Il s’agit d’examiner le rapport qui existe dans l’œuvre de René Char entre sa poésie, les peintres ses Alliés Substantiels, la peinture qu’il a pratiquée. A quelles sources a-t-il puisé ? de quelles influences relève-t-il ? En quoi ont-elles été déterminantes ? Vers quelle(s) mise(s) en pratique le conduit ce parler des images qu’est sa poésie ? Quels sont les liens qu’il construit avec ses amis peintres ? En quoi influent-ils sur sa pratique de poète, sur le regard qu’il porte sur l’œuvre peinte et sur la manière de concevoir l’espace poétique : ce mouvement du regard qui découvre autour de lui le monde ? Poésie et peinture n’aboutissent-ils pas aux mêmes questionnements dans les rapports respectifs avec la réalité, la vérité, la beauté, le dépassement, la quête d’un horizon, d’un absolu qui s’éloigne sans cesse ? Avancer, toujours avancer dit Char, mais en vue de quoi ?Une première partie : présente les dépendances sensibles de la création chez Char : son pays natal et sa symbolique, sa famille et ses souvenirs de « l’âge d’or », ses amis surgis de la nuit de la résistance, ses amis peintres, que rien ne réunit, sinon d’être à contre courant des modes, deux philosophes : Héraclite, qui met au cœur du monde « l’alliance des contraires », Heidegger qui confère à la poésie la première place. Une deuxième partie : indique les dépendances scripturales et picturales sous trois aspects. Le premier : Les théories artistiques en écriture et peinture qui ont influencé René Char, Baudelaire et Rimbaud, le surréalisme et sa proximité avec les peintres, la méditation d’Heidegger sur la vérité en art. Le deuxième : La mise en pratique du travail poétique, sa maturation. L’originalité de son travail critique sur les peintres. Le troisième : comment aphorismes et métaphores sont constitutifs de son travail poétique et pourquoi ils nécessitent une gestion de l’espace qui rejoint l’espace pictural. La troisième partie : partant de la double expérience de Char comme poète et peintre, nous montre que poésie et peinture ne peuvent se définir dans l’ordre de la préférence, puis à partir des conditions pour atteindre la vérité en art, comment pour le poète elle peut surgir : se pose la question du rapport de l’imaginaire par rapport à la réalité incréée. Enfin en lien avec le problème de l’aboutissement de l’œuvre artistique, comment peut-on en peinture et en poésie définir leur « au-delà », leurs horizons respectifs ? / This research thesis examines the relationship in the work of René Char between his poetry, painters “Alliés Substantiels” and paintings which he has done. What sources does he benefit from? Under what influences does he fall? In which senses are they determinative? How does this talk on the image develop his poetry in terms of the practice? What are the relationships he has built with his painter friends? What inspires his poetic practice, the way he looks on the painted work and his conception of the poetic space: Does this movement help him to discover the world around himself? Poetry and painting do not come to the same questions in the respective links with reality, truth, beauty, self-surpassing and the quest for a horizon and an absolute, both of which walk away incessantly. Forward, always forward Char says, but for what? The first part: this sensitive dependency of creation in Char: his homeland and its symbolism, his family and his memories of the "golden age", his friends emerged from the night of the resistance, his painter friends. Nothing brings together, if not to be against the current fashions, both philosophers Heraclitus, who puts in the heart of the world "alliance of opposites" and Heidegger, who gives poetry the first place. The second part: Written and pictorial practice shows the dependencies in three ways. The first: The artistic theories in writing and painting that influenced René Char, Baudelaire and Rimbaud; the surrealism and its proximity to the painters; and Heidegger's meditation on truth in art. The second: The practical implementation of the poetic work, his maturation. The originality of his critical work on painters. The third: How aphorisms and metaphors are constitutive of his poetic work and why they require the management of the space that joins the pictorial space. The third part: leaving the double experience of Char as a poet and painter shows us that poetry and painting cannot be defined in order of preference, and then from the conditions to reach the truth in art, how the question of the imaginary with reality and definition of uncreated reality arises for the poet. Finally, in connection with the problem of the culmination of the artistic work, how can we in painting and poetry define their "beyond", their horizons?

