaires irrigue ces traditions, constitué de l’eau claire, du reflet et de la fontaine. Le "fons" antique s’est peu à peu métamorphosé en fontaine médiévale jusqu’à devenir véritable miroir. Le motif du miroir s’autonomise peu à peu par rapport à la surface des eaux. La dimension fantasmatique de l’amour de Narcisse pour son reflet s’amplifie nettement. Se voir soi-même dans un miroir constitue une expérience étrange où l’individu touche au secret de son être. Incapable de l’atteindre réellement, il voit son intimité se dérober à lui, ce qui provoque son désenchantement. Le miroir, véritable porte d’entrée sur le rêve, est un motif idéal pour figurer tous les possibles de l’acte d’écriture. C’est pourquoi certaines reprises médiévales offrent l’utopie d’un amour partagé tandis que d’autres préfèrent peindreles travers de l’être humain. Le miroir enfin se fait métaphore de l’écriture ellemême. La présence de Narcisse se réalise sous des formes plus ou moins implicites dans ces œuvres dont la portée réflexive est actualisée par le motif du miroir. / Greek myths « font signe sans signifier, montrant, dérobant, toujours limpides disant le mystère transparent, le mystère de la transparence2 ». With these words, Maurice Blanchot insists on the very mystery of all myth. It is also the case for the myth of the Narcissus that has known a considerable success in the medieval time but for which it is difficult to … a stable meaning. It is the famous Augustinian poet Ovidius myth that the medieval authors inherited. They added new meanings to the already rich legend, following the footsteps of Ovidius.Narcissus is foremost a figure in love. Narcissus is the unfortunate lover who suffers such a strong passion he dies from it. What he is in love with can be ignored in the medieval versions. Even if he loved a shadow, it is the intensity of his love and the funest consequences the texts insist on. Passion drives Narcissus on the road to death : spiritual death because of Madness et physical death. Narcissus was a prime subject for fin’amor poetry. Troubadours and trouveres made of Narcissus the perfect example of the fin amant between the XIIth and XIIIth centuries. Moreover Narcissus is the deeply linked to the representation of the melancholic that came from the psycho-physiological philosophical and medical theories of love.Moral Reading were also inspired by the myth. Indeed, Narcissus becomes a sinner full of flaws Under the Christian vision of the myth. Pride is the origin of all the flaws: vanity and arrogance are direct consequences. Narcissus becomes the perfect incarnation of these sins. Depending of the point of view the condemnation may vary but the idea is still the same: Narcissus is self-important and is too pleased with himself. Finally the water from the source, one of the most important aspect of the Narcissus mythology, became the meeting point of several traditions which interlaced in the medieval work: biblical water on one side and neoplatonician conceptions of reflection and ancient myth of Narcissus. The ancient fons transforms itself into a medieval fountain and a true mirror. The mirror becomes more and more independent from the surface of water. The phantasmatical dimension of the Narcissus love for his reflection is developed.

Made available in DSpace on 2016-04-29T13:31:25Z (GMT). No. of bitstreams: 1 Alessandro Soares.pdf: 3522090 bytes, checksum: ebd15c792d166219b17c029784c65b55 (MD5) Previous issue date: 2006-06-28 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This doctoral dissertation in Social Psychology is an intercultural study with a Political Psychology approach about the construction of the collective political consciousness of homosexuals in Brazil, Spain and Portugal beginning with the participation in the LGBT Pride Parade in each country. The LGBT Pride Parade is a mass phenomenon, a psychopolitical strategy of constructing an active citizenship of these subjects. Thus the parade functions as an instrument of bringing back the political memory of homosexuals and as a form of becoming visible in an assimilationist and hetero-normative society adverse to differences. The process of composition of this dissertation implied the conducting of field work in these three countries between 2003-2006 that resulted in 44 interviews of militants of the respective LGBT movements and of militant homosexuals in other movements and political parties. We used open interviews as our methodology and a form of free association of words with the intent of understanding the socio-historical process of each national context in other to conduct the intercultural study. The data show how political participation mediates the construction of the political subject and the collective subject. The festive elements and protest elements in more traditional forms mix in the process of the political construction of the movements themselves that act as an questioning element of the structures established aprioristically according to the interests of the dominant groups / A presente tese de doutorado em Psicologia Social é um estudo intercultural, de abordagem psicopolítica, da construção da consciência política coletiva de homossexuais no Brasil, na Espanha e em Portugal, cujo ponto de partida foi a análise da participação na Parada do Orgulho LGBT de cada um destes países. A parada do Orgulho LGBT, é um fenômeno de massa, uma estratégia psicopolítica de construção de uma cidadania ativa destes sujeitos. Assim, ela funciona como um instrumento de resgate da memória política de homossexuais e de visibilizaçao frente a uma sociedade assimilacionista e heteronormativa, avessa à diferença. O processo de construção desta tese implicou a realização de trabalhos de campo nestes três países, durante os anos de 2003-2006, que resultaram em 44 entrevistas de militantes dos movimentos LGBT e de homossexuais militantes em outros movimentos ou partidos políticos. Utilizamos a entrevista aberta como metodologia e um esquema de livre-associação de palavras com vistas à busca da compreensão dos processos sócio-históricos próprios de cada contexto nacional, a fim de, então, realizarmos o estudo intercultural propriamente dito. Os dados aqui tratados nos mostraram como a participação política medeia a construção do sujeito político e do sujeito coletivo. Assim, elementos de festa e de protesto em moldes mais tradicionais se mesclam no processo de construção política dos próprios movimentos, que atuam como um elemento questionador das estruturas estabelecidas, aprioristicamente, segundo os interesses dos grupos dominantes

