Alexandre-Gabriel Decamps (1803-1863) set out on his only trip to Greece and Turkey in 1828 to return to France and produce visual images of the Orient at a time when no major European artist had traveled to the Near East and at a time when the Orient had yet to be experienced, understood, and interpreted. Decamps’ highly original and personal interpretation of the Orient in painting has been studied by present-day scholars exclusively within the context of Romantic Orientalist genre painting. Studying criticism written on his work throughout the 19th century and working closely with his paintings, certain issues in his Orientalist paintings question the longstanding categorization of his work as solely Romantic Orientalist genre paintings. The fact that the artist never returned to the Orient; the fact that he invested his Orientalist landscapes with a Rembrandesque rather than Oriental light; his constant inclusion of contrasting opposites in the ostensibly subdued compositions he produced; the striking differences between his Oriental visual expressions and those of his Romantic contemporaries; and his own sentiment of being a failed artist, reveal alternative, less settled, readings of his work. Studying Decamps’ Orientalist oeuvre in its social and political contexts and taking into account the artist’s personal ambitions demonstrates the lasting resonance of this work, of the artist’s highly original working methods, and of his innovative technique. This study provides an assessment of Decamps’ Oriental work; it also delineates its relevance and influence in movements beyond Romanticism and into trends that developed during the late 19th and early 20th centuries. / Thesis (Master, Art History) -- Queen's University, 2008-12-11 20:43:05.08

La thèse présente une analyse conceptuelle de l'évolution du concept d'espace topologique. En particulier, elle se concentre sur la transition des espaces topologiques hérités de Hausdorff aux topos de Grothendieck. Il en ressort que, par rapport aux espaces topologiques traditionnels, les topos transforment radicalement la conceptualisation topologique de l'espace. Alors qu'un espace topologique est un ensemble de points muni d'une structure induite par certains sous-ensembles appelés ouverts, un topos est plutôt une catégorie satisfaisant certaines propriétés d'exactitude. L'aspect le plus important de cette transformation tient à un renversement de la relation dialectique unissant un espace à ses points. Un espace topologique est entièrement déterminé par ses points, ceux-ci étant compris comme des unités indivisibles et sans structure. L'identité de l'espace est donc celle que lui insufflent ses points. À l'opposé, les points et les ouverts d'un topos sont déterminés par la structure de celui-ci. Qui plus est, la nature des points change: ils ne sont plus premiers et indivisibles. En effet, les points d'un topos disposent eux-mêmes d'une structure. L'analyse met également en évidence que le concept d'espace topologique évolua selon une dynamique de rupture et de continuité. Entre 1945 et 1957, la topologie algébrique et, dans une certaine mesure, la géométrie algébrique furent l'objet de changements fondamentaux. Les livres Foundations of Algebraic Topology de Eilenberg et Steenrod et Homological Algebra de Cartan et Eilenberg de même que la théorie des faisceaux modifièrent profondément l'étude des espaces topologiques. En contrepartie, ces ruptures ne furent pas assez profondes pour altérer la conceptualisation topologique de l'espace elle-même. Ces ruptures doivent donc être considérées comme des microfractures dans la perspective de l'évolution du concept d'espace topologique. La rupture définitive ne survint qu'au début des années 1960 avec l'avènement des topos dans le cadre de la vaste refonte de la géométrie algébrique entreprise par Grothendieck. La clé fut l'utilisation novatrice que fit Grothendieck de la théorie des catégories. Alors que ses prédécesseurs n'y voyaient qu'un langage utile pour exprimer certaines idées mathématiques, Grothendieck l'emploie comme un outil de clarification conceptuelle. Ce faisant, il se trouve à mettre de l'avant une approche axiomatico-catégorielle des mathématiques. Or, cette rupture était tributaire des innovations associées à Foundations of Algebraic Topology, Homological Algebra et la théorie des faisceaux. La théorie des catégories permit à Grothendieck d'exploiter le plein potentiel des idées introduites par ces ruptures partielles. D'un point de vue épistémologique, la transition des espaces topologiques aux topos doit alors être vue comme s'inscrivant dans un changement de position normative en mathématiques, soit celui des mathématiques modernes vers les mathématiques contemporaines. / The thesis presents a conceptual analysis of the evolution of the topological space concept. More specifically, it looks at the transition from topological spaces inherited from Hausdorff to Grothendieck toposes. This analysis intends to show that, in comparison to traditional topological spaces, toposes radically transform the topological conceptualization of space. While a topological space is a set of points equipped with a structure induced by some of its subsets called open, a topos is a category satisfying exactness properties. The most important aspect of this transformation is the reversal of the dialectic between a space and its points. A topological space is totally determined by its points who are in turn understood as being indivisible and devoided of any structure. The identity of the space is thus that induced by its points. Conversely, the points and the open of a topos are determined by its very structure. This entails a change in the nature of the points: they are no longer seen as basic nor as indivisible. Indeed, the points of a topos actually have a structure. The analysis also shows that the evolution of the topological space concept followed a pattern of rupture and continuity. From 1945 to 1957, algebraic topology and, to a lesser extend, algebraic geometry, went through fundamental changes. The books Foundations of Algebraic Topology by Eilenberg and Steenrod and Homological Algebra by Cartan and Eilenberg as well as sheaf theory deeply modified the way topological spaces were studied. However, these ruptures were not deep enough to change the topological conceptualization of space itself. From the point of view of the evolution of the topological space concept, they therefore must be seen as microfractures. The definitive rupture only occurred in the early 1960s when Grothendieck introduced toposes in the context of his reform of algebraic geometry. The key was his novel use of category theory. While mathematicians before him saw category theory as a convenient language to organize or express mathematical ideas, Grothendieck used it as a tool for conceptual clarification. Grothendieck thus put forward a new approach to mathematics best described as axiomatico-categorical. Yet, this rupture was dependent of the innovations associated with Foundations of Algebraic Topology, Homological Algebra and sheaf theory. It is category theory that allowed Grothendieck to reveal the full potentiel of the ideas introduced by these partial ruptures. From an epistemic point of view, the transition from topological spaces to toposes must therefore be seen as revealing a change of normative position in mathematics, that is that from modernist mathematics to contemporary mathematics.

Valentin Raspoutine (né le 15 mars 1937) et Alexandre Vampilov (19 août 1937-17 août 1972) sont deux auteurs dont l'œuvre présente un intérêt particulier pour la critique littéraire contemporaine. La pénétration émotionnelle et philosophique dans la nature de " l'Autre " et l'aspiration à sa reconstitution esthétique sont caractéristiques de Valentin Raspoutine comme d'Alexandre Vampilov. Le rôle de l'anthropologie artistique dans l'esthétique des deux créateurs reste toujours un champ vaste de réflexion et d'interprétation. La thèse prouve que ce sont les espaces communicatifs des œuvres de Raspoutine et de Vampilov qui contiennent des repères de l'authenticité et de la prédestination de la personnalité de fiction. L'étude met en évidence le but de l'existence artistique de la personnalité unique du narrataire, du héros et du narrateur dans l'œuvre de l'écrivain et celle du dramaturge.

Unique français parmi les fondateurs de la mécanique quantique, Louis de Broglie est une figuremajeure de l'histoire de la physique française du XXème siècle. Il devient grâce à son prix Nobel dephysique en 1929 le personnage central de la physique théorique française. Dans les récits usuelsportant sur la physique française du XXème siècle, la mécanique quantique est décrite comme s'étanttrès lentement diffusée en France, et il est souvent admis que peu de physiciens de ce pays l'utilisèrentavant la fin de la seconde guerre. De Broglie est souvent désigné comme le grand responsable de cetétat de fait et est dépeint comme un représentant type d'une pratique de physique théorique obsolète.De plus, son rôle institutionnel et sa responsabilité dans l'isolationnisme français sont dénoncés.Le but de ce travail est, premièrement, d'éclairer les modalités de la diffusion de la mécaniquