Thesis (M.A.)--Florida State University, 2005. / Advisor: Dr. Antoine Spacagna, Florida State University, College of Arts and Sciences, Dept. of Modern Languages and Linguistics. Title and description from dissertation home page (viewed Sept. 19, 2005). Document formatted into pages; contains vi, 48 pages. Includes bibliographical references.

Thesis (Ph. D.)--University of Toronto, 2005. / Electronic version licensed for access by U. of T. users.

The thesis focuses on the interchanges which took place during the interwar period between the American and the French black communities. It explores the role of national and transnational frames of reference in the definition of the New Negro movement during the 1920s as well as in its reception by French black intellectuals during the 1930s. Black internationalism during the interwar period can be seen as a circuit of interconnections which resulted in multifaceted and shifting identifications encompassing national and transnational affiliations as well as, sometimes, a cosmopolitan sense of belonging. My work explores the difficulties and successes that the writers under consideration encountered at the time in their attempts to communicate with fellow black people across socio-cultural boundaries. Although, during the interwar period, the perspective shifted from a preeminence of local paradigms to an emphasis on diasporic views of the black race, the national and the transnational, understood as sites of social positioning, cultural self-definition, and political agency, remained inextricably intermingled. All the examples presented in the thesis show that literature, often understood as a national category, does not exist in a vacuum. It is constantly formed and informed through transnational exchanges. The American Harlem Renaissance depended on external sources of inspiration to come to existence. Not restricted to the United States, it then spread across territorialized borders and, in turn, affected the French black community, becoming a major influence in the emergence of Négritude. The thesis successively explores five defining instances of black internationalism: René Maran's Batouala (1921), Alain Locke's The New Negro (1925), black Parisian newspapers from the mid-1920s to the early 1930s, Claude McKay's Banjo (1928), and the early theorization of Négritude. Through the use of Glissant's notion of detour, theorized in Le Discours antillais (1981), this thesis frames 'black internationalism' as a shifting web of negotiations expanding between national and transnational spaces.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Graduação em Filosofia. / Made available in DSpace on 2012-10-23T16:24:52Z (GMT). No. of bitstreams: 1 247305.pdf: 1037428 bytes, checksum: 72025c1840c9bfd561f3ee16127612bb (MD5) / A presente dissertação discute a doutrina cartesiana das paixões. Num primeiro momento, com o objetivo de compreender o contexto em que esta discussão está inserida, apresentamos a tese dualista cartesiana, segundo a qual os seres humanos são compostos de corpo e alma, ambos concebidos como substâncias completamente distintas. Assim, apresentamos três argumentos para a distinção entre mente e corpo, a saber: (i) o argumento da dúvida, (ii) o argumento da percepção clara e distinta e (iii) o argumento da indivisibilidade da alma. Além disso, discutimos a noção de união substancial, já que as paixões pressupõem uma interação entre corpo e alma. A partir disso, analisamos o conceito de "paixão": investigamos a origem deste termo, salientando o sentido de passividade mantido também na perspectiva cartesiana; discutimos a definição de paixão como "percepção da alma causada pelo corpo", explorando especialmente o significado dos termos "percepção" e "causalidade"; e apresentamos os diferentes gêneros de paixão, tais como: as sensações, os apetites e as emoções. Por fim, propomos alguns questionamentos confrontando as paixões no contexto do Dualismo Cartesiano, tendo em vista as dificuldades de entender as paixões a partir da perspectiva da dicotomia físico-mental, pela qual a paixão não tem um lugar linearmente estabelecido. Desta forma, problematizamos a possibilidade das paixões neste sistema e indagamos pelo seu estatuto ontológico, considerando-as como realidades objetivas, não obstante sejam signos das coisas. Estas questões levam-nos a reconhecer a irredutibilidade das paixões a eventos puramente intelectuais ou a eventos puramente físicos. Assim, consideramos as paixões como uma terceira classe de eventos, ou seja, modos da união entre mente e corpo - por este motivo elas são fenômenos singulares no sistema de Descartes. This dissertation aims at discussing the Cartesian doctrine of passions. First, in order to understand the context of this discussion, I present the Cartesian dualist thesis, according to which human beings are composed of body and soul, both conceived of as completely distinct substances. Then, I present three arguments for the mind-body distinction, namely: (i) the argument of doubt, (ii) the argument of the clear and distinct perception, and (iii) the argument of the indivisibility of the soul. Moreover, I discuss the notion of substantial union, since passions presuppose an interaction between body and soul. Given those first points, I analyze the concept of "passion": I investigate the origin of this term, stressing the sense of passivity it has according to the Cartesian view; I discuss also the definition of "passion" as "a perception of the soul caused by the body", notably exploring the meaning of terms such as "perception" and "causality"; and I discuss different sorts of passions, such as sensations, appetites, and emotions. Finally, I raise some questions as to passions in the context of Cartesian dualism, considering the difficulties to understand passions from the point of view of the physical-mental dichotomy, according to which a passion is not given a place easily. So, I discuss the possibility of passions in this system and ask for its ontological status, considering them as objective realities, even though they are signs of things. These questions lead me to recognize the irreducibility of passions to strictly intellectual events or to strictly physical events. Thus, I take passions as a third class of events, i.e. modes of union between mind and body - that's why they are unique phenomena in Descartes' system.

