Wilfrid Sellars ficou conhecido por seus ataques ao empirismo e fundacionismo tradicionais em epistemologia e por desenvolver uma abordagem original aos problemas epistemológicos, que criou certa corrente filosófica que tem com seus principais desenvolvedores Rorty, McDowell e Brandom. Segundo essa corrente, o conhecimento, para ser bem compreendido, deve ser tomado como se dando no interior do espaço lógico das razões, no interior do espaço no qual transitamos ao oferecer e pedir por razões para aquilo que fazemos e acreditamos. Porém, essa visão acaba por se mostrar bastante intelectualizada, principalmente pela sua exigência de reflexividade para o conhecimento e por defender que a presença de estados intencionais seja dependente da posse de uma linguagem como a nossa Minha tese, neste trabalho, é que as posições tardias de Sellars sobre sistemas representacionais animais nos dão ferramentas para rejeitar seu nominalismo psicológico e desenvolver uma concepção menos intelectualista de conhecimento, mesmo que isso signifique abrir mão de uma análise completa do mesmo em condições necessárias e suficientes. Este trabalho é composto por quatro capítulos: no primeiro capítulo reconstruo o projeto filosófico inicial de Sellars para mostrar como a sua compreensão não relacional da semântica o levou a fazer a exigência de reflexividade para o conhecimento, sendo essa exigência uma das razões para a excessiva intelectualização de sua abordagem do conhecimento e comento algumas de suas consequências. O segundo capítulo avalia a defesa de McDowell da tese sellarsiana do conhecimento como se dando no interior do espaço lógico das razões das acusações de intelectualismo e conclui que ela incorre em petição de princípio ou circularidade. O terceiro capítulo avança a proposta de Brandom para assimilar o insight confiabilista numa epistemologia centrada na atividade de dar e pedir por razões, na tentativa de combater seu excessivo intelectualismo. A posição tardia de Sellars ajuda-nos a entender a presença de estados proposicionais em seres que não participam do jogo público de dar e pedir por razões, possibilitando uma concepção menos intelectualista de conhecimento. O quarto capítulo explora a distinção de McDowell entre “razão” e “razão enquanto tal” para alcançar uma noção de racionalidade menos intelectualizada, centrada naquilo que somos capazes de fazer em oposição ao que devemos fazer. / Wilfrid Sellars became known for his attacks on traditional empiricism and foundationalism in epistemology and for developing an original approach to epistemological problems, which has created a certain philosophical current that has its main developers Rorty, McDowell, and Brandom. According to this current, knowledge, in order to be well understood, must be taken as giving itself within the logical space of reasons, within the space in which we go through offering and asking for reasons for what we do and believe. However, this view turns out to be quite intellectualized, mainly due to its reflexivity requirement for knowledge and for defending that the presence of intentional states is dependent on the possession of a language like ours. My thesis, in this work, is that late positions of Sellars on animal representational systems give us tools to reject his psychological nominalism and develop a less intellectualist conception of knowledge, even if that means giving up a complete analysis of it under necessary and sufficient conditions. This work is composed of four chapters: in the first chapter I reconstruct Sellars' initial philosophical project to show how his non-relational understanding of semantics led him to make the demand for reflexivity for knowledge, being this requirement one of the reasons for the excessive intellectualization of his approach to knowledge, and comment on some of its consequences. The second chapter evaluates McDowell's defense of the Sealarsian thesis of knowledge as taking place within the logical space of the reasons for accusations of intellectualism and concludes that it incurs in a petition of principle or circularity. The third chapter advances Brandom's proposal to assimilate the reliabilist insight into an epistemology centered on giving and asking for reasons in an attempt to combat its excessive intellectualism. The late position of Sellars helps us to understand how to extend the presence of propositional states to beings who do not participate in the public game of giving and asking for reasons, enabling a less intellectualist conception of knowledge. The fourth chapter explores McDowell's distinction between "reason" and "reason as such" to achieve a less intellectualized notion of rationality centered on what we are able to do in opposition to what we should do.

