Le traité De l’âme (DA) et les traités connexes (Parva Naturalia) contiennent les éléments d’une théorie de la phantasia, souvent nommée « imagination », ou « représentation ». Dans ce texte, Aristote affirme à plusieurs reprises qu’il est impossible de penser quoi que ce soit sans phantasia. Le DA contient toutefois peu de précisions quant à la portée de cette affirmation. Ce que cela signifie trouve cependant une élucidation si l’on transfert la théorie de la phantasia à un autre texte, les Seconds Analytiques II, 19, portant sur l’acquisition du premier savoir universel à partir de la perception, et des premiers principes intelligibles. Cette étude se propose d’abord de montrer en quoi la théorie de la phantasia s’applique aux SA, et comment ce texte, lu en regard de la phantasia, peut répondre à la question de savoir ce que cela signifie que l’intellect doit nécessairement s’appuyer sur la phantasia pour penser. / The treaty On the Soul (DA) and the connex treaties (Parva Naturalia) expose a theory of phantasia, often translated as « imagination » or « representation ». In the DA, Aristotle maintains that it is impossible to think without phantasia, yet this text offers little precision on the exact signification of his affirmation. An elucidation may however be found in another text, the Posterior Analytics II, 19, which focuses on the acquisition of knowledge, that is, the first universals implanted by perception and the first intelligible principles. This text, as we will firstly demonstrate, has to be read in the frame of the theory of phantasia, which will show that the acquisition of klowledge depends on phantasia. Thus and secondly, it will be clearer what it means that it is impossible for the intellect to think without phantasia.

Ce mémoire a pour but de définir le rôle de l’expérience sensible à l’intérieur de la théorie de la connaissance des dialogues de maturité de Platon, à savoir le Phédon, le Phèdre, le Banquet et la République. Pour atteindre ce but, nous nous questionnons d’abord sur la notion de réminiscence, principalement par l’étude de l’extrait 72-77 du Phédon et des différentes interprétations qu’il est possible d’en donner. Ensuite, nous montrons que les quatre dialogues partagent une structure épistémologique commune, pour finalement nous concentrer sur les différentes fonctions attribuées à l’expérience sensible. L’objectif poursuivi par cette étude est de démontrer qu’en dépit de l’attitude critique de Platon à l’égard des sens et de l’imperfection du monde sensible, il n’en demeure pas moins que la perception joue un rôle épistémologique et pédagogique important : elle fait partie intégrante du processus qui mène à la formation de concepts chez tout un chacun, elle incite le philosophe en devenir à se retourner vers le monde intelligible, et elle permet au philosophe accompli de se remémorer, à chaque instant, les arguments en faveur de l’immortalité de l’âme et de la nécessité de la philosophie. / The purpose of this dissertation is to define the role of sense-experience within the theory of knowledge applied to Plato’s middle dialogues, namely the Phaedo, the Phaedrus, the Symposium and the Republic. To achieve this, we will initially examine the notion of recollection through the study of Phaedo 72-77 and its different interpretations. Then we will establish that the four dialogues share a common epistemology, to finally look at the different functions of sense-experience. The objective of this study is to demonstrate that despite Plato’s critical views regarding the senses and the imperfection of the sensible world, sense-perception nevertheless plays an important epistemological and pedagogical role : it is part of the process that leads to concept formation, it directs the philosopher-to-be towards the intelligible world and it allows the experienced philosopher to remember the arguments in favour of the immortality of the soul and the necessity of philosophy.

Ce mémoire entend présenter les formes de connaissance de soi développées par Thomas d’Aquin: la reditio incompleta, la réfraction sur les phantasmes, la conscience préréflexive, la réflexion par réfluence, l’analyse abstraite, le jugement critique et la reditio completa. L’âme humaine ne pouvant se connaître directement, elle a accès à son essence par le biais de tous ses actes ou actes de conscience. Notre analyse se concentre sur la connaissance habituelle, habitus de toutes les connaissances, qui est la racine de l’image trinitaire en l’homme et garantit la vérité des intellections humaines. Pour ce faire, nous avons procédé à la traduction des questions 87 à 89 de la Somme théologique, dans lesquelles Thomas présente la connaissance humaine des substances séparées et le statut de l’âme séparée, montrant en quoi l’esprit de l’homme partage un certain commun avec les autres esprits de son univers. / The purpose of this thesis is to present the different theories of self-knowledge developed by Thomas Aquinas: namely reditio incompleta, refraction of the soul on its own phantasms, preconscious reflection, reflection by reflux, abstract analysis, critical judgment and reditio completa. Although the human soul cannot have knowledge of itself directly, it can however approach its essence with its own acts or acts of consciousness. The analysis is based on the cognitio habitualis, habitus of all knowledge, that is the root of the trinitarian image in humankind and that guarantees the truth of human intellection. This involved translating questions 87 to 89 of the Summa Theologiae, in which Aquinas considers humanity’s understanding of immaterial substances and the separate soul’s knowledge. This demonstrates how the human soul shares common ground with other substances of the universe.

