The diploma thesis is the proposal of the pilgrimage church with the addition of the second functional unit as the pilgrimage area near to the stream „Svatá voda – Kaménka“. The proposal claims to raise former pilgrimage area and natural element, and also to provide spiritual and psychological support to pilgrims/visitors. For that reason, there are provided residential programs in the area. The building program corresponds to demanding enter and capacity. Capacity of the church is up to 250 people, in the main liturgical space on the ground floor. The growth is possible on the gallery on the second and third floor. Areal also including restaurant, lecture hall and spiritual centre. That works on a spiritual stay program for singles or couples. There is also a meditation garden and parking lot aloof.

Ce mémoire aborde le travail de l'acteur dans le cinéma de John Cassavetes, particulièrement à travers sa collaboration avec l'actrice Gena Rowlands. À travers certains auteurs qui se sont penchés sur la question de l'acteur de cinéma, je tente de déceler les rapports qu'entretiennent l'actrice et le cinéaste avec la philosophie antique, les exercices spirituels et les techniques de soi. J’étudie également comment il met en scène une forme de remédiation du théâtre dans son cinéma. Pour m'aider, je parcours les œuvres de Hannah Arendt, Nicole Brenez, Ray Carney, Stanley Cavell, Michel de Certeau, Michel Foucault, Pierre Hadot et Siegfried Kracauer, dans le but de mieux cerner une approche de la théorie du cinéma qui voit le travail de l'acteur comme forme d'expression à part entière et comme source d’inspiration pour le spectateur qui peut voir en l’acteur une figure exemplaire. / This master thesis discusses the work of film actors in the cinema of John Cassavetes, especially through his collaboration with actress Gena Rowlands. Throughout the writings of authors who examined the subject, I explore the relation between the actress and the ancient philosophy, spiritual exercices and techniques of self. I also study how Cassavetes’ direction creates a theater remediation in his films. I explore the thoughts of Hannah Arendt, Nicole Bronze, Ray Carney, Stanley Cavell, Michel De Certeau, Michel Foucault, Pierre Hadot and Siegfried Kracauer as a way to understand better a film theory approach that considers the work of film actors as a form of expression of its own, and as a source of inspiration for the viewer that can see actors as exemplary figures.

In his most popular prose work, Mary Magdalens Funeral Teares (1591), English Jesuit Robert Southwell adapts the Mary Magdalene tradition by incorporating the meditative practices of St. Ignatius Loyola coupled with the Petrarchan language of poetry. Thus, he creates a prose work that ministered to Catholic souls, appealed to Protestant audiences, and initiated the literature of tears in England. Southwell readapts the traditional image of Mary Magdalene for a Catholic Early Modern audience by utilizing the techniques of Jesuit meditation, which later flourished in the weeper texts of Richard Crashaw and George Herbert. His vividly imagined scenes also employ the Petrarchan and Ovidian language of longing and absence and coincide with both traditional and mystic early church writers such as Bernard and Augustine. Through this combination, Southwell’s Marie Magdalens Funeral Teares resonated with Catholics deprived of both ministry and the presence of Christ in the Eucharist. These contributions solidify Southwell’s place as a pivotal figure in the religious and literary contexts of Early Modern England.