Chaque activité humaine nécessite d’avoir sa propre méthode pour obtenir un résultat concret et satisfaisant. C’est ainsi le cas pour la philosophie, une discipline qui compte 2500 d’histoire et dont la méthode est alors délimitée par les philosophes et les autres personnes. Quelle est donc cette méthode philosophique? Il existe plusieurs réponses. Cette thèse va donc tenter de répondre à cette question en introduisant un projet de méthode philosophique dénommée « Conceptual Tuning » [l’accord conceptuel]. Les boxeurs ne se préoccupent généralement pas de la question conceptuelle « Qu’est-ce que la boxe? ». De même les biologistes se posent à peine la question de savoir « Qu’est-ce que la biologie ». Pour eux, ce genre de questions sont extérieures à leur discipline. Cependant pour la philosophie, la question de la nature de la philosophie est une question bien interne à cette discipline. La conscience de soi est une condition sine quo non pour « faire de la philosophie ».Puisque la philosophie possède une si longue histoire et tant de traditions diverses et variées, on présuppose donc qu’il existe de très nombreuses méthodes pour « faire de la philosophie ». Ma thèse tentera donc de contribuer à cette discussion portant sur la méthodologie philosophique en proposant une méthode que j’appellerai « Conceptual Tuning ». Cet accord conceptuel sera principalement développé à partir de la méthode « Conceptual Engineering » déjà utilisée dans la philosophie depuis, dont les défenseurs s’efforcent d’améliorer nos concepts tels que « personne », « libéral », « science ». Cette thèse présentera ainsi six versions de « Conceptual Engineering », à savoir le « Conceptual Engineering » de Cappelen, la Méthode d’Explication de Carnap, le Révisionnisme Moral de Zagzebski, la Guerre Lexique de Ludlow, la Négociation Métalinguistique de Plunkett et l’Approche d’Amélioration de Haslanger. Ces six approches estiment déjà que nos concepts pourraient être défectueux, et c’est la tâche du philosophe de les « réparer ». Alors que la plupart des approches de « Conceptual Engineering » ne font que se concentrer étroitement sur la perspective de « réparation », cette thèse soutiendra que l’accord conceptuel exige que l’attention soit plutôt portée sur une perspective « expressive ». En d’autres termes, il faudrait employer cette méthode dans un cadre général de la pratique consistant à demander et à donner des raisons. Cette thèse soutiendra également que d’autres méthodes philosophiques importantes telles que la méthode de Brandomian, la philosophie du langage ordinaire et l’analyse conceptuelle traditionnelle peuvent être bien incorporées dans le projet d’accord conceptuel. Ainsi, au lieu d’être en opposition, ces méthodes sont en fait conformes à l’accord conceptuel ces méthodes s’intègrent parfaitement à l’accord conceptuel. / Different human practices require various methods to carry them out successfully. Philosophy, an activity with 2500 years of history, must also have its own method, which demarcates a philosopher from a lay person. This thesis embarks on a project of philosophical method—conceptual tuning. How to do philosophy belongs to the category of metaphilosophy or philosophy of philosophy. Boxers usually do not care about the conceptual question ‘What is boxing?’ and biologists barely ask ‘What is Biology?’. For them, this kind of question is a higher order question which concerns the nature of the thing in itself. It is an external question for most disciplines. But for philosophy, the question concerning the nature of philosophy is an internal question. Self-awareness is a sine qua non of doing philosophy.With such a long history and so many traditions, the method of doing philosophy must be miscellaneous. My thesis attempts to contribute to the discussion of philosophical methodology by proposing a method I shall call conceptual tuning. Conceptual tuning is grounded in the philosophical method of conceptual engineering, advocates of which endeavor to improve our concepts. According to the method of conceptual engineering, philosophical problems stem from defects in our understanding of concepts, and it is the philosopher’s task to fix them. While most conceptual engineering approaches only narrowly focus on the perspective of ‘repairing’ or ‘fixing’, conceptual tuning calls for attention to the ‘expressive’ perspective. In other words, we should put this method in the broad framework of the practice of asking for and giving reasons. In this thesis, I also attempt to explain some previous conceptual methods under the title of conceptual tuning, such as Brandomian method, ordinary language philosophy, and the traditional conceptual analyses.

