In this essay, Ralph C. Wood's religious-philosophical interpretation of LotR has been analyzed, with emphasis upon his conclusions about evil and sin in LotR. Some of Wood's claims about evil and sin in LotR have been applied upon the character Boromir, in order to show how sin is manifested as truth-transgression, pride, avarice, and misdirected love. A theoretical section is presented in order to define the concepts of sin, mimetic desire, and evil. The literary analysis focuses upon the character Boromir; the relevant works of literary scholas Ralph C. Wood and René Girard have been chosen as points of reference in this analysis. Attention is also given to an article by the historian Stephen Morillo, in the analysis of Norse pagan and Christian interpretations. It has been argued that a Christian reading of LotR, contrary to Morillo's standpoint, is possible.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Comparison of Philosophies of Jan Ámos Komenský and René Descartes The aim of this work is comparison of philosophies of Jan Ámos Komenský and René Descartes based on their essential works, i.e."Labyrint světa a ráj srdce" (The Labyrinth of the World and the Paradise of the Heart) and "Úvahy o první filozofii" (Meditations on First Philosophy), in which God's existence and the difference between the human soul and body are proved. The philosophy of both contemporaries originated in the 17th century on the background of the Thirty Years' War and the Counter-Reformation. The rationalism of René Descartes, which starts Cartesian thinking, seems to be substantially different from the philosophy of Komenský based on Neoplatonism and Christianity. In the thought of Descartes analysis, mathematical operationalism, is principal, whereas Komenský synthesizes and puts the whole together. The first chapter of the thesis deals with the lives, period and works of Komenský and Descartes. It is possible to find significant similarities in their life stories. The second chapter deals with the interpretation of "The Labyrint of the World and the Paradise of the Heart" and the interpretation of "Meditations of First Philosophy", in which God's existence and the difference between the human soul and body are proved....

Though Byron is known for his provocative denials of the importance of Shakespeare, his public derogations of the early modern playwright are in fact a pose that hides the respect he had for the playwright’s powerful poetic vision, a regard which is recorded most comprehensively in the Shakespearean references of Don Juan. Byron imitated Shakespeare by repeating and adapting the older poet’s observations on the imitative nature of desire and the structure of emulous ambition as a source of violence. His appropriations make his work part of the modern shift away from earlier European societies, wherein ritual means of mitigating desire’s potentially inimical impact on human communities were supplemented with an increased reliance on market mechanisms to defer the effects of emulation and resentment. Finding himself among the first modern celebrities, Byron deploys Shakespeare’s representations of desire to trace the processes that produced the arc of his own fame and notoriety. Drawing on his deep knowledge of Shakespeare, Byron’s poetic vision—in its observations on the contagious nature of desire—exhibits elements of Shakespeare’s own vivid depictions of imitation as a key conduit for his characters’ cupidity, ambitions, and violence. Exploring how he plays with and integrates these representations into his letters, journals, poetry, and plays, my dissertation investigates Byron’s intuitions on the nature of human desire by focusing on his engagement with one of literature’s greatest observers of human behaviour, Shakespeare.

Orientador: Prof. Dr. Paulo Tadeu da Silva / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Filosofia, São Bernardo do Campo, 2018. / A presente dissertação tem como objetivo relacionar, do ponto de vista das Regras para a direção do espírito, a epistemologia, o método e a nascente filosofia natural cartesiana por meio da seguinte pergunta norteadora: como Descartes elaborou a hipótese das naturezas simples materiais, como elas se relacionam com o método e a sua aplicabilidade? Para tanto iniciamos pela discussão sobre quais seriam para Descartes as bases, dentre elas a matemática, para o conhecimento universal acerca das coisas contingentes. Depois, abordamos as naturezas simples, com ênfase nas naturezas simples materiais, a sua importância para a percepção dos objetos corpóreos e a sua relação com os objetos da matemática. Em seguida, investigamos o papel da experiência (sensorial) no processo de obtenção do conhecimento. Na sequência, analisamos a relação entre o intelecto e a imaginação e o seu papel na conciliação do geral ou universal (naturezas simples materiais) com o particular (cada objeto corpóreo). Por fim, foi realizada uma breve discussão a respeito da possibilidade de a natureza simples material extensão ser intuída e a existência da extensão fora de nós ser deduzida sem qualquer contato com um objeto corpóreo. / This dissertation has the aim of relating, from the point of view of the "Rules for the direction of the Mind", the epistemology, the method and the emergent Cartesian natural philosophy through the following guiding question: how did Descartes elaborate the hypothesis of the simple material natures, and how do they relate to the method and its applicability? For this purpose, we iniciate a discussion about the possible bases considered by Descartes for the universal knowledge about the contingent things, including mathematics. Further, we approach the simple natures focusing on the simple material natures and their importance for the perception of the tangible objects, as well as their relation to the mathematical objetes. Subsequently, we investigate the role of experience (sensorial) in the process of acquiring knowledge. After that, we analyse the relationship between the intelect and the imagination, and its role in reconciliating what is general or universal (simple material natures) with what is particular (each tangible object). Finally, we perform a brief discussion related to the possibility of both perceiving the simple material nature of extension and deducing the extension outside us without any contact with a tangible object.

