Thesis--Faculté des Lettres de Paris. / "Catalogue général des oeuvres manuscrites de Cremonini": p. [367]-386. Includes bibliographical references.

Marcus Antonius Muretus, qui inde ab anno 1526o usque ad 1585m vixit, modo Latine scribendi optimo insignis et apud aequales et apud posteriores, annis 1573o et 1574o duas in Platonis Rem Publicam habuit orationes. Quarum contextus in hoc opusculo editur commentariisque instruitur, quo facilius a lectoribus hodiernis sententiae Mureti legantur ac intellegantur. In praefatione quam huic opusculo adiunximus tractantur etiam res nonnullae quae ad Muretum et ad has orationes de Platone habitas pertinent: videlicet Mureti vita, sententiae eius ad artem rhetoricam pertinentes, controversiae Ciceronianae, studia Graeca, philosophia Platonica, denique ratio quam ad hanc editionem perficiendam adhibuimus. Marc-Antoine Muret (1526-1585), known for his excellent Latin style both in his own time and afterwards, gave two inaugural speeches on Plato's Republic in 1573 and 1574. This thesis contains an edition of these speeches together with a commentary aimed at readers comfortable in classical Latin but perhaps new to Muret and to Renaissance studies. In a preface to this edition and commentary, several subjects are discussed that are essential for understanding Muret and the context of these speeches: Muret's life; his views on rhetoric and the imitation of Cicero; Greek studies in the Renaissance; Platonic philosophy; and finally the text of the speeches and other matters specific to this edition.

Esta tese investiga, basicamente, o ensaio Que philosopher cest apprendre a mourir, do filósofo francês Michel de Montaigne. Trata-se de um texto que é um bom exemplo da forma como o filósofo rejeita a tradição metafísica na qual o problema da morte sempre foi pensado (dos pensadores gregos aos teólogos medievais). Mostramos que a originalidade deste ensaio reside no fato de Montaigne nos aconselhar a seguir a natureza (a qual, em seu pensamento, se confunde com o costume), e, com isso, ele se distancia não só da dogmática cristã, mas também dos ensinamentos morais helenísticos. / This thesis investigates, basically, the essay Que philosopher cest apprendre a mourir, by the French philosopher Michel de Montaigne. This is a text which is a good example of how the philosopher rejects the metaphysical tradition in which the problem of death has always been thought (from the Greek thinkers to Medieval theologians). We show that the originality of this essay lies in the fact of Montaigne in advising us to follow the nature (which, in his thoughts, it confuses with the usual), and thus, it gets away not only from the Christian Dogmatics, but also from the Hellenistic moral teachings.

Habil.-Schr.--Freie Universität--Berlin, 1994. / Bibliogr. p. 267-300. Index.

Esta tese investiga, basicamente, o ensaio Que philosopher cest apprendre a mourir, do filósofo francês Michel de Montaigne. Trata-se de um texto que é um bom exemplo da forma como o filósofo rejeita a tradição metafísica na qual o problema da morte sempre foi pensado (dos pensadores gregos aos teólogos medievais). Mostramos que a originalidade deste ensaio reside no fato de Montaigne nos aconselhar a seguir a natureza (a qual, em seu pensamento, se confunde com o costume), e, com isso, ele se distancia não só da dogmática cristã, mas também dos ensinamentos morais helenísticos. / This thesis investigates, basically, the essay Que philosopher cest apprendre a mourir, by the French philosopher Michel de Montaigne. This is a text which is a good example of how the philosopher rejects the metaphysical tradition in which the problem of death has always been thought (from the Greek thinkers to Medieval theologians). We show that the originality of this essay lies in the fact of Montaigne in advising us to follow the nature (which, in his thoughts, it confuses with the usual), and thus, it gets away not only from the Christian Dogmatics, but also from the Hellenistic moral teachings.

Orientador : João Carlos Kfouri Quartim de Moraes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-06T14:12:42Z (GMT). No. of bitstreams: 1 Cantos_Jorge_D.pdf: 2955048 bytes, checksum: 3aff3469be90f1800d7e541875fb21c3 (MD5) Previous issue date: 2006 / Resumo: O objeto desta tese de doutorado sobre Erasmo de Roterdã e a Pedagogia da Sátira é analisado como uma problemática da teoria pedagógica e da história da filosofia. O período abrange o final do século XV e os primeiros decênios do século XVI, os quais correspondem à época do humanismo renascentista que cria as bases do pensamento moderno. A investigação consiste, a partir das intenções e justificativas que Erasmo apresenta em seu Epistolário, no tratamento analítico de sua sátira, a qual se insere no discurso metafórico, com o intuito de evidenciar seu alcance pedagógico. Ou seja, a sátira é como um jogo, como um faz-de-conta, capaz de, mostrando jocosa e construtivamente as verdades, cumprir papel pedagógico transformador. Delimitada ao primeiro tomo do Epistolário de Erasmo, que abrange os anos de 1484 a 1514 e 1523, lido e traduzido diretamente do latim, esta pesquisa tem por objetivo comprovar que, para ele, a sátira, necessariamente vinculada à sua proposta educacional, consiste em um método tão privilegiado de educação a ponto de se poder pensá-Ia como pedagogia. Para isso, indo às fontes e adotando o método demonstrativo, nesta pesquisa exploratória são utilizadas determinadas categorias de análise: paradigmáticas (correção, natureza, desapego, humildade, verdade, sinceridade, adaptação, letras humanas, letras divinas, virtude, piedade, proposta educacional, método, amizade, sodalício, utilidade e moral), lingüísticas (provérbios, diálogo, ironia, elogio, comédia, apologia, diatribe e libelo) e pedagógicas (paciência, moderação, liberdade, mordacidade, riso, construção e pedagogia). O resultado é a constatação de que no primeiro tomo de seu Epistolário ele reafirma, sistematicamente, intenções, argumentações, definições, idéias e expressões de absoluta valorização da linguagem figurada, particularmente da sátira. Isso autoriza o pesquisador a pensar a sátira de Erasmo, e por extensão a do Renascimento, como a proposta de uma nova e necessária pedagogia, a pedagogia da sátira, que supera a antiga pedagogia do castigo e do medo pela pedagogia do incentivo e da liberdade / Abstract: Current doctoral thesis on Erasmus of Rotterdam and the Pedagogy of Satire involves the problematization of the pedagogical theory and the history of Philosophy. The period comprises the final decades of the 15th and the first decades of the 16th century, or rather, the Humanist Period that establishes the bases ofmodem thought. Dealing with Erasmus's intentions and justifications in his Epistolary, current research is an analytic investigation on the satire, studied within the metaphoric discourse, so that its pedagogical implication may be revealed. Satire is rather a type of game and a make-belief which fulfills transformational pedagogical roles through the playful constructiveness of the truth. Research, restricted to the first volume of Erasmus's Epistolary, from 1484 to 1514 and 1523, read and translated from the original Latin version, aims at establishing that, for Erasmus, satire is wholly linked to the educational scheme and is such a highly privileged educational method that it may be rightly defined as a sort of pedagogy. Paradigmatic (correction, nature, disinterestedness, humility, truth, sincerity, adaptation, human writing, divine writing, virtue, piety, educational proposals, method, friendship, solidarity, utility and morality), linguistic (proverbs, dialogue, irony, praise, comedy, apology, preaching and libels) and pedagogical (patience, moderation, freedom, mordacity; laughter, construction and pedagogy) categories of analysis are used in current research by going to the original sources and by employing the demonstrative method. Results show that in his first volume of the Epistolary Erasmus systematically states the intentions, arguments, definitions, ideas and expressions for the absolute valorization of figurative language, especially for satire. Erasmus's satire, and consequently satire in the Renaissance, is the basis for a new and much needed pedagogy. The pedagogy of the satire goes beyond the old pedagogy of punishment and fear which will be thus replaced by the pedagogy of freedom and encouragement / Doutorado / Filosofia / Doutor em Filosofia