[pt] Entre 1911 e 1937, o escritor austríaco Robert Musil publicou ensaios com regularidade em algumas das principais revistas e jornais literários em língua alemã. A análise desse conjunto de textos permite reconhecer na trajetória do escritor não apenas a transformação do seu pensamento, mas também a dilatação da ideia do ensaio, de um modelo literário, para ensaísmo, um paradigma para ação. Esse processo ganha corpo nos anos 1920, quando começa a escrever O Homem sem Qualidades, no qual os impasses da modernidade são encenados através personagens, enredos circunstâncias. Não há, contudo, uma saída, uma solução. Levar a sério a postura ensaística significa, afinal, viver em acordo com essa incompletude. Musil, o autor que um dia esteve entre os mais promissores de sua geração, morre esquecido no exílio, escrevendo diariamente um livro que não poderia ter fim. Combinando a leitura da experiência biográfica com a ideia de aspiração, a ideia da tese é propor o fracasso como uma chave de leitura da obra de ensaística do escritor. / [en] Between 1911 and 1937 Musil regularly published essays in some of the leading magazines and literary journals in German. The analysis of this set of texts allows us to recognize in the path of the writer not only the transformation of his thought but the expansion of the idea of the essay from a literary model to a paradigm for action. This process matured in the 1920s, when he began to write The Man without Qualities, in which the impasses of modernity are staged through characters, tangled in particular circumstances. There is, however, no way out, no solution. Taking the essay position seriously means, after all, living in accordance with this incompleteness. Musil, the author who was once among the most promising of his generation, dies forgotten in exile, writing a book that could never have an end. Combining the reading of the biographical experience with the idea of aspiration, the idea of the thesis is to propose the failure as a key of reading of the essayist work of the writer.

Cette thèse propose une traversée de l’œuvre protéiforme de Robert Pinget, depuis ses premiers poèmes jusqu’aux carnets, en passant par le roman, le théâtre ou les beaux livres. En croisant histoire littéraire, sociopoétique et pragmatique des genres, ce travail montre que la poésie représente un horizon esthétique pour le Nouveau Romancier, autrement dit un point de fuite à ses multiples expérimentations génériques. Les tensions entre son ethos poétique et ses livres parus à Minuit invitent à une lecture sensible au mouvement continu et inquiet de l’écriture vers une poésie résistant à toute taxinomie.Nous commençons par retracer la trajectoire de Pinget, abandonnant le poème et la peinture pour construire une carrière professionnelle de Nouveau Romancier publié aux Éditions de Minuit. Pourtant, au cœur même des romans les plus emblématiques de son œuvre, se perçoit la présence continue et inquiète d’un ethos de poète. Nous analysons ensuite l’expérimentation d’autres modes d’expression : beaux livres, pièces scéniques ou radiophoniques et carnets. L’exil du poète hors du territoire romanesque se rejoue lorsque le Nouveau Romancier explore ces contrées génériques pour retrouver le non-savoir et la fraîcheur du néophyte. Finalement, la poésie représente une origine et un avenir de l’œuvre tout entière. Nous interrogeons alors trois spécificités des horizons poétiques de l’écriture et de la lecture : la recomposition d’un univers sensoriel qui donne à voir et à entendre le monde, la constitution d’un espace-temps propre à l’écrivain d’où émerge une parole singulière et adressée, l’inscription du sujet selon les modalités modernes du lyrisme critique. / This thesis takes the reader through Robert Pinget’s protean work, from early poems to notebooks including novels, theatre and art books. This work will examine literary history, sociopoetics and genre pragmatics in order to show that poetry represents an aesthetic horizon for the New Novelist, in other words a vanishing point for his manifold experiments in genre. The tension between his poetic ethos and his books published by Minuit invites the reader to pay attention to the continuous and disquieting movement in writing striving towards a poetry that refuses taxonomy.This study starts by going over Pinget’s path from his giving up poetry and painting to build a professional career as a New Novelist at Minuit Publishing House. Yet, at the very heart of his most iconic novels, the unremitting and anxious presence of a poet’s ethos can be perceived. Then this work discusses other modes of expression – art books, plays for the stage or the radio and notebooks. The New Novelist experiments the poet’s exile once again when out of fiction territory he explores those genre lands to regain the absence of knowledge and the freshness of the neophyte. Ultimately, poetry is both an origin and a future for the entire work. Then this study examines three specificities of writing and reading poetic perspectives – the recomposing of a sensory universe that makes the reader see and hear the world, the constitution of a specific space-time for the writer from which a powerfully original discourse emerges, the inscription of the subject in accordance with the modern methods of critical lyricism.

