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In this paper, I provide an interpretation of Frege's logicist project, drawing a connection between it and his idiosyncratic view of truth.

Esta pesquisa inspira-se em questionamentos levantados por discentes de Ensino Fundamental e Médio acerca da atribuição do adjetivo “filosófico” a determinadas obras popularmente conhecidas como literárias. O objetivo desta dissertação é, justamente, problematizar a rigidez da categorização de obras como sendo ou de ordem filosófica, ou literária, dada a compreensão de que tal processo resulta no enclausuramento dos campos e, consequentemente, no seu empobrecimento. Deste modo, questiona-se: em que sentido ou quais sentidos pode-se operar cruzamentos entre filosofia e literatura? Inicio o trabalho com uma discussão mais ampla sobre filosofia e arte, tomada a partir da relação de tais campos com a noção de verdade. Nesta direção, pergunto: sobre que bases se sustenta uma aparente dificuldade em pensar o casamento entre filosofia e arte como algo capaz de produzir conhecimento? Em seguida, examino as condições de possibilidade de aproximação entre filosofia e literatura, entendida aqui como um tipo específico de arte. Para tanto, considero argumentos contrários e favoráveis à inter-relação dos domínios. Por fim, apresento uma escrita pragmática, na tentativa de pensar o encontro entre filosofia e literatura. Trata-se de uma leitura filosófica realizada a partir de três obras literárias contemporâneas, a saber, A ignorância (2000), de Milan Kundera, A elegância do ouriço (2006), de Muriel Barbery, e Desonra (1999), de J. M. Coetzee. Assumo como chave de leitura aquilo que chamo de “palavra-silêncio”, isto é, uma palavra repleta de não-ditos, mas que não se reduz à ausência de som, pois o silêncio que nela repousa é, antes de tudo, percebido como potência. A conclusão deste trabalho sustenta que é possível pensar o encontro entre filosofia e literatura, à medida que compreendemos a filosofia como um trabalho crítico do pensar que se volta para si (FOUCAULT, 1998) e a literatura não como algo oposto à realidade, mas sim como um desdobramento desta. / This research was inspired by questionings raised by elementary, middle and high school students over the attribution of the adjective "philosophical" to particular works popularly known as literary. The main objective of this dissertation is precisely to problematize the inflexibility of the classification of works as being either philosophic or literary, given the comprehension that such process should result in the cloistering of those fields and, consequently, in their impoverishment. Thus, the question arises: in which sense can we operate crossings between literature and philosophy? I initiate this study with a broader discussion over philosophy and art, starting from the relations of these fields with the notion of truth. In this direction, I question: on what sort of foundations is sustained an apparent difficulty in thinking the union between philosophy and art as something capable of producing knowledge? Subsequently, I examine the possibility of approximating philosophy and literature, the latter understood here as an specific kind of art. To this end, I consider contrary and favorable arguments to the inter-relation of these domains. Ultimately, I present a pragmatic writing, in an attempt at thinking the encounter between philosophy and literature. It's a philosophical reading conducted by three contemporary literary works, namely, The Ignorance (2000), by Milan Kundera, The Elegance of the Hedgehog (2006), by Muriel Barbery, and Disgrace (1999), by J. M. Coetzee. I assume as a reading key something that I call "silence-word", that is, a word full of non-said things, but that isn't simply an absence of sound, as the silence that it constitutes is, above all, seen as potency. The conclusion of this study maintains that it is possible to think the encounter between philosophy and literature, as we comprehend philosophy as a critical work of thought upon itself (FOUCAULT, 1998) and literature not as something opposed to reality, but as an unfolding of it.

Este trabalho investiga como se articulam, no discurso da atuação teatral, as ideias de presença e do verdadeiro e como o ator se forja a partir da emergência desses objetos de pensamento. Procura aproximar a voz de dois diretores pedagogos em atividade, Peter Brook e Ariane Mnouchkine, aos conceitos de verdade e presença de filósofos como Hans Ulrich Gumbrecht, Michel Foucault, Hannah Arendt, Friederich Nietzsche, entre outros. Ao inscrever-se na categoria dos Estudos da Presença, a metodologia possui um caráter autorreferencial. Parte-se de quatro relatos de experiência da autora para abordar aquilo que se diz da prática na prática e de que forma os dizeres da filosofia auxiliam na compreensão desses discursos. Pretende-se fazer perceber que as ideias de presença e verdade confundem-se como modos de dizer dos atores para se referir a algo não possível de ser dito. / This thesis investigates how the ideas of presence and of truth are articulated in the discourse of theatrical performance, and how actors shape themselves upon the emergence of these objects of thought. It seeks to approximate the voice of two pedagogue directors in activity, Peter Brook and Ariane Mnouchkine, to the concepts of truth and presence in philosophers such as Hans Ulrich Gumbrecht, Michel Foucault, Hannah Arendt and Friedrich Nietzsche, among others. Inscribing itself in the category of Studies of Presence, the methodology possesses a self-referential nature. It departs from four accounts of the author's own experience to approach that which is said of practice in practice, and how statements of philosophy help the understanding of these discourses. It aims to make perceptible that the ideas of presence and truth are confounded as manners of speaking of the actors to refer to something which is not possible to be said.