[pt] O discernimento é uma dimensão intrínseca à vida cristã. No contato com textos bíblicos podemos atestá-la desde os profetas passando por Jesus, Paulo e João. O discernimento nos insere numa vida de fé dinâmica, constantemente interpelada pela ação do Espírito Santo. Essas interpelações devem nos levar a atitudes concretas, onde o ser humano investe sua liberdade no projeto salvífico de Deus. Nessa dissertação propomos uma compreensão dessa realidade a partir da ótica de Inácio de Loyola, o que representa o modo como ele buscou captar e interpretar a vontade de Deus em sua vida e de como este modo proporciona mais qualidade no seguimento a Jesus Cristo. A marca da sua espiritualidade é o discernimento, o qual é baseado na sua forte experiência de Deus. Inácio enfatiza que Deus se faz ouvir e compreender nos condicionamentos humanos de cada época, nas experiências mais cotidianas; pode ser buscado e encontrado em todas as coisas. Neste panorama, ele resgata a dimensão pessoal da vida cristã, ao mesmo tempo em que proporciona uma unidade antropológica. Pois fala de um estar atento aos movimentos interiores (moções) de consolação e desolação, fazendo disso critério de discernimento. Mais, o discernimento inaciano restaura a liberdade e a responsabilidade na vida cristã, ao admitir que a busca e o encontro da vontade de Deus na vida de cada um cabe à pessoa. Esse traço do discernimento inaciano desemboca numa abertura mais confiante à ação do Espírito Santo e numa vida com mais sentido. / [en] Discernment is an intrinsic dimension of the Christian life. In contact with biblical texts, we can attest it from the prophets through Jesus, Paul and John. Discernment inserts us into a life of dynamic faith, constantly challenged by the action of the Holy Spirit. These challenges should lead us to concrete actions in which the human being invests his freedom into the salvific plan of God. In this thesis, we propose a comprehension of this reality from the perspective of Ignatius of Loyola, which represents the way how he sought to capture and interpret the will of God, and how this provides better quality in the following of Jesus Christ. The mark of Ignatius spirituality is discernment, which is based on his strong experience of God. Ignatius emphasizes that God is heard and understood from the human conditioning of each epoch, from the most everyday experiences; God can be sought and found in all things. Ignatius rescues the personal dimension of Christian life while providing an anthropological unit since he speaks about being aware of the inner movements (motions) of consolation and desolation, making of these the criterion of discernment. Further, ignatian discernment restores freedom and responsibility in the Christian life, since he admits that the search and the meeting of the will of God is up to each person. This feature of the discernment ends in an opening confident to the Holy Spirit and in a more meaningful life.

Contemporary debates in ethics are characterised by opposing views that appear to be irreconcilable. Rational debates seem to be making no headway due to the fact that the incompatibilities of the different views seem to lie within the very premises of the different arguments. These debates acquire an interminable character, because representatives of the different standpoints refuse to accept each others’ premises. MacIntyre attributes this state of affairs to the failure of the Enlightenment project. In their attempt to create a universally valid moral system the Enlightenment philosophers discredited the ethical traditions and emphasized reason as the only authority on these matters. The supposedly “universal” rational arguments are built on premises the Enlightenment thinkers inherited from the exact same ethical traditions whose authority they consciously undermined. The irony of the Enlightenment project is therefore that it caused its own failure. MacIntyre believes that the Enlightenment thinkers were mistaken in undermining the authority of all the ethical traditions. He argues that the authority of the critical traditions is legitimate. A critical tradition is a moral tradition where some form of rational enquiry is embodied in the tradition itself. MacIntyre defends the authority of the Aristotelian tradition as the critical tradition per se. In my own enquiry I defend the authority of the Stoic tradition. I attempt to point out the flaws in MacIntyre’s understanding of the