Durch die Verbreitung demokratischer, liberaler und sozialistischer Ideale, blieb die Gestaltung der politischen Geschehnisse im neunzehnten Jahrhundert, nicht mehr eine ausschliessliche Angelegenheit der führenden aristokratischen Klasse. Obwohl in Staaten wie Deutschland, Osterreich, Russland, die Aristokratie ihre politische Herrschaft nicht eingebüsst hatte, hatten auch die Intellektuellen (Schriftsteller, Philosophen, Journalisten, Dichter) einen weitgehenden Einfluss auf die Gestaltung der politischen Geschehnisse jener Zeit. Schon im achtzehnten Jahrhundert hatten die dichterischen und philosophischen Schriften Lessings in Deutschland, sowie die von Voltaire, Rousseau, Montesquieu und Diderot in Frankreich, weitgehend zur Änderung des sozialen und politischen Bildes Europas beigetragen. [...]

Made available in DSpace on 2016-08-29T15:08:22Z (GMT). No. of bitstreams: 1 tese_4106_Descartes-mente.pdf: 486839 bytes, checksum: bb5fd48b1a015ebe31e5a6474804785f (MD5) Previous issue date: 2010-12-02 / Esta dissertação tem como propósito a investigação a respeito das concepções contemporâneas sobre a mente, usando como referência filosófica René Descartes o pensador que inaugura as inquirições sobre o tema com suas obras Meditações Metafísicas e Tratado das Paixões da Alma. A pesquisa procurou identificar as principais implicações da metafísica cartesiana sobre a filosofia da mente, bem como demonstrar que esta última se constituiu, enquanto área de estudos distinta de outros campos filosóficos, a partir das críticas em relação ao cartesianismo. Na primeira seção é realizada uma ampla exposição do pensamento de René Descartes, com especial ênfase em suas concepções a respeito da alma (ou mente, em termos contemporâneos). Na segunda, são abordadas as primeiras críticas ao dualismo, bem como as objeções contidas nos trabalhos de Gilbert Ryle e Daniel Dennett. Na terceira seção são apresentadas abordagens não-dualistas e não-eliminativistas, tendo como foco os posicionamentos de John Searle e António Damásio. Concluiu-se que filosofia da mente seguiu um desenvolvimento linear, gradual, e, de certo modo, inevitável neste último caso, tendo em vista principalmente a forma como se originou a partir das categorias postuladas inicialmente por Descartes. Adicionalmente, foi possível concluir que o caminho de maior sucesso e com mais amplo potencial para o avanço das ciências cognitivas reside na união entre dados empíricos e conhecimento filosófico, de forma semelhante à metodologia empregada por Damásio.

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Cette thèse sur de Mgr. René Coste p.s.s. a pour but de démontrer la proximité de la pensée de ce théologien moraliste avec la pensée sociale de Karl Marx. Aussi, nous avons analysé le discours de Coste sur Marx. Marx est le penseur qui a le plus marqué l'Occident au 20e siècle. Que l'on soit pour ou contre Marx, on ne peut pas rejeter cet auteur. Coste, en tant qu'internationaliste et théologien concerné par les problèmes sociopolitiques de l'Humanité, s'est aussi intéressé à Karl Marx parce que celui-ci fut le plus grand contestataire idéologique de l'ordre capitaliste. De surcroît, il ne fut pas qu'un simple contestataire. Marx a été un penseur ayant compris ce qu'était le capitalisme et l'ordre social qui en découlait. Nombre de ses dires sont encore valables de nos jours. Il n'est pas étonnant que les chrétiens ayant des vues socialistes sur le monde s'en soient inspirés. Devant cet engouement pour un tel homme, l'Église catholique romaine a vu plusieurs de ses théologiens se pencher sur la question marxiste. Et Coste fut l'un de ces théologiens. L'humanisme de Marx transmet des valeurs qu'aucun théologien ne pourrait logiquement rejeter s'il tient compte des véritables valeurs sociales chrétiennes. D'ailleurs, c'est aussi pour cette raison que Coste a écrit énormément sur le marxisme et le christianisme. L'autre partie de la thèse concerne les idées morales qui sont proposées dans la doctrine sociale de l'Église catholique. En fait, cette thèse fera la démonstration de la proximité de Coste à la doctrine sociale de l'Église catholique. Ceci est décidément important si on tient compte du fait que l'Église catholique, voyant le succès de la pensée de Marx au sein de la classe ouvrière, s'est mise à produire une morale sociale chrétienne répondant à la dogmatique catholique romaine. Notons que Coste et son appréciation pour Marx ne se fait pas à l'extérieure de la pensée de la doctrine sociale de l'Église catholique. Comme plusieurs avant lui, Coste a travaillé la pensée marxienne et marxiste de façon à ce qu'elle soit plus acceptable pour les chrétiens et la curie romaine. Car Coste ne rejette pas les idées humanistes de Marx. Au contraire, il les promeut chrétiennement! L'humanisme chrétien peut très bien assimiler plusieurs éléments de l'humanisme marxien. Notre méthodologie consiste à démontrer les liens entre Marx en Coste en recourant aux textes de ces deux auteurs. Alternativement, on explique leurs idées pour, par la suite, faire le lien entre les idées de ces deux auteurs sur les questions concernant la morales sociales et politiques. Constamment, on travaille les mêmes thèmes afin de bien démontrer la proximité de la pensée humaniste costienne à celle de Marx. Ensuite, on recourt au même procédé pour la pensée théologique costienne et la doctrine sociale de l'Église catholique dans le but de démontrer encore une fois que Coste est près de cette doctrine de l'Église, et par conséquent, près de l'Église catholique. En somme, on a pu démontrer clairement que Coste est près de la pensée sociale et humaniste de Karl Marx. Coste est un théologien catholique ayant une réelle appréciation de Marx pour son incontestable humanisme. S'ajoutant à cela, on a pu remarquer que Coste est aussi un partisan de la doctrine sociale de l'Église catholique. De fait, la justice sociale, l'éthique néo-testamentaire et l'humanisme marxien permettent à Coste de souscrire aux principes moraux proposés par la doctrine sociale de l'Église catholique et de la promouvoir à travers son oeuvre théologique.