Desde al menos Aristóteles, los filósofos han intentado explicar la vida pasional de los seres humanos. El propósito de esta tesis es mostrar la teoría de las pasiones de Hume. Este autor analiza las pasiones como parte de la ciencia del hombre en el Libro II del Tratado de la naturaleza humana y en la posterior Disertación de las pasiones. Hume distingue entre pasiones “serenas” y “violentas”. Él identifica los sentimientos estéticos y morales como ejemplos de pasiones “serenas”, mientras que caracteriza como “violentas” sentimientos tales como “el amor y el odio, la alegría y la tristeza, el orgullo y la humildad”. A continuación, Hume divide las pasiones en “directas”, que surgen inmediatamente del placer o dolor, e “indirectas”, que proceden de los mismos principios, pero en conjunción con otras cualidades. El análisis de las pasiones “indirectas” es original de Hume. Por otro lado, al igual que las teorías epistemológica y moral, la explicación de las pasiones en Hume constituye una teoría crítica. / From at least Aristotle on, philosophers have attempted to explain the pasional life of human beings. The purpose of this paper is to show Hume´s theory of the passions. Hume analyzes passions as part of his science of man in Book 2 of A Treatise of Human Nature and subsequent Dissertation on the Passions. Hume distinguishes between “calm” and “violent” passions. He identifies the aesthetic and moral sentiments as examples of “calm” passions, while characterizing as “violent” sentiments such as “love and hatred, grief and joy, pride and humility”. Next, passions are divided by Hume into “direct”, which arise immediately from pain or pleasure and “indirect”, which proceed from the same principles, but by the conjunction of other qualities. The analysis of “indirect” passions is original. On the other hand, like epistemological and ethical theories, Hume´s account of passions is also a critical theory.

Cette thèse met en place un modèle permettant d'éclairer les relations entre certaines émotions et la conception que l'individu a de lui-même. En accord avec plusieurs auteurs contemporains, il est ici défendu que la conception que nous avons de nous-mêmes prend la forme d'une identité narrative, c'est-à-dire d'un récit à l'intérieur duquel nous tentons de structurer une image cohérente de nous-mêmes. Dans cette perspective, il est proposé qu'un certain groupe d'émotions, comme la honte, la fierté et la culpabilité, occupe une place cruciale dans la formation et le maintien de cette image de soi. Ces émotions, que nous pouvons qualifier d'auto-évaluatives, conditionnent l'évaluation que nous avons de nous-mêmes et participent ainsi à l'élaboration de la représentation de soi. De plus, cette identité narrative, à travers un certain aspect normatif et motivant, vient à son tour influencer la manifestation et l'interprétation de ces mêmes émotions. Ainsi, la relation entre les émotions auto-évaluatives et l'identité narrative serait une relation complexe d'influences réciproques. L’analyse proposée devrait permettre de clarifier de nombreux aspects de l’économie mentale de l’individu et plus particulièrement de sa motivation morale. / This thesis establishes a model to understand the relationships between a particular group of emotions and the individual's conception of himself. In agreement with several contemporary authors, it is argued here that the conception we have of ourselves is in the form of a narrative identity, namely a story within which we try to structure a coherent picture of ourselves. In this perspective, it is proposed that a group of emotions, including shame, pride and guilt, occupies a crucial place in the formation and maintenance of this self-image. These emotions, that we can describe as self-assessing, would influence self assessment and thus participate in the development of self-image. Moreover, narrative identity, through a normative and motivational aspect, will in turn influences the manifestation and interpretation of those same emotions. So the relationship between emotions and self-assessing narrative identity is a complex relationship of mutual influence. The analysis proposed here might help clarify many mental processes of the individual and especially its moral motivation.

