Th. 3e cycle--Litt. fr. et comp.--Paris 7, 1986.

Th.--Lettres--Paris, 1905-1906. / Index.

Diss.--Universität Freiburg (Breisgau), 1996. / Bibliogr. p. 375-429.

Dissertação que pesquisa o desdobramento de espetáculos teatrais em imagens de potencial plástico fecundo na interação entre a cenografia e as artes visuais. Estudos de caso de obras de Robert Wilson que elaboram as questões da tensão entre a ficção e a biografia, além de abordar imagem, corpo, movimento e espacialidade. Desenvolve-se em análise das posturas do espaço quando atravessado por trabalhos que promovem o pensamento acerca da imobilidade e de seu contrário. A reprodutibilidade esteticamente explorada é observada enquanto elemento fundamental na proposta que trata a disponibilidade do corpo justaposta à imagética que este é capaz de produzir. Na análise aparecem alguns materiais - imagens - resultantes de processos artísticos de Robert Wilson bem como de outros artistas como Marina Abramovic e Rineke Djcstra. Estruturado no encadeamento de imagens partícipes de processos de construção e condução de performances artísticas que abrangem as perspectivas da colaboração imagética incorporada ao pensamento criativo que recondiciona o corpo no campo da superficialidade enquanto abrangência poética / Dissertation researching the deployment of theater shows in pictures of fruitful plastic potential in the interaction between stage design and visual arts. Case studies of works by Robert Wilson that elaborate the issues of tension between fiction and biography, adressing in addition image, body, movement and spatiality. Develops in analysis of postures of space when crossed by works that promote thinking about stillness and its opposite. The aesthetically exploited reproducibility is seen as a key element in the proposal that treats the availability of the body juxtaposed to the imagery that this body is capable of producing. In this analysis some materials - images - appear as the resulting of artistic processes of Robert Wilson as well as other artists such as Marina Abramovic and Rineke Djcstra. Structured in the chain of participant pictures of building processes and driving of artistic performances that encompass the perspectives in collaboration of imagery incorporated into the creative thinking that reconditions the body in the field of superficiality as poetic scope

This thesis provides a critical examination of Robert Jenson's doctrine of the Trinity, and the ways in which Jenson's development of this doctrine corrects central aspects of contemporary metaphysics. Jenson's doctrine of the Trinity develops from his belief in the significance of the narrative form of Scripture, and the way in which the Christian Gospel addresses human religiosity. In order to explain this development, the thesis addresses some topics not addressed in scholarship on Jenson, especially his understanding of theological language and his approach to religious epistemology. It also describes the ways in which Jenson's theological project coheres with the task and method of contemporary metaphysics. After describing Jenson's doctrine of the Trinity, the thesis moves on to address substantial critiques from George Hunsinger, David Bentley Hart, and Oliver Crisp. Hunsinger critiques Jenson on the ground of orthodoxy. He claims that Jenson's views commit him to a number of heresies, both ancient and modern. David Bentley Hart also critiques Jenson for his perceived unorthodoxy, arguing that Jenson makes the world necessary for God, and makes God responsible for evil in a way which is at odds with the Christian faith. Oliver Crisp critiques Jenson's metaphysics on the grounds of coherence. The thesis provides responses to all of these critiques. Following these critiques, the thesis describes the ways in which Jenson's Trinitarianism reconstitutes certain central aspects of contemporary metaphysics, especially in the philosophy of time and fundamental metaphysics. Jenson argues on Trinitarian grounds that Christians ought to hold something akin to a moving spotlight view of time. He also argues that Christians ought to deny the category of substance and hold 'event' to be the primary category of metaphysics. The thesis also highlights several weaknesses in Jenson's thought: he has no clear epistemology, his response to the problem of evil is inconsistent, and his work on 'being' is misdirected. None of these weaknesses are found to be fatal to Jenson's project, and the thesis offers suggestions for how each in turn could be corrected.

No description available.

No description available.

This thesis explores the Bohmann Park neighborhood of Washington County as a case study of contemporary style in Oregon. As both individual and the largest grouping of homes by Robert Rummer, Bohmann Park informs treatment of Rummer homes and contemporary resources. Nationally, contemporary homes by architects and builders have been recognized for their architectural and historic value through the historiography, National Register listing, and local protections. Modern architecture in Oregon has yet to be equally rigorously explored. Rummer’s prolific work is an ideal point of exploration. Within the context of architectural history and preservation practice, two condition assessments of individual residences in the neighborhood analyze the varied care and common threats faced by these resources. The adverse effects faced by Bohmann Park from the City of Portland’s Fanno Creek Pump Station and its mitigation efforts explore challenges faced by the subdivision as a potential historic district.

No description available.

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2009 / Inclui bibliografias / DA INTERPRETAÇÃO DA LEI PENAL EM CASOS CONCRETOS E SUA NECESSÁRIA DEMONSTRAÇÃO COMO COROLÁRIO DO PRINCÍPIO DA LEGALIDADE parte da concepção do Direito concretizado em texto e, portanto, expresso em palavras. Pressupõe que a busca pelo significado desta l / INTERPRETATION OF THE PENAL LAW IN CONCRETE CASES, AND ITS NECESSARY DEMONSTRATION, AS A COROLARY OF THE PRINCIPLE OF LEGALITY this work departs from the conception of Law turned into text and, therefore, expressed in words. It assumes that the search for