Stoics and argue that in some respects the Stoic tradition is a better alternative to the Aristotelian one. After having justified the authority of the Stoic tradition I take a closer look at what their ethics entail. The Stoics have what Cottingham refers to as a “synoptic” conception of philosophy. This means that they tried to integrate all the aspects of human understanding into a single system. Therefore, if one wishes to give a comprehensive picture of their ethics it is necessary to explain their philosophical work on physics and logic as well. I do so by comparing their understanding of physics to the contemporary understanding thereof. The Stoics believed that philosophy is not an abstract theoretical discipline, but rather a way of life. Theoretical arguments play an important role in so far as it helps us to comprehend the nature of the good, but ultimately philosophy is about helping us to live a good life. In light of this understanding I argue that they conceived of ethics as the art of living. The Stoics also believed that one could practice ethics as a form of therapy for our emotions. They believed that emotions such as anger and depression are caused by misguided ways of thinking and that ultimately the good life would cultivate our spirit and enable us to become more resistant to these types of emotions. Simultaneously it will enable us to experience more rational emotions such as joy. The ultimate aim of my research project is to highlight the important contributions the Stoics can make to the crisis we are currently experiencing in ethical discourse. / Dissertation (MA (Philosophy))--University of Pretoria, 2007. / Philosophy / unrestricted

L’écriture de soi relève d’un genre littéraire difficilement définissable, mais qui est pourtant issu d’une longue tradition mettant en scène les différentes modalités d’approche du soi et de l’œuvre. La publication de carnets personnels remplis par des auteurs et des autrices d’envergure témoigne du rôle capital que joue cette pratique de l’intime au niveau de l’élaboration d’une pensée. Néanmoins, les études littéraires tendent à négliger l’importance de cette forme d’écriture dans une perspective de transformation de la psychè par l’écrit. Simone Weil, philosophe et mystique française du XXe siècle, a marqué de son empreinte le genre du carnet. Les nombreux cahiers personnels qu’elle a légués à la postérité illustrent une construction au présent d’un esprit riche et vivant qui associe la réflexion intellectuelle à l’autodiscipline. Le présent mémoire propose notamment de mettre en lumière le rôle fondamental du carnet dans le processus créatif de la philosophe. Cet angle d’analyse viendra ainsi éclairer de façon nouvelle les études portant sur l’œuvre weilienne. Ce mémoire s’ouvrira par une Introduction qui revient sur la tradition de la pratique du carnet en Occident dont s’imprègne Weil. Depuis l’Antiquité grecque, l’écriture personnelle s’articule autour des exercices de soi, dans un souci de perfectionnement spirituel. Cette approche est particulièrement visible avec la forme des hypomnêmata – des notes prises – introduite par les écoles philosophiques gréco-romaines, puis prolongées dans les pratiques monacales du christianisme primitif qui privilégient le sacrifice de soi. Une fois ce contexte bien établi, le corps du mémoire abordera plus spécifiquement le corpus des carnets weiliens. Dans un premier chapitre, une présentation de la vie et de l’œuvre de l’intellectuelle sera donnée, à la suite duquel plusieurs thématiques propres aux carnets feront l’objet d’une analyse. Il s’agira tout d’abord de s’intéresser au dressage de soi au moyen de l’écriture personnelle. Cette conscience de soi maintenue par le carnet me mènera à interroger la part du subjectif dans l’appréhension du monde chez la philosophe. Le regard sur l’extérieur me conduira ensuite à traiter de la riche intertextualité des carnets weiliens. Après m’être ainsi intéressée aux récits littéraires, je porterai enfin mon attention sur l’influence de l’expérience intérieure dans le concept de décréation développé par Weil. Le rôle particulier de l’écrit dans le processus d’inspiration sera souligné à ce stade. Cette étude propose en somme d’appréhender la pensée de la philosophe au prisme de l’écriture de soi. Elle permet également d’ouvrir la réflexion sur un enjeu plus large : le rôle de l’écriture personnelle dans la construction du sujet et de sa psychè, ainsi que les différentes