For over 200 years “René&rqduo; Chateaubriand's short fictional interlude in his grand argument for the restoration of Christianity after the French Revolution, has been read as the founding text of the French Romantic movement. While this text did in fact serve to define many of the characteristics of French Romantic literature, simply labeling it as such is anachronistic and obscures the more profound philosophical and theological claims Chateaubriand was actually attempting to illustrate. After an examination of the discrepancy between the author's intentions and the general perception, this study will briefly consider some of the traditional readings of “René” specifically in an effort to expose the inadequacies that have led to misinterpretation. At this point, an analysis of evolving philosophical and aesthetic ideals in the European tradition, particularly focusing on how Chateaubriand incorporated them into his Christian model, will reveal “René” as the author intended. While Chateaubriand has rightly been considered an anti-Enlightenment thinker, this assessment exposes a generally unnoticed and decidedly anti-Romantic tendency in his writings. Once restored to these original literary and philosophical contexts “René” coincides quite clearly with Chateaubriand's efforts to reinstate an eclectic, modernized, and aesthetically grounded form of traditional Christianity. Furthermore, it can finally be understood as an anticipatory effort aimed at disparaging rather than encouraging the burgeoning Romantic sentiment.

La noción de idea en Descartes es uno de los términos trasversales en el conjunto de su obra y muestra una nueva consideración al respecto de lo anímico y de su relación con lo material. Procurar negar el rol fundamental de las ideas cartesianas nos dejaría sin la capacidad de comprender una de las obras más importantes de este autor, en la cual nos centraremos en el presente trabajo: Meditaciones metafísicas. La noción de “idea”, que recibe un tratamiento detallado recién en la tercera de las meditaciones, nos sirve como elemento fundamental para la comprensión del conjunto del texto, al punto que incluso las dudas escépticas de la primera meditación pueden ser vistas como el despliegue de un camino hacia el descubrimiento del terreno del cogito, región de una clase de los entes puramente espirituales, que son las ideas

Работа посвящена изучению проблематики интерпретации и перевода поэзии французского поэта и участника Сопротивления Рене Шара. Материал исследования составили шесть его стихотворений из поэтического сборника «Fureur et mystère». В первой части работы рассматривается поэтика Рене Шара. Сначала приводится краткая биография поэта для понимания основных тем его творчества. Затем на примере отдельных стихотворений рассматриваются четыре поэтические формы, доминирующие в творчестве поэта: стихотворение в прозе, верлибр, фрагмент и песня. Во второй части работы рассматриваются две классификации поэтических переводов, необходимые для дальнейшего исследования, а также шесть принципов перевода, выделенных переводчиком и теоретиком перевода С. Ф. Гончаренко. Затем анализируются некоторые опубликованные переводы стихотворений Рене Шара, выполненные М. Н. Ваксмахером, С. Ф. Гончаренко, В. М. Козовым, М. П. Кудиновым и А. В. Марковым. Производится попытка оценить, насколько эти переводы адекватны оригиналу. Переводные тексты отбирались по следующим критериям: максимальная герметичность, сложный ритм, нерегулярная рифма и интертекстуальность. В третьей части работы приводится анализ шести стихотворений Рене Шар и их перевод. К переведенным стихотворениям составлен комментарий, отображающий возможные пути интерпретации данных текстов и, соответственно, обоснование избираемой стратегии перевода. Представлен алгоритм работы над текстом, учитывающий особенности поэтики Рене Шара: сначала предпринимается попытка дешифровки текстов с учетом биографии поэта и историко-культурного контекста создания стихотворений, затем рассматриваются особенности передачи ритма, рифмы, фоники, лексики и синтаксиса оригинала на русский язык. Результаты исследования могут быть использованы при дальнейшей работе над переводами стихотворений Рене Шара. / The current thesis deals with the problems of interpretation and translation of poetic works of the French poet and the participant of the Resistance, René Char. The study focuses on six of his poems from the poetic collection “Fureur et mystère”. The first part of the work is devoted to the poetics of René Char’s verse. It opens with a short biography, providing some insight into where the main themes of his work may proceed from. Consequently, by example of selected poems, four poetic forms that dominate the poet’s work are considered: a poem in prose, a vers libre, a poetic fragment, and a song. In the second part of the paper, two theories of poetic translations are considered, which are necessary for further research, as well as six translation principles, formulated by the translator and translation theorist S.F. Goncharenko. Further, some published translations from the René Char’s oeuvre, performed by M.N. Vaksmakher, S.F Goncharenko, V.M. Kozov, M.P. Kudinov and A.V. Markov are analyzed. An attempt is made to assess whether these translations are adequate to the original. The translated texts were selected according to the following criteria: maximum “hermiticity”, complex rhythm, irregular rhyme and intertextuality. The third part of the work provides analysis of the six pre-selected poems by René Char and their translation. The translations are complemented by a commentary that reflects the possible ways of interpreting these texts and, accordingly, the rationale for the chosen translation strategy. The algorithm of text interpretation, taking into account the features of René Char’s poetics, is introduced: first, an attempt for deciphering the texts, with account for the poet’s biography and the historical and cultural context of poems in made, then the features of rhythm, rhyme, phonics, lexicon, and syntax of the original are translated into Russian. The results of the research can be used in further work on the translation of poems by René Char.