Programa de Pós-Graduação em Filosofia. Departamento de Filosofia, Instituto de Filosofia, Artes e Cultura, Universidade Federal de Ouro Preto. / Submitted by Maurílio Figueiredo (maurilioafigueiredo@yahoo.com.br) on 2016-02-17T16:19:10Z No. of bitstreams: 1 DISSERTAÇÃO_EstéticaCartesianaTeoria.pdf: 999887 bytes, checksum: 2857c2d0478213e1da1264693363ee6b (MD5) / Approved for entry into archive by Oliveira Flávia (flavia@sisbin.ufop.br) on 2016-04-08T12:59:16Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_EstéticaCartesianaTeoria.pdf: 999887 bytes, checksum: 2857c2d0478213e1da1264693363ee6b (MD5) / Made available in DSpace on 2016-04-12T19:45:32Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_EstéticaCartesianaTeoria.pdf: 999887 bytes, checksum: 2857c2d0478213e1da1264693363ee6b (MD5) Previous issue date: 2015 / O principal objetivo desta dissertação é avaliar em que medida os escritos de Descartes sobre música podem ser consideradas de cunho estético, isto é, possibilitam se pensar em uma estética cartesiana. Com vista a atingi-lo, é necessário avaliarmos o contexto musical no qual o filósofo está inserido, e escreve a sua primeira obra, o Compêndio de música em 1618. Desta forma, poderemos ajuizar em que medida o autor adere ou distancia dos ditames da teoria dos afetos, e como esta influencia numa análise estética do autor. Que nos parece, neste primeiro momento, ser composto por tons claramente racionalistas. Outra fonte essencial acerca do seu pensamento musical, e que iremos dissecar na dissertação, são as cartas que ele troca com seu amigo Marin Mersenne entre os anos de 1629 e 1631. Momento em que o filósofo parece estar distante da visão racionalista do seu tempo, representada por seu interlocutor Mersenne, buscando uma interpretação sobre o prazer proporcionado pela música que leve em consideração questões inerentes ao gosto subjetivo dos ouvintes. Gosto este, que é característica das estéticas modernas. No decorrer dos treze anos entre a escrita do seu primeiro livro e as cartas trocadas com Mersenne iremos apontar as mudanças operadas no discurso cartesiano sobre a música e, por conseguinte, os reflexos na sua visão estética. ______________________________________________________________________________________________________ / ABSTRACT: The main objective of this dissertation is to evaluate to what extent the writings of Descartes about music can be considered an aesthetic imprint, so, that it is possible to think of him aesthetic Cartesian. In order to achieve that, it is necessary to evaluate the musical context in which the philosopher is inserted, and writes his first work, the Music Compendium in 1618. In this way, we can assess the extent to which the author adheres or distance from the dictates of the theory of affections, and how this influences an aesthetic analysis of the author. Which seems to us, at this moment, to be composed of clearly rationalist tones. Another essential source about this musical thinking and we will dissect in the dissertation, are the letters that he exchange with his friend Marin Mersenne, between the years 1629 and 1631. Moment that the philosopher seems to be far from the rationalist view of his time, represented by his interlocutor Mersenne, seeking an interpretation about the pleasure provided by music that takes into account issues related to the subjective liking of the listeners. A liking that is characteristic of the modern aesthetic. During the thirteen years between the writing of his first book ant letters exchanged with Mersenne, we will point out the changes made in Cartesian discourse about music, and therefore, the impact on their aesthetic vision.