Le présent travail de thèse est consacré à la question du désir et à la façon dont elle émerge dans la philosophie de Giordano Bruno (1548-1600). En dépit de sa place relativement marginale dans le corpus très vaste des études bruniennes, et malgré sa présence non immédiatement évidente dans les écrits du Nolain, nous pensons qu’une recherche sur le statut du désir peut ouvrir une perspective pertinente et radicale sur la pensée de ce philosophe de la Renaissance tardive. Loin d’être une question accessoire, le désir se situe au coeur de la philosophie de Bruno et incarne le rythme immanent de sa spéculation. Face au thème capital de la nolana filosofia – la modalité à travers laquelle le fini réalise et exprime l’infini – la question du désir nous ouvre des chemins suggestifs à travers l’imposante oeuvre de l’ex-moine dominicain. Nous avons abordé ce sujet sous plusieurs perspectives, toujours attentifs à exprimer le caractère systématique sus-jacent à la grande ampleur des thématiques que l’on trouve dans les écrits du philosophe. Nous avons préféré procéder de manière diachronique, en privilégiant une approche conceptuelle plutôt qu’un exposé de la philosophie brunienne dans son déroulement chronologique. Nous nous sommes d’abord penchés sur un traité tardif, la Lampas triginta statuarum, où le désir apparaît comme la force qui amène les « ténèbres »indistinctes à exprimer la richesse infinie de formes qu’elles renferment en puissance. Dans les dialogues cosmologiques en italien, le désir, force immanente aux révolutions des planètes (qui assurent la succession des saisons et des civilisations), réalise dans chaque être la vicissitude qui lui permet « d’être tout et de devenir tout ». La comédie italienne le Chandelier montre comment la poursuite d’un désir statique, obsessionnel et contraire à la nature amène inévitablement à la perte des personnages qui l’incarnent. Cette même aspiration “civile” sera présente dans le traité magique Des liens où le philosophe-mage s’appuie sur l’amour, « le lien le plus puissant », pour donner vie à une république qui, à travers ses citoyens, reflète la puissance infinie inhérente à la nature. En dernier lieu,nous verrons comment, dans Des fureurs héroïques, l’élan cognitif qui amène Actéon à « devenir nature » correspond à la manière la plus humaine qui soit de réaliser l’infini. / My PhD dissertation aims at analysing the concept of desire in relation to Giordano Bruno’s philosophy. Despite the relatively marginal place of this issue among secondary bibliography and its not immediately evident presence in Bruno’s works, I think that this kind of research can open apertinent and radical perspective on Bruno’s thought. Far from being a secondary aspect, the desire is at the core of Giordano Bruno’s philosophy and it embodies its immanent rhythm. In relation to the fundamental theme of Bruno’s philosophy – the way in which the finite realises the infinite – the question of desire can disclose to us new perspectives. I have looked at this problem from many perspectives, always attentive to express the systematic character under the great varieties of topicswe can find in the Nolana filosofia. I have proceeded diachronically, privileging a conceptual approach rather than a chronological account of Bruno’s thought. First, I have considered the Lampas triginta statuarum, a late Latin treatise in which the desire appears as the force that leads the tenebræ toexpress the infinity of forms they contain in potentiality. In the cosmological dialogues in Italian, the desire – immanent force that assures planets’ revolutions (and in that way the cycle of seasons andcivilisations) – realises in all the beings the vicissitude that allows it to “be everything and becomeeverything”. The comedy The Candle Bearer shows how the pursuit of a static, obsessional, andunnatural desire causes the loss of the three main characters. We can find the same “civil afflatus” inthe magical treatise De vinculis where the magic-philosopher builds through love (“the most powerfullink”) a republic that, through its citizens, reflects the infinite power of nature. Lastly, we will see how, in The Heroic Frenzies, the cognitive desire that allows the metamorphosis of the hunter Acteon in nature corresponds to the most human way to realise the infinite.