[pt] O presente trabalho objetiva analisar o modelo de aplicação de princípios jurídicos de Robert Alexy, com um enfoque que buscará explorar as conexões existentes entre o modelo e os conceitos típicos de teoria microeconômica nos quais o pensamento de Alexy está em parte inspirado. A apresentação desses conceitos será feita de maneira a permitir que o leitor não familiarizado com o tema possa melhor assimilar e compreender as noções econômicas presentes na obra do autor.Será conferida uma atenção especial à noção de otimização que desempenha um papel fundamental na definição de princípios jurídicos adotada por Alexy. Também terá destaque e será detalhadamente explorado o fato de que o modelo formulado por Alexy segue uma linha de pensamento que está amplament centrada na consideração do raciocínio custo x benefício como fio condutor de sua proposta para a solução das colisões de princípios. A incorporação do raciocínio custo x benefício - que é típico da teoria econômica - à análise de complexas questões jurídicas deve ser, assim, alvo de algumas interessantes reflexões. Neste ponto será estabelecida uma das ligações existentes entre o núcleo deste trabalho e o direito da concorrência, que se justifica pelo fato de que esta área do direito se caracteriza por uma ampla aproximação entre o direito e a economia e por tratar o raciocínio custo x benefício com uma naturalidade que faz dela um exemplo bastante útil para a compreensão e aceitação da proposta de Alexy. Adicionalmente, o trabalho dedicará algumas linhas à apresentação de determinados aspectos relevantes da fórmula de ponderação elaborada por Alexy, ocasião em que novas conexões com o direito da concorrência serão explicitadas. Vale ressaltar, ainda, a preocupação de que seja destacada a aptidão do modelo proposto por Alexy para reduzir o espaço que usualmente é ocupado pela intuição e pelo subjetivismo na complexa análise das situações de colisão de princípios. / [en] This thesis examines Robert Alexy s model for the application of legal principles, exploring the connection between Alexy s model and the typically microeconomic theories which inspired, in part, Alexy s thinking. Economic concepts are presented in a manner that allows readers who are not familiar with economic theory to assimilate and understand the notions contained in Alexy s work. Special attention is given to the notion of optimization, which occupies a fundamental role in Alexy s definition of legal principles. The thesis also explores in detail the influence of cost/benefit thinking on Alexy s model, leading to his proposal for resolving conflicts between principles. The incorporation of cost/benefit analysis - typical of economic theory - into the analysis of complex legal questions raises a number of interesting issues, which are examined in the context of competition law. Because legal and economic theories converge in this area of the law, so that cost/benefit analysis naturally applies, competition law furnishes examples that facilitate understanding and acceptance of Alexy s model. Certain other aspects of the Weight Formula elaborated by Alexy are also studied, again linking Alexy s theories to competition law. A central concern of this thesis is to highlight how Alexy s model can reduce the space usually occupied by intuition and subjectivism in the complex analysis of situations where principles collide.

This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

Abstract Olsson, Karin (2009). Den (över)levande demokratin. En idékritisk analys av demokratins reproducerbarhet i Robert Dahls tänkta värld. (Sustainable Democracy. Exploring the Idea of a Reproducible Democracy in the Theory of Robert A. Dahl). Acta Wexionensia 185/2009, ISSN: 1404-4307, ISBN: 978-91-7636-677-6. With a summary in English.   Everybody loves democracy. The problem is that while everybody calls himself democratic, the ideal form of democracy is hard to come by in the real world. But if we believe in democracy and believe that it is the best form of government, I argue that we should try to design a theory of democracy that is realisable – and reproducible. This thesis, then, focuses primarily on the question whether we find support in democratic theory for an idea of a self-reproducing democracy. It proceeds by means of an investigation of Robert A. Dahl’s theory of democracy. He is one of the most well-known and highly regarded theorists in the field of democratic research, whose work covers both normative and empirical analysis. When analysing the reproducible democracy, I argue that it is essential to study both normative values and empirical assumptions: the values that count as intrinsic to democracy, the assumptions that are made about man, and the institutions that are needed for the realisable and reproducible democracy. In modern social science man is often pushed into the background. This is also the case in theories of democracy, even though man (the individual) is the one who has the right to vote, the one who has the autonomy to decide – the one who has to act democratically in order to preserve democracy. The study yields the following findings. First, in Dahl’s theory political equality and autonomy come out as intrinsic values. Second, the assumptions made about man show that even if he seems to be ignored, he is always present. When Dahl construes his theory, he does it with full attention to man’s qualities, interests, manners of acting and reacting, and adaptability to the values of democracy. Third, the institutions needed to realise and reproduce democracy go further than the institutions of polyarchy. They need support from the judicial system, political culture, education and the market. Fourth, when it comes down to making democracy work and reproducing democracy, Dahl puts the full responsibility on man as he is not willing to allow too rigid constitutional mechanisms. Fifth, even though Dahl puts the emphasis on the empirical situation of the real world, he does not alter his normative ideals in order to make the theory more adaptive. For him, political equality and autonomy are imperative demands, too important to alter. And the only way to get full procedural democracy is to trust the democratic man.