approches faisant du carnet un véritable compagnon de vie de l’écrivaine. / Self-writing has come to constitute a literary genre which is difficult to define yet is part of a long tradition offering writers various means and methods of approaching their own psyche and body of work. The publication of personal notebooks written by major authors indeed demonstrates the crucial role played by this intimate practice in the elaboration of intellectual systems. Literary studies have nevertheless tended to neglect the transformational impact of this specific form of writing. Simone Weil, a French mystic and philosopher of the 20th century, has particularly enriched the genre of self-writing. The numerous notebooks she wrote show the construction of a deep and vivid mind that associates intellectual creation with strong self-discipline. The present master’s thesis will aim at highlighting the fundamental role of the notebook within the creative process of this philosopher. Such a perspective should shed new light on certain aspects of the academic literature dedicated to Weil’s works. The Introduction of this thesis offers an overview of the Western tradition of personal notebooks, which exerted a vast influence on Weil’s writings. Since Greek antiquity, writing in the first person has been an important part of self-improvement exercises, aimed at spiritual perfection. This approach is particularly visible in the hypomnêmata – taking of notes – introduced by Greek and Roman philosophical schools and developed in early Christian monastic practices focused on self-sacrifice. Once this context has been established, the main body of the thesis will focus more specifically on Weil’s notebooks. A first chapter will present her life and works, which will then allow for a focus on certain themes present in her personal writing. I will begin by focusing on self- mastery through means of writing in the first person. Next, I will analyse the importance of subjectivity in this philosopher’s worldview, before dealing with the rich intertextuality of Weil’s notebooks. Finally, I will deal with the influence of Weil’s personal experience on her own concept of décréation. The importance of writing in the inspiration process will be of particular interest in this final chapter. The main objective of this thesis is to analyse Weil’s writings through the lens of self-writing. It additionally aims at broadening analytical perspectives on the importance of personal writing in the construction of self and insisting on the role of the notebook as a life companion for the writer.

The Spiritual Exercises of Ignatius of Loyola, the founder of the Jesuit order, presuppose Roman Catholicism, but are today made by many who are not Catholics. Moreover, even Roman Catholics who make Ignatian Exercises often are not spontaneously inclined to obey Roman ecclesiastical authority. Neither avoiding the ecclesial dimension nor an authoritarian ‘follow the rules!’ provides spiritual directors with adequate orientation when working with issues at Church frontiers. This dissertation in pastoral theology seeks to navigate a middle position by moving beyond the individualism and the a-historical assumptions of the existing relevant literature. The dissertation remains close to the Ignatian primary sources, in the awareness that the Ignatian tradition needs to be constantly updated and that the contemporary ecclesial frontiers are not fully foreseen in the canonical texts. The main hypothesis is that a notion is needed of a ‘pilgrim Church’ in space and time, with Christians who are related to one another in a deep and fundamental sense. The minor hypothesis is that the individual needs to be open towards and prepared to learn from the Roman Catholic Church, in order to understand and to be profoundly moved by these exercises, but not necessarily to become a Roman Catholic. Having presented and discussed various approaches in the writings of twentieth-century and recent thinkers, this thesis puts forward its own ecclesiological position informed by Charles Taylor, Hans-Georg Gadamer and Karl Rahner. The aim is to take Ignatian studies forward by combining relational anthropology, hermeneutics and a sacramental understanding of the Church, and to apply this synthesis to the practice of giving Ignatian Exercises. The final chapter discusses a selection of cases in the light of my ecclesiological position. The synthesis and application claim originality.

Cette étude de philosophie comparée propose une herméneutique de l’idée de soi à partir d’une analyse de la dimension ascétique de la question « quel soi ? », qui se manifeste à travers les disciplines de libération mises en place par les traditions du Portique et du Zen. Déclinée sous différentes formes, cette question constitue la pierre angulaire des pratiques de soi propres aux deux traditions. Il apparaît que sa principale fonction est celle d’orienter l’idée de soi, eu égard à une polarité soi ↔ non-soi, afin de parvenir à la condition du sage, celle d’un accord libérateur avec une nature originelle commune à tous. Ainsi, au lieu de désigner simplement un fondement ontologique – réel ou supposé – l’idée de soi joue alors bien plutôt un rôle de vecteur, qui, selon son orientation,permet ou non d’actualiser cet accord. Par la prise en compte comparative du rôle de la négation (détachement) de soi, cette étude cherche donc à élargir le spectre des processus de subjectivation ou des pratiques de soi et, ainsi, de mettre au jour un aspect assez négligé par l’histoire occidentale de la subjectivité. Par là même, cette thèse permet de mieux comprendre comment une (méta)physique stoïcienne du plein peut être à même de penser la négation (détachement) de soi et, inversement, comment une métaphysique bouddhiste de la vacuité peut développer une pensée de la subjectivité morale et de la responsabilité / This study in comparative philosophy offers a hermeneutics of the idea of self. It explores the ascetic dimension of the question “what self?” apparent across the various disciplines of liberation developed by the Stoic and Zen traditions. In its diverse guises, this question is the cornerstone of specific practices of the self within these traditions. As such, its main function is to guide the idea of self, with regard to the polarity self ↔ non-self, in order to achieve the status of the sage, which represents a kind of harmony with an original nature that is common to all individuals. Therefore, rather than simply designating an ontological foundation – real or alleged – the idea of self has the role of a vector, which, depending on its orientation, allows one to actualise (or not) this harmony. Through comparative analysis of the role of negation (detachment) of the self, this study seeks to broaden the spectrum of the processes of subjectification or practices of the self and, thus, to bring to light an aspect that has been somewhat neglected by the Western history of subjectivity. In doing so, this thesis enables better understanding of how the full-bodied (meta)physics of the Stoics is able to think the negation (detachment) of the self and, conversely, of how the Buddhist metaphysics of emptiness can develop an idea of moral subjectivity and responsibility

A deep visual analysis of Ludovico Carracci’s 1588 Madonna and Child, Angels, and Saints Francis, Dominic, Mary Magdalene and the Donor Cecilia Bargellini Boncompagni with an emphasis on the role of the patron, the significance of the locality, and the visual semiotics of the Virgin Mary’s gaze in prompting conversion in the repentant prostitutes of the Carmelite convertite convent associated with Ss. Filippo and Giacomo in Bologna, Italy. Including a commentary on contemporary social expectations of modest behavior and the painting’s deliberate incorporation of inappropriate female behavior towards a religious purpose. A discussion of uniquely Carmelite iconography, the use of Ignatian mental prayer in convents, and self-determination in imagery by a Bolognese aristocratic woman.

La confrontation du théâtre et de la liturgie est un lieu commun de la pensée. Il est un motif rhétorique récurrent chez les pères de l’Église pour définir a contrario et par surenchère le bon ethos du chrétien à l’Église. Ce tour de pensée ecclésiastique, typique de la synthèse augustinienne de la rhétorique antique et du christianisme, n’est pas seulement un héritage livresque au XVIIe siècle. Il est particulièrement pertinent à la vue des enjeux auxquels est confrontée l’Église catholique : elle doit répondre aux accusations protestantes, qui traitaient la messe de farce ; le théâtre renouvelé de l’antique se rétablit grâce au soutien du pouvoir, se sédentarise et devient un divertissement régulier. Cette banalité nouvelle fait de la Comédie, aux yeux des augustiniens, le lieu d’une « représentation vive » et continuelle des passions du monde, particulièrement de l’amour et de l’honneur : le théâtre apparaît comme une liturgie inversée. Là où les pratiques de piété sont censées amoindrir les passions et nourrir la foi, le théâtre excite les passions et étouffe l’esprit de prière. La querelle de la moralité au théâtre montre non seulement une concurrence morale, mais aussi psychique et affective. Les deux représentations prétendent susciter la présence d’esprit et « toucher » le cœur, voire lui « imprimer des mouvements ». La messe est qualifiée de « représentation vive du sacrifice de la croix », pendant laquelle le fidèle doit se remémorer vivement le sacrifice christique et sa signification grâce à une lecture allégorique, et se l’appliquer à lui-même. Par la considération et l’accomplissement de cérémonies, par la vocalisation des psaumes, le fidèle est invité à produire des « actes » du cœur pour s’unir à Jésus-Christ. Ce rapport au texte comme trace à suivre, et ce rapport au corps et à la voix comme media pour s’auto-exciter, expliquent pourquoi les comédiens professionnels sont condamnés par les dévots : ils excitent en eux les passions contraires à l’Esprit saint, ils rappellent des sentiments qu’un pénitent ne pourrait pas se remémorer sans « horreur ». La « représentation » est alors conçue comme un effort de remémoration.Le rétablissement du théâtre à l’antique nécessitait un discours pour en éclairer les visées et en légitimer l’existence dans une société chrétienne et monarchique. Traduire la mimesis aristotélicienne par « représentation » plutôt que par « imitation » rendait le théâtre beaucoup plus proche de la liturgie et lui ajoutait les connotations de vue, de présence et de mémoire. Le débat entre plaire et instruire est un débat entre théâtre-divertissement et théâtre-cérémonie. Incomber au théâtre la fonction d’instruire, c’était le rapprocher d’une prédication et de la messe, car instruire, signifiait instruire chrétiennement. L’échec de sanctification du théâtre des années 1640 fit conclure à une incompatibilité du théâtre avec la folie et la modestie chrétienne, mais la possibilité d’une instruction civique par le théâtre émerge à la fin du siècle. Le théâtre participe de la construction d’une morale laïque. / The confrontation between liturgy and theater is a topos of the discourses which reveal deeply-rooted issues of representation in the seventeenth century. This commonplace had been a recurrent rhetorical device in the patristic sermons, where it emphasized the differences between Christianity and paganism. It is vigorously reactivated in seventeenth-century France as the Catholic Church faces its Calvinist critics, who accuse mass of being a comedy. Profane theater becomes a regular and professional kind of entertainment in the city and at the court, thanks to the protection of the royal power. This is why it is seen by Augustinians as a recurrent “lively representation” of the values of the world, such as love and honor, which are contradictory to the celestial Christian spirit. Treatises against Comedy written by Christian zealots reveal not only a moral, but also an emotional and psychological competition between liturgical practices and theater. Both “representations” try to force the presence of the mind and to touch, or even to print, the heart. The mass is then qualified as the “lively representation” of the Passion of the Christ, during which Catholic prayers must commemorate the mystery of divine sacrifice. By considering and acting out ceremonies, by vocalizing prayers, the believer is invited to produce certain acts of the heart and to unite with Christ, applying the Christ’s sacrifice to himself. Thus, the believer can be assimilated to an existential comedian on the divine stage : he actively involves his sensibility in the imitation of the great Christian model, by entering into the spirit of the psalms. This relationship to the text as a vestige to follow, this use of the voice and the body as mediums to excite devotion, explain the condemnation of the professional comedian by the Christian zealots (dévots). Indeed, the comedian is seen as someone who excites his own passions, playing a dangerous game with his heart and reminding himself of former worldly passions which can only lessen his faith.The reestablishment of theater questions the legitimacy, the definition and the goals of this art in a Christian society. Translating mimesis by “representation” and not “imitation” brought the theater closer to the liturgy. The discourses on theater in the 1620s and 1630s show that the authors tended to see a memorial, reiterative and visual dimension in theater that was not present in Aristotle. The debates finally conclude on the definition of theater as an honest form of entertainment rather than as a living form of instruction, namely because the latter was the responsibility of predication and mass. Saint Thomas could justify theater as a way of merely releasing the mind without interesting the heart or touching the soul ; at that time, indeed, instruction meant Christian instruction. In the 1640s, to please the devout Spanish queen Anne of Austria, several playwrights did attempt to call back the theater to its former institutional position by assimilating it with religious ceremony and creating sanctified tragedies. But this attempt failed for both poetic and political reasons. The disposition of the spectators in the city was not to be instructed. The theater was finally recognized as incompatible with Christian folly and modesty, but slowly participated in the formation of a secular morality in a new civic sphere.