Le Magistère catholique a accueilli la théorie de l’évolution et a reconnu sa valeur. L’encyclique Humani Generis en constitue le moment-clé. Mais le Magistère ne va pas loin. Il refuse de sacrifier les points forts de l’anthropologie chrétienne traditionnelle sur l’autel de l’évolution. Il insiste sur la création directe de l’âme humaine par Dieu. Quelques théologiens catholiques, comme G. Martelet, J.-M. Maldamé et J. Arnould, voient la nécessité d’articuler les discours théologiques et les acquis de la théorie de l’évolution, où la conceptualité de l’émergence est dominante ; une démarche qui repose sur l’idée que si Dieu est unique, la vérité de sa révélation ne saurait s’opposer à la vérité manifestée par le monde. Ce travail veut cerner les prises de position du Magistère, de Pie XII à Jean-Paul II. Il se propose aussi d’explorer les apports des trois théologiens dans le travail d’approfondissement de la théologie de la création, de montrer comment leurs réflexions contribuent à l’intelligence de la spécificité humaine et de l’action de Dieu dans la création. Les acquis scientifiques contribuent au progrès de notre connaissance de l’univers et de l’homme. Il en va de la compréhension de l’action de Dieu dans le monde. Celle-ci cesse de se penser à partir des schèmes mécaniques où le Créateur apparaît comme un ingénieur cosmique ; elle se dit en termes d’accompagnement des possibles inscrits dans l’intime de l’être. Le moins que nous puissions dire est que la Bible s’intéresse moins au passé de l’humain qu’à son origine. Selon la Bible, être humain, c’est répondre à l’appel de Dieu et appel de l’humanité en termes de responsabilité. C’est cela être à l’image de Dieu. / The Catholic Magisterium welcomed the theory of evolution and recognizes its value. The encyclical Humani Generis constitutes its key moment. However, the Magisterium went no further. It declined to sacrifice the cornerstone of traditional Christian anthropology on the altar of evolutionary theory. It insists on the direct creation of the human soul par God. A few theologians like G. Martelet, J.-M. Maldamé and J. Arnould, saw the need to articulate this theological discourse and the advances of evolutionary theory, where the conceptuality of emergence dominates ; an approach that is based on the idea that if God is unique then the truth of is revelation would by no means oppose to the truth showed by the world. The present study attempts to grasp the stance taken by the Magisterium, from Pius XII to John-Paul II. It explores the contribution of the three mentioned theologians to a deeper reflection on the theology of creation, on how their work has contributed to the understanding of the human identity and God’s action within creation. The scientific knowledge contributes to the improvement of our awareness of the Universe and mankind. Indeed, the understanding of God’s action in the world is at stake. It is not considered according to mechanical patterns where the Creator is described as a cosmic engineer. It is more represented in terms of support and arousing of the potential within the innermost being. The least we can say is that the Bible is not as interested about the past of mankind but rather about its origin. According to the Bible, answering the call of God and the one of mankind in terms of responsibility defines what being human is. That is what being in the image of God.

[pt] Esta dissertação roçará pelo ficcional. Teremos um Vieira personagem que, como ator, aparece em cena já idoso, invadido pelo passado, a recordar, a escrever, trazido pela narradora onisciente que lhe decifra gestos, palavras e até pensamentos. Através dele, conheceremos um pouco de sua vida e da vida de Inácio de Loyola, o seu grande mestre. Analisaremos, desde a sua gênese, a Reforma e a Contra-Reforma, a sua influência sobre Vieira e o seu posicionamento diante dos dois movimentos que mudaram a história da Igreja.. Neste contexto, examinaremos o movimento artístico que tanto influenciou Vieira, o Barroco - movimento de transgressão, com suas tendências e características, e o interesse da Igreja em dele apropriar-se para fazê-lo a sua arma de divulgação. Analisar-se-ão, finalmente, alguns sermões, começando pelos que se intitulam As cinco pedras da funda de Davi, e nestes sobretudo a questão do conhecimento de si mesmo, abordada por Vieira através das parábolas e histórias bíblicas por ele privilegiadas.Nos sermões do Rosário, referentes aos negros, atentarse- á para o forte cunho social e político que lhes é imprimido e a dura crítica aos senhores de engenho.Nos sermões do Mandato, tratar-se-á da contraposição do amor divino ao humano, destacando-se a questão do fino amor, proposta por Vieira, demonstrada através do contraponto entre a fineza dos dois amores, o divino e o humano, este sempre duvidoso e inconstante. / [en] This thesis borders on the fictional. Its protagonist is Vieira, already an old man, haunted by the past, reminiscing and writing, a character created by the omniscient narrator who deciphers his gestures, words and even thoughts. Through Vieira we learn something not only about his own life but also about that of Ignatius of Loyola, his great master. An analysis is made of the Reformation and the Counterreformation, from their very beginnings, and of their influence on Vieira, showing the stands he took in relation to the two movements that changed the history of the Church. In this context we will examine the artistic movement that had such influence on Vieira, the baroque - a transgressive movement, with its trends and characteristics, which the Church tried to appropriate for its own propaganda purposes.Finally, we will also analyze a few sermons, beginning with those known under the title The Five Stones in David`s Sling, with the emphasis on the issue of self-knowledge, which Vieira approaches by means of parables and favorite Biblical stories.In the Rosary sermons, which refer to the condition of black people, we underscore their very strong social and political flavor, with their harsh criticism of the powerful owners of sugar plantations.In the Mandate sermons, the theme is the contrast between divine love and human love; in them Vieira discusses the topic of fine love, demonstrating his views through a counterpoint between the fineness of the two loves, the divine and the human, the latter always doubtful and inconstant.