The purpose of this study was to document the compositional process of the American composer, Rene Clausen (b. 1953). The writer conducted three days of interviews with Dr. Clausen to discuss his compositional process in selected choral works. The discussion included Clausen's "creative impetus," and "compositional approach" to the elements of text, harmony, rhythm, melody and texture.The writer examined Clausen's thirty-three published choral works. Three works representative of his choral output were selected: "All That Hath Life and Breath Praise Ye the Lord" (1981); "0 Vos Omnes" (1986); and "Whispers of Heavenly Death" (1993). These works were selected upon the composer's recommendation as pieces which are representative of his choral style.Clausen's "creative impetus," his musical influences and motivation, form what he terms "deep background." This material, some learned, but most absorbed through various musical experiences and influences, is placed into a "big bin" from which Clausen draws when making compositional decisions.The text is the genesis of Clausen's process. When selecting texts, Clausen looks for ones that will evoke certain colors, nuances, or images.Clausen's second step is to absorb the meaning of that text. During this important absorption process Clausen develops an idea of what the character of the piece will be.The third step is the emergent process: generating thoughts about thematic material, intermittent ideas, textures, and transitional material which will be presented. Clausen manipulates the elements of harmony, rhythm, melody and texture to express the forms and images present in the text.An examination of Clausen's compositional approach to the following elements was conducted: HarmonyClausen's approach is extended diatonicism with traditional harmonic movement leading toward goal oriented harmony.RhythmClausen uses a variety of rhythmic approaches to express the text: mixed and asymmetrical meter, free unmeasured rhythm, and dove-tailing sections rhythm and metered music. MelodyClausen's approach is based upon the parameters within which he is writing and on the imagery present in the text. TextureClausen's approach is based on two aspects: the level of difficulty or level for which the piece is written and the images expressed in the text. / School of Music

No description available.

Serpent and dragon symbolism are ubiquitous in the art and mythology of premodern cultures around the world. Over the centuries, conflicting hypotheses have been proposed to interpret this symbolism which, while illuminating, have proved insufficient to the task of revealing a singular meaning for the vast majority of examples. In this dissertation I argue that, in what the symbolist Rene Guenon and the historian of religions Mircea Eliade have called ‘traditional' or ‘archaic' societies, the serpent/dragon transculturally symbolizes what I term ‘matter,' a state of being that is constituted by the perception of the physical world as ‘chaotic' in comparison to what traditional peoples believed to be the ‘higher' meta-physical source of the physical world or ‘nature.' What is called ‘nature,' I argue, is also considered in ‘Tradition' to be a perception of, from a certain state of consciousness, that aspect of existence that is called samsara in the Hindu philosophy of Vedanta, which Guenon equivalently describes, from a broadly traditional perspective in The Symbolism of the Cross, as "the indefinite series of cycles of manifestation." ‘Chaos,' according to Eliade in The Sacred and the Profane, is "the amorphous and virtual…everything that has not yet acquired a ‘form.'" The following elements have been useful in discerning the specified meaning of the serpent/dragon symbol: 1) Guenon's interpretation of the terminology of the ‘Hindu Doctrines,' as well as his interpretation of the ‘language' of traditional symbolism and the metaphysics that underlies it; 2) Eliade's interpretation of ‘traditional'/‘archaic' societies by means of his concepts of ‘chaos,' ‘creation,' Axis Mundi (‘World Axis'), and ‘Sacred and Profane'; and 3) the insights of various other researchers of serpent/dragon symbolism. Beyond purporting to resolve some of the mystery of the ancient and varied symbolism of the serpent/dragon, my dissertation strives, to a lesser degree, to serve two related functions: 1) informing the interpretation of the symbolic meanings of a wide variety of premodern artifacts and narratives and 2) providing a rough outline for a proposed prolegomenon to the study of the origination, and ancient human awareness, of the mentioned state of ‘matter.'

Seguir las metáforas urbanísticas que Descartes nos propone en El discurso del método es recorrer viejas callejuelas y aventurarnos en un imaginario citadino que viene dando forma al conocimiento pero también a nuestra experiencia de la convivencia. Recorrer el texto como un viandante y detenernos en aquellos lugares del discurso en que la metáfora habla es disponernos a escuchar la poética de su entramado. Desde esta extrema lejanía en que ciudad y filosofía parecen bifurcarse resulta oportuno regresar al curso de la obra cartesiana en favor de entender aquella experiencia que Descartes nos propone como desierto fructífero en las ciudades holandesas y, desde esa experiencia, pensar nuestros destinos citadinos, que, a veces eriazos de experiencia de sentido, nos vuelven reflexivos para darnos un itinerario que nos permita visualizar un horizonte de experiencias que H. Giannini denominaría “nostalgia de una experiencia común”. Es significativo el hecho que G. Steiner reconozca que tanto el pensamiento y la sensibilidad europea estén indisolublemente unidos al caminar, afirmando que “buena parte de la teorización más incisiva es generada por el acto de caminar.

[pt] O objetivo desta dissertação foi o de analisar as três demonstrações da existência de Deus nas Meditações Metafísicas de René Descartes. Ela contém três capítulos. No primeiro, tratamos de forma geral do método de Descartes, tendo a intenção de mostrar que este mesmo método será aplicado às Meditações Metafísicas influenciando em grande medida as provas da existência de Deus. No segundo capítulo, já no interior das Meditações Metafísicas, nos detemos na análise da dúvida metódica e do cogito. Estes dois temas são os antecedentes fundamentais para as provas da existência de Deus, na medida em que, através da dúvida, é vedado o recurso ao conhecimento dos seres materiais e à própria Natureza e, através do cogito, é descoberta a única via possível para se chegar a Deus. No terceiro e último capítulo, apresentamos a primeira, a segunda e a terceira prova da existência de Deus. Em todas essas três provas o nó da questão foi a aplicação do principio de causalidade especificado na forma da causalidade eficiente. Na primeira prova, Deus é inferido como causa eficiente de sua idéia presente no intelecto humano. Na segunda, Deus é provado como causa do próprio intelecto que tem sua idéia. Por fim, na última prova, Deus é concebido como causa formal e eficiente de si mesmo. / [en] The objective of this dissertation was to analyze three demonstrations of the existence of God in the Metaphysical Meditations of René Descartes. It contains three chapters. In the first one, we deal with general form of the method of Descartes, having the intention to show that this method will be applied to the Metaphysical Meditations influencing significantly on the tests of the existence of God. In the second chapter, where we are already talking about the Metaphysical Meditations, we withhold them in the analysis of the methodical doubt and cogitation. These two subjects are the basic antecedents for the tests of the existence of God, while through the doubt the resource to the knowledge of material beings and to the proper Nature is forbidden, and through the cogitation is discovered the only possible way to reach the God. In the third and last chapter, we present the first one, the second and third test of the existence of God. In all these three tests the main question was the application of beginning of specified cause to the form of the efficient cause. In the first test, God is inferred as the efficient cause of its present idea in the human intellect. In second, God is proven as a cause of the proper intellect that has its idea. Finally, in the last test, God is conceived as a formal and efficient cause of itself.