This thesis will engage with the relationship between justice and suffering in order to more clearly understand what being just entails and how we can theorise justice as demanding in a desirable way. Theorising this relationship will focus on the role of various conceptions of self and community to show how justice, as contextual and communal, can be demanding in a way that does not drive the self that suffers apart from those that benefit from justice. Methodologically the thesis will follow in the tradition of self-reflection in the way it was described by Alan Blum and Peter McHugh. This means that the thesis will try to understand justice and suffering by looking at the foundations of justice, or, put differently, by trying to theorise what it is that makes some instances of suffering just. To this end the argument will begin by outlining a concept of community and of justice to then begin looking at various arguments that relate justice with suffering, either explicitly or implicitly and describe this relationship as desirable. Understanding community in a way that is based on Jean-Luc Nancy’s idea of being-with-others the thesis already sets out a way of conceptualising a social actor that is essentially related to other actors. This is then used as the foundation of a community in what will be called a place. This placing of the social self will also be used to place justice and move away from justice as relying on universal principles. The thesis challenges three main arguments: a) René Girard’s justification of excessive spectacular violence against a scapegoat as a means of controlling the violent desires of a community by performing sacred and public acts of violence; b) universal principles using individualist theories of justice by John Rawls and Immanuel Kant; c) benevolence as an alternative to justice as presented by virtue ethicists and also communitarians (specifically Michael Sandel). These three theories are shown not to appreciate various aspects of justice as fairness and a community (in Nancy’s sense); particularly the silencing of difference in Girard’s false utilitarianism, the ignorance of existing injustice and suffering in Rawls’ universalism and the antagonism between the self and the universal interest in virtue ethic’s benevolence (Christine Swanton and Aristotle in particular). The thesis concludes that, in order for justice to be demanding in a way that does not disrupt a community, and in order for members of the community to suffer as part of the demands of justice, the community needs to be able to engage with itself theoretically, allowing it to commit itself to achieving justice. In this process of recognizing injustice and then pursuing fairness, a community has to be able to bind itself to its commitment in such a way that it can affirm itself as a community that is committed to justice, even if this commitment will cause some members of that community to suffer.