Made available in DSpace on 2016-04-25T19:20:29Z (GMT). No. of bitstreams: 1 Andreia Rocha de Vasconcellos.pdf: 559228 bytes, checksum: 5f32c1c378c1a0818903831f8e61a444 (MD5) Previous issue date: 2013-11-27 / This thesis analyses the silence of God throughout the movie The seventh seal (1957), by Ingmar Bergman, from two fundamental concepts developed by the critic Jesse Kalin: ontological reduction and geography of the soul. The moral vacuity which bursts from the dismantling of the Medieval world grounded over the image and the similarity of a crescently silent God is eschatologically lived by the characters of Bergman's consecrated film. We analyse The seventh seal in order to apprehend the ways the protomodern narrative conflicts help us understand our own times / Esta dissertação analisa o silêncio de Deus no filme O sétimo selo (1957), de Ingmar Bergman, a partir de dois conceitos fundamentais desenvolvidos pelo crítico Jesse Kalin: redução ontológica e geografia da alma. A vacuidade moral que irrompe com a desestruturação do mundo medieval alicerçado segundo a imagem e semelhança de um Deus cada vez mais silencioso é vivenciada escatologicamente pelas personagens do consagrado filme de Bergman. Analisamos O sétimo selo a fim de apreender como os conflitos narrativos protomodernos nos ajudam a compreender nossa própria época

This study examines the attitudes to, and commemoration of, death in Wales in the period between the end of the thirteenth century and the middle of the sixteenth century by analysis of the poetical work produced during this period. In so doing, this is placed in the wider context of death and commemoration in Europe. Although there are a number of memorial tombs and some evidence of religious visual art in Wales which has survived from the late medieval period, in comparison with that to be found in many other European countries, this is often neither so commonplace nor so imposing. However, the poetry produced during this period very much reflects the visual material that was produced in other parts of Europe. The poetry shows that the Welsh gentry at that time were familiar with many of the themes surrounding death and commemoration so obvious in European visual art such as the macabre and the fate of both the body and the soul after death. With war, famine and disease being so commonplace during the Middle Ages, and the late medieval period witnessing the effects of the Black Death, it is, perhaps, little wonder that macabre imagery and concerns about the fate of the soul were so often produced in European visual art of the time. These concerns are reflected in the Welsh poetry of the period with several poets composing quite vivid poetry describing the fate of the body as a decomposing corpse after death or allusions to the personification of Death appearing to claim its victims. The tension that many felt between the role of God on Judgement Day and God as Redeemer is also apparent in a number of the poems composed at this time. This study shows how important the role of the poet was amongst the gentry in Wales during the late medieval period, a role which ensured that the patrons of the poets were immortalised in words rather than by physical memorials. It also highlights the importance of poetical works of the period as an important primary source for historical research. Many of the poems give a contemporaneous account of important events of the period such as symptoms of plague victims which confirm that the Black Death was indeed the bubonic form of the plague.

Time is my bully. Time marks the start of something, as well as the end. We are all carrying out the inexorable passing of time as it relates to our impending mortalities. I do not fear death. The awareness of my body’s impermanence employs me to feel that much more connected to the vessel containing that of which I am. But what am I? Am I my body- or is it much deeper? Through the work executed during my graduate research, I have attempted to quantify my existence through the archiving my time and body. This document ushers you through my perception, my relationship to nature, and how it manifests through discovering answers to what I believe it means to be human.

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Nikos Kazantzakis� Captain Michales is a freedom fighter in nineteenth century Crete. Patrick White�s Voss is a German explorer in nineteenth century Australia. Two men struggling for achievement, their disparate social contexts united in the same fundamental search for meaning. This thesis makes comparison of these different struggles through thematic analysis of the texts, examining within the narratives the role of food, perceptions of body and soul, landscapes, gender relations, home-coming and religious experience. Themes from the novels are extracted and intertwined, within a range of theoretical frameworks: history, anthropology, science, literary and social theories, religion and politics; allowing close investigation of each novel�s social, political and historical particularities, as well as their underlying discussion of perennial human issues. These novels are each essentially explorations of the human experience. Read together, they highlight the commonest of human elements, most poignantly the need for communion; facilitating analysis of the individual and all our communities. Comparing the two novels also continues the process of each: examining the self both within and outside of the narratives, producing a new textual self, arising from both primary sources and the contextual breadth of such rewriting.