vii, 73 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This project explores Martin Heidegger's extensive engagement with technology and stands as a defense of his approach. In doing this I will explicate how technology should not be viewed simply as a means for human use but must be recognized as a way in which the truth reveals itself. This requires an inquiry into how modem technology approaches the world in a way that differs from approaches of the past. By showing what this difference is and how it is making its appearance, it becomes possible to see that technology places humanity into a new and dangerous relationship with itself. I would like to show that this danger can only be properly attended to and averted through a tum to historical reflection. / Committee in Charge: John T. Lysaker, Chair; Peter A. Warnek

This work is an investigation into the notion of truth. More specifically, this thesis deals with how to account for the main features of truth, with the interaction between truth and fundamental linguistic elements such as connectives and quantifiers, and with the analysis and the solution of truth-theoretic paradoxes. In the introductory Chapter 1, I describe and justify the approach to truth I adopt here, giving some general coordinates to contextualize my work. In Part I, I examine some theories of truth that fall under the chosen approach. In Chapter 2, I discuss a famous theory of truth developed by Saul Kripke. Some difficulties of Kripke's theory led several authors, notably Hartry Field, to emphasize the importance of a well-behaved conditional connective in conjunction with a Kripkean treatment of truth. I articulate this idea in a research agenda, which I call Field's program, giving some conditions for its realizability. In Chapter 3, I analyze the main theory of truth proposed by Field to equip Kripke's theory with a well-behaved conditional, and I give a novel analysis of its shortcomings. Field's theory is remarkably successful but is technically and intuitively very complex, and it is unclear whether Field's conditional is a plausible candidate for a philosophically useful conditional. Moreover, Field's treatment of "determinate truth" and his handling of many kinds of paradoxes is not fully satisfactory. In Part II, I develop some new theories that capture the main aspects of the notion of truth and, at the same time, give a philosophically interesting meaning to connectives and quantifiers - in particular, they yield a strong and conceptually significant conditional. The theory proposed in Chapter 4 extends the inductive methods employed in Kripke's theory, showing how to adapt them to non-monotonic connectives as well. There, I also develop and defend a new, theoretically fruitful notion of gappiness. The theory proposed in Chapter 5 (and discussed further in Chapter 6), instead, employs some graph-theoretic intuitions and tools to provide a new model-theoretic construction. The resulting theory, I argue, provides a nice framework to account for the interaction between truth, connectives, and quantifiers, and it is flexible enough to be applicable to several interpretations of the logical vocabulary. Some new technical results are established with this theory as well, concerning the interplay between every Lukasiewicz semantics and some interpretations of the truth predicate, and concerning the handling of determinate truth. Finally, the theory developed in Chapter 5 provides articulate and telling solutions to truth-theoretical paradoxes.

Este trabalho investiga como se articulam, no discurso da atuação teatral, as ideias de presença e do verdadeiro e como o ator se forja a partir da emergência desses objetos de pensamento. Procura aproximar a voz de dois diretores pedagogos em atividade, Peter Brook e Ariane Mnouchkine, aos conceitos de verdade e presença de filósofos como Hans Ulrich Gumbrecht, Michel Foucault, Hannah Arendt, Friederich Nietzsche, entre outros. Ao inscrever-se na categoria dos Estudos da Presença, a metodologia possui um caráter autorreferencial. Parte-se de quatro relatos de experiência da autora para abordar aquilo que se diz da prática na prática e de que forma os dizeres da filosofia auxiliam na compreensão desses discursos. Pretende-se fazer perceber que as ideias de presença e verdade confundem-se como modos de dizer dos atores para se referir a algo não possível de ser dito. / This thesis investigates how the ideas of presence and of truth are articulated in the discourse of theatrical performance, and how actors shape themselves upon the emergence of these objects of thought. It seeks to approximate the voice of two pedagogue directors in activity, Peter Brook and Ariane Mnouchkine, to the concepts of truth and presence in philosophers such as Hans Ulrich Gumbrecht, Michel Foucault, Hannah Arendt and Friedrich Nietzsche, among others. Inscribing itself in the category of Studies of Presence, the methodology possesses a self-referential nature. It departs from four accounts of the author's own experience to approach that which is said of practice in practice, and how statements of philosophy help the understanding of these discourses. It aims to make perceptible that the ideas of presence and truth are confounded as manners of speaking of the actors to refer to something which is not possible to be said.