The study attempts to bring together the mimetic theory of René Girard and the theology of Raymund Schwager to address questions inherent in the contemporary notion of human rights. The impetus derives from the phenomenon of human violence, the universal presence of which points to a problematic that seems to defy conventional explanations and political solutions. In dialogue with Girard and Schwager, the project seeks to shed light on the causes not only of the apparent fragility of the human rights system, but also of the persistence with which large-scale human rights violations recur despite the proliferation of human rights norms. It argues that the human rights crisis is neither an accident nor a shortfall in techniques of implementation, but reflects the subconscious and collective structure of civilization. Following a description of the crisis, this investigation examines the nature of human violence, especially the contagious manner in which it works at the root of the crisis, offering understanding where conventional anthropological reflections fall short. The study argues with Girard that vengeance and retribution resonate deeply with the human psyche and easily evoke an archaic image of the divine. While this arouses moral protest in the post-modern mind, we meet here one of the fundamental issues mimetic theory elucidates, namely that it is on account of such an unconscious image of the “sacred” that vengeful violence has remained for so long a determining element in human history. In a theological key, the study presents human mimesis as a divinely constituted structure that makes possible divine/human intimacy and reciprocity. However, this exalted capacity is perverted. Human sin casts God into the image of an envious rival which corrupts the personal and structural dimensions of human sociality of which the so-called “human rights crisis” is but a contemporary manifestation. What rules the social order is not the true image of God but a resentful human projection that deceptively demands victims in exchange for peace and security. Thus “mimetic victimage” is the essential clue to the fallenness of nations and their institutions, including the institution of human rights, as well as to the fallenness of individuals in their profound alienation from God, from themselves and from one another. Nonetheless, mimesis is also a structure of hope and transcendent longing. So understood, it opens the way to a profound and practical appropriation of the meaning of Christ as the restoration of the image of God in humanity whereby rivalistic resentment, the epicenter of the human predicament, is undone through forgiveness. While there is an enabling aspect to violence when it restrains and coerces us for our benefit as we rightly fear the greater violence that might ensue in its absence, the study also argues that because mimetic human agents carry out the “deed of the law”, the human rights system cannot overcome the mimetic impulse. As a judicial system, human rights belong structurally to the same order as the system they seek to correct. This ambiguity takes on special significance in the “age of annihilation”. For the first time in history limitless violence has become feasible through weapons capable of planetary destruction so that humanity not only faces its own complicity with violence, but also the relative powerlessness of the human rights project to keep its mimetic escalation in check. This raises the central question of the study. If the institution of human rights cannot offer a rigorous critique of structural violence, let alone free humanity from complicity with it, where shall the world place its hope for a more humane future? It concludes that such a hope is not to be found in the proliferation of rights norms and their enforcement but in the transformation of human desire through the restoration of the true image of God as revealed in the Christ-event. This revelation judges as futile all attempts at human sociality that retain violence as their hidden core. Thus God’s freedom granting action in history is both revelatory and “political”: in its prophetic stance against the powers of human sin and domination, it calls humanity to its true vocation to be the image of God grounded in a new pacific mimesis that resonates freely and unflinchingly with the self-giving love of God in Christ.

La tesi investiga la relació entre l'art de René Magritte i la publicitat actual. Es vol esbrinar si durant un determinat període de temps es detecta una permanència de l'art magrittià en peces gràfiques actuals i per tant es pot determinar l'existència de "publicitat magrittiana". Per tal d'acotar aquest objectiu s'empra la metodologia de l'anàlisi de contingut amb una mostra de 6.360 anuncis editats en la publicitat impresa del dominical espanyol d'"El País Semanal" (El País). A la vegada, es realitza un recorregut comparatiu entre les etapes pictòriques i publicitàries de l'artista belga, fent una especial menció a les etapes i els objectes recurrents que formen part de l'anomenat abecedari magrittià. / This thesis makes a research on the relationship between René Magritte's art and the nowadays advertising. The main aim is to discover whether, during a certain period of time, some magrittian art influences can be detected in ads and, therefore, it can be said that the existence of the "magrittian advertising" as specific technique. To confirm this claim, the content analysis method is used with a sample of 6.360 advertisings published in the Spanish Sunday magazine "El País Semanal" (newspaper, El País). At the same time, a comparative research of the different pictorial and advertising stages of the Belgian artist has been carried out.

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Made available in DSpace on 2016-08-29T15:08:30Z (GMT). No. of bitstreams: 1 tese_9093_Dissertação versão final para UFES.pdf: 1064236 bytes, checksum: 7b1d593ecb284432921bd70e03dc507a (MD5) Previous issue date: 2015-08-27 / Este trabalho apresenta um estudo sobre o argumento ontológico desenvolvido por René Descartes e encontrado no texto da Meditação Quinta, das Meditações Metafísicas obra publicada em 1641 e que representa um marco dentro do universo filosófico por exercer grande influência nos pensadores de sua época e naqueles que lhes sucederam. Nosso estudo pretende apresentar a noção cartesiana do argumento ontológico e suas implicações na demonstração da existência das coisas materiais, e ainda, as objeções que foram realizadas contra essas ideias. Almejamos concluir que Deus é o fundamento de toda a filosofia proposta por René Descartes, visto que, para ele, a veracidade divina é condição sine qua non para validar toda e qualquer certeza que se possa adquirir. Palavras-chave: Argumento ontológico. René Descartes. Meditações Metafísicas. Deus.