This thesis looks at the court of Anjou-Provence’s book production, under the guidance of King René d’Anjou, during the decades of the 1440’s and ‘50s. It examines four literary works of which three were authored by the prince, namely, "Le Livre des tournois," "Le Mortifiement de vaine plaisance" and "Le Livre du Cœur d’amour épris," and an anonymous translation into French of Boccaccio’s "Teseida delle Nozze d’Emilia", entitled "Le Livre de Thezeo." In this thesis, I argue that these four works, although they emerge as separate events, connect ideologically and iconographically, highlighting a set of ideas that redefines nobility for the French Early Renaissance. Applying a complex combination of approaches, my theoretical framework combines translation, emotions and worldmaking theories. My model reveals King René’s vision of gendered roles and his refined sense of true nobility that make his court’s cultural identity stand out among that of comparable French courts of the day. It also outlines René’s close working relationship with his illustrator Barthélemy d’Eyck. The structure based on the four case studies outlines aspects of the debates on love and courtly culture that developed at René’s court. Chapter One discusses the distinctiveness of the Angevin-Provençal court’s reception of Italian and antique cultures and its importance as a continuum from the Latin translations in the Parisian humanist circles in the 1400s. Chapter Two examines "La Théséïde," the only fully illustrated manuscript of the translation into French of Boccaccio’s "Teseida delle Nozze d’Emilia," analysing the central focus on Emilia as the “Dame Amaczon.” Pursuing the work’s re-envisioning of gendered roles through emotional communities, Chapter Three explores the transformation of two warriors into “nobles chevaliers” in anticipation of René’s standardisation of noble knightly values in his "Livre des tournois." In view of the prince’s age when he started his literary career, Chapter Four questions the role that religion played in his vision of masculinity and unveils the portrait of the contemplative knight in René’s "Mortifiement de vaine plaisance." The heart-centred narrative connects with the quest of the secular heart in his "Livre du Cœur d’amour épris" in Chapter Five. It reveals the knight Cuer’s re-envisioned quest through imaginary lands and its unexpected conclusion as King René’s notion of true nobility refined by spiritual love, for men and women of the Early Renaissance. In the conclusion, the cross-study of these four books highlights their symbiotic working dynamic, and the talent of Barthélemy d’Eyck, that brought together the impressive Angevin-Provençal cultural production emerging within King René’s close circles, on the eve of the French Renaissance. / Graduate

Cette étude dans le domaine de l'éthique théologique présente les premiers travaux entrepris sur l'ensemble de l'œuvre de René Simon (1919-2004) et plus précisément, de la conceptualisation d'une éthique de la responsabilité. Ce mémoire présentera d'abord les conditions de l'émergence du concept de la responsabilité comme paradigme en éthique contemporaine. Par la suite, seront présentées quelques théories récentes de la responsabilité en philosophie et théologie morale. Puis, l'étude des trois monographies de René Simon sera faite et de manière plus approfondie, l'étude d'Ethique de la responsabilité. C'est suite à l'ensemble de ce parcours qu'il sera possible d'identifier les éléments parallèles entre l'évolution de l'éthique de la responsabilité au 20e siècle et l'itinéraire intellectuel de René Simon.