En accusant le théâtre de familiariser les consciences avec le « langage des passions », Pierre Nicolelançait une condamnation à laquelle Manzoni a pensé pendant longtemps. Le thème de la moralitélittéraire offre un point de vue intéressant sur le rapport dynamique – et largement inexploré – deManzoni à l’égard des auteurs reconnus de philosophie morale du XVIIe siècle français. En fortesyntonie avec ces derniers sur des contenus étiques et religieux, et des questions de méthode et delangue, Manzoni mena une analyse passionnée du statut moral des lettres, dans un dialogue directavec des censeurs qu’on n’avait jamais démenti. Cette étude porte donc à démontrer que sa réponse,esquissée dans un discours critique inachevé, arriva par le biais même de son oeuvre, par laquelle ilproposait une façon de représenter les passions comme une noble fonction cognitive, avec unvocabulaire qui se réfère largement au lexique des orateurs mêmes, dont les sermons conservés danssa bibliothèque montrent d’importants signes de lecture. Cette étude, qui commence avec unevérification documentaire, est structurée en deux parties. La première se compose d’un chapitre dédiéaux positions sur la moralité de la littérature entre le XVIIe et le XIXe siècle, suivi de trois autres oùnous analysons le langage manzonien des passions par mots clés (l’orgueil, l’amour-passion et lacolère), orientés par les traités du XVIIe siècle, les tragédies de Corneille, Racine et Shakespearecommentées par Manzoni, ainsi que les textes du dramaturge et romancier. La deuxième partie secompose d’un lexique manzonien de la vie morale. / By accusing the theatre of teaching the dangerous «language of passions», Pierre Nicole gave ajudgment of which Manzoni would have thought for a long time. The subject of literary moralityoffers an interesting view of Manzoni’s relationship – dynamic and largely unexplored – with thebeloved authors of the French 17th century moral philosophy. Being in strong syntony with them inethical and religious issues, as well as in questions of method and language, Manzoni carried out apassionate analysis on the role of literature, in a direct dialogue with censors, who, according to him,hadn’t received a convincing answer to that point of time. This study shows that Manzoni’s response,outlined in an unfinished speech, proposed a concrete way of representing passions, not as futile andtoxic divertissement, but with a noble cognitive function. We attempt to show that Manzoni’slanguage owes much to the moralists themselves, «deep and keen observers of the human heart»,whose sermons, stored on the shelves of Manzoni’s library, contain various signs of reading.Concieved as a philological and documentary analysis of these texts, the thesis is structured in twoparts. The first one consist of a chapter that deals with the 17th-19th centuries positions on literarymorality, and other three chapters which are dedicated to Manzoni’s vocabulary of pride, love-passionand anger. This analysis takes into account the 17th century moral treaties, the tragedies of Corneille,Racine and Shakespeare, all commented by Manzoni, and Manzoni’s playwright and novelist’sproduction. The second part consists of an essay dealing with a Manzonian lexicon of the words ofthe moral life.

Through a liberal feminist perspective, this essay investigates the unconventional marital views of the fictional character Elizabeth Bennet. These are analyzed and compared to the traditional marital opinions of the novel's social environment. Moreover, the historical context is important in understanding the marital views in Pride and Prejudice, because the novel was written at a time when the views toward marriage changed significantly. This paper argues that Elizabeth's behavior, expressed opinions and rejections of Mr. Collins's and Mr. Darcy's proposals depict liberal feminist ideas of marriage. The literary review supports the notion that there are two contrasting attitudes toward marriage in Pride and Prejudice: the traditional view and the liberal feminist view. The thorough examination of Elizabeth Bennet's character strongly suggests that she represents the unconventional view of marriage, while characters such as Mr. Collins, Mrs. Bennet, and Charlotte Lucas voice the traditional view of marriage. Furthermore, an analysis of Mr. Darcy's attraction toward Elizabeth indicates that it was Elizabeth's very unconventionality that made Mr. Darcy fall in love with her.

This thesis is concerned with the question how can be the phenomenon of Maidan (Майдан) understood. Maidan here is primarly seen as an event in which people risked their lives. The first chapter deals with eyewitness testimonies of demonstrators in the Ukrainian Revolution of Dignity (Революція Гідності), who were present in the directly life-threatening places (Hrushevsky-st, Institutska-st). In the second chapter Hegel's concept of the certification by death (die Bewährung durch den Tod) is inquired, as present in a lordship and bondage theory (Herrschaft und Knechtschaft) in the Phenomenology of Spirit (Phänomenologie des Geistes). In the third chapter, through the presentation of the author's own speculative theory of the Gates, we will try to prove that life can be deployed in two ways, from a position of humility and a position of pride. Within proving this statement we differentiate Hegelian concept of certification by death using Augustine's notion of pride (superbia). At the end of the inquiry we will try to answer the initial quastion, what Maidan is in light of the act of deployment of life.

El objetivo de la presente investigación fue analizar la relación entre clima laboral y liderazgo transformacional, así como identificar el nivel de clima laboral y liderazgo transformacional en la empresa Banco Azteca del Perú, delimitándonos en la zona geográfica: gerencias de servicios financieros (GSF) y gerencias de créditos y cobranzas (GCC) de mayor y menor rotación. La presente investigación es de tipo descriptivo correlacional, se especifica las dimensiones y características de la variable clima laboral y liderazgo transformacional y su relación. Así mismo el diseño de la investigación es no experimental con un enfoque mixto. Participaron 300 colaboradores, a quienes se aplicó dos instrumentos: encuesta de Clima Laboral según modelo GPTW y el cuestionario multifactorial de liderazgo Transformacional MLQ 5X 4s de B. Bass y B. Avolio adaptado al objetivo de la presente la investigación. Los resultados arrojaron que existen correlaciones significativas y positivas entre Clima Laboral y Liderazgo Transformacional. Se identificó que en las GSF y GCC de menor rotación el nivel de clima laboral es mayor, a diferencia de GSF y GCC de menor rotación, el clima laboral es menor. Así también se identificó que el nivel de liderazgo transformacional es mayor en las GSF y GCC de menor rotación que en las GSF y GCC de mayor rotación. En cuanto a las recomendaciones se sugiere realizar un taller de coaching ejecutivo para los líderes, así como el diseño y aplicación de programas y talleres para reforzar el clima laboral y el liderazgo transformacional. Palabras claves: clima laboral, liderazgo transformacional, respeto, credibilidad, imparcialidad, orgullo, compañerismo, influencia idealizada, motivación inspiracional, estimulación intelectual, consideración individualizada. / The objective of the present research was to analyze the relationship between the work environment and the transformational leadership, as well as identify the level of work environment and transformational leadership in the company Banco Azteca del Perú, delimiting us in the geographical area: financial services management (FSM) and credits and collections management (CCM) of greater and lesser rotation. The present research is of a descriptive correlational type, specifying the dimensions and characteristics of the variable work environment and transformational leadership and their relationship. Likewise, the research design is non-experimental with a mixed approach. 300 collaborators participated, to whom two instruments were applied: Work environment survey according to the GPTW model and the multifactorial questionnaire of transformational leadership MLQ 5X 4s of B. Bass and B. Avolio adapted to the objective of the present investigation. The results showed that there are significant and positive correlations between work environment and transformational leadership. It was identified that in the FSM and CCM with lower rotation the level of work environment is higher, unlike FSM and CCM with lower rotation, the work environment is lower. Thus, it was also identified that the level of transformational leadership is higher in the FSM and CCM with less rotation than in the FSM and CCM with greater rotation. As for the recommendations, it is suggested to conduct an executive coaching workshop for leaders, as well as the design and implementation of programs and workshops to reinforce the work environment and transformational leadership. Keywords: work environment, transformational leadership, respect, credibility, impartiality, pride, companionship, idealized influence, inspirational motivation, intellectual stimulation, individualized consideration. / Trabajo de investigación