Esta pesquisa inspira-se em questionamentos levantados por discentes de Ensino Fundamental e Médio acerca da atribuição do adjetivo “filosófico” a determinadas obras popularmente conhecidas como literárias. O objetivo desta dissertação é, justamente, problematizar a rigidez da categorização de obras como sendo ou de ordem filosófica, ou literária, dada a compreensão de que tal processo resulta no enclausuramento dos campos e, consequentemente, no seu empobrecimento. Deste modo, questiona-se: em que sentido ou quais sentidos pode-se operar cruzamentos entre filosofia e literatura? Inicio o trabalho com uma discussão mais ampla sobre filosofia e arte, tomada a partir da relação de tais campos com a noção de verdade. Nesta direção, pergunto: sobre que bases se sustenta uma aparente dificuldade em pensar o casamento entre filosofia e arte como algo capaz de produzir conhecimento? Em seguida, examino as condições de possibilidade de aproximação entre filosofia e literatura, entendida aqui como um tipo específico de arte. Para tanto, considero argumentos contrários e favoráveis à inter-relação dos domínios. Por fim, apresento uma escrita pragmática, na tentativa de pensar o encontro entre filosofia e literatura. Trata-se de uma leitura filosófica realizada a partir de três obras literárias contemporâneas, a saber, A ignorância (2000), de Milan Kundera, A elegância do ouriço (2006), de Muriel Barbery, e Desonra (1999), de J. M. Coetzee. Assumo como chave de leitura aquilo que chamo de “palavra-silêncio”, isto é, uma palavra repleta de não-ditos, mas que não se reduz à ausência de som, pois o silêncio que nela repousa é, antes de tudo, percebido como potência. A conclusão deste trabalho sustenta que é possível pensar o encontro entre filosofia e literatura, à medida que compreendemos a filosofia como um trabalho crítico do pensar que se volta para si (FOUCAULT, 1998) e a literatura não como algo oposto à realidade, mas sim como um desdobramento desta. / This research was inspired by questionings raised by elementary, middle and high school students over the attribution of the adjective "philosophical" to particular works popularly known as literary. The main objective of this dissertation is precisely to problematize the inflexibility of the classification of works as being either philosophic or literary, given the comprehension that such process should result in the cloistering of those fields and, consequently, in their impoverishment. Thus, the question arises: in which sense can we operate crossings between literature and philosophy? I initiate this study with a broader discussion over philosophy and art, starting from the relations of these fields with the notion of truth. In this direction, I question: on what sort of foundations is sustained an apparent difficulty in thinking the union between philosophy and art as something capable of producing knowledge? Subsequently, I examine the possibility of approximating philosophy and literature, the latter understood here as an specific kind of art. To this end, I consider contrary and favorable arguments to the inter-relation of these domains. Ultimately, I present a pragmatic writing, in an attempt at thinking the encounter between philosophy and literature. It's a philosophical reading conducted by three contemporary literary works, namely, The Ignorance (2000), by Milan Kundera, The Elegance of the Hedgehog (2006), by Muriel Barbery, and Disgrace (1999), by J. M. Coetzee. I assume as a reading key something that I call "silence-word", that is, a word full of non-said things, but that isn't simply an absence of sound, as the silence that it constitutes is, above all, seen as potency. The conclusion of this study maintains that it is possible to think the encounter between philosophy and literature, as we comprehend philosophy as a critical work of thought upon itself (FOUCAULT, 1998) and literature not as something opposed to reality, but as an unfolding of it.

Este trabalho investiga como se articulam, no discurso da atuação teatral, as ideias de presença e do verdadeiro e como o ator se forja a partir da emergência desses objetos de pensamento. Procura aproximar a voz de dois diretores pedagogos em atividade, Peter Brook e Ariane Mnouchkine, aos conceitos de verdade e presença de filósofos como Hans Ulrich Gumbrecht, Michel Foucault, Hannah Arendt, Friederich Nietzsche, entre outros. Ao inscrever-se na categoria dos Estudos da Presença, a metodologia possui um caráter autorreferencial. Parte-se de quatro relatos de experiência da autora para abordar aquilo que se diz da prática na prática e de que forma os dizeres da filosofia auxiliam na compreensão desses discursos. Pretende-se fazer perceber que as ideias de presença e verdade confundem-se como modos de dizer dos atores para se referir a algo não possível de ser dito. / This thesis investigates how the ideas of presence and of truth are articulated in the discourse of theatrical performance, and how actors shape themselves upon the emergence of these objects of thought. It seeks to approximate the voice of two pedagogue directors in activity, Peter Brook and Ariane Mnouchkine, to the concepts of truth and presence in philosophers such as Hans Ulrich Gumbrecht, Michel Foucault, Hannah Arendt and Friedrich Nietzsche, among others. Inscribing itself in the category of Studies of Presence, the methodology possesses a self-referential nature. It departs from four accounts of the author's own experience to approach that which is said of practice in practice, and how statements of philosophy help the understanding of these discourses. It aims to make perceptible that the ideas of presence and truth are confounded as manners of speaking of the actors to refer to something which is not possible to be said.

Philosophiae Doctor - PhD / This work is a meditation on the shaping of time and its impact on living with and understanding atrocity in South Africa in the wake of the Truth and Reconciliation Commission (TRC).