Shaaban Robert wrote three autobiographical texts at different times in his life. The first, which is lost, covered his childhood and had been written when he was 27; the second, which corresponds to the first part of this work, was written at the age of 37, covering the period 1936-1946. The last was completed in 1960, but covers the period 1946-1959. It must be emphasised that the poet’s life cannot be compartmentalised into separate, successive stages. Over and above a chronological division of events, the two sections of the book can be differentiated by the different periods when they were written and thus the different viewpoints on what happened throughout his life. Philippe Lejeune´s definition of an autobiography as ´a retrospective prose narrative made by a real person about their own existence, emphasising their indi¬vidual life and in particular the development of their personality´ (Lejeune 1996: 14), is a familiar one. This definition fits Shaaban Robert´s text perfectly and yet, in the Swahili context, such an endeavour could have encountered many obstacles.

En observant le contexte architectural actuel, on note que les architectes s'intéressent davantage à faire valoir l'apparence de la surface de l'enveloppe extérieure de leurs bâtiments. Ce déplacement nous interpelle sur les raisons derrière ce type de changement au niveau conceptuel en architecture. L'examen de deux ouvrages récents nous révèle l'existence d'une tension entre l'aspect significatif et l'aspect matériel, ou pour le dire autrement, entre le signe et la matière. Notre objectif sera de faire l’histoire de cette dialectique afin de mieux saisir la nature de ce déplacement et comment cette opposition a pu déplacer la conception vers la surface et vers l'enveloppe extérieure. Notre étude montre que l'hypothèse de base de la dialectique du signe et de la matière se divise en trois parties. La première expose la dialectique existante, dans les années 1950 en Angleterre, du formalisme de Colin Rowe et Robert Slutzky et d'autre part, de l'image des matériaux trouvés comme tels des brutalistes promus par Reyner Banham. En deuxième partie, cette dialectique se développe aux États-Unis à partir des armées 1960 pour prendre une autre forme d'opposition entre le modèle sémiologique de Robert Venturi et de Denise Scott Brown et en contre partie le projet tectonique de Frampton basé sur son interprétation matériel et significatif de la construction. L'opposition actuelle entre les descriptions phénoménologiques de la surface et l'ambition d'une politicisation significative de l'enveloppe constitue le troisième moment de la dialectique du signe et de la matière. Avec chaque position, cette dialectique est reformulée par les modèles théoriques de chaque discours. Ainsi, l'introduction de la sémiologie a déplacé l'ambigüité perceptuelle par une ambigüité plus sémantique. Par la suite, les considérations phénoménologiques apportées à la matière ont introduit des notions sensorielles. La nouvelle opposition illustre une apparente incompatibilité de modèles et de sensibilités qui appelle une réconciliation dont 1'horizon n'est pas encore perceptible. Le développement de la dialectique du signe et de la matière à partir des années 1950 est donc l'explication que nous proposons au déplacement conceptuel du débat sur l'apparence et plus particulièrement au niveau de la surface et de l'enveloppe. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : façade, surface, enveloppe, théorie, conception, dialectique, opposition, matière, signe, construction, représentation, Colin Rowe, Robert Slutzky, Kenneth Frampton, Reyner Banham, Robert Venturi, Denise Scott Brown, David Leatherbarrow, Alejandro Zaera Polo.

Thematischer Katalog der musikalischen Blätter aus dem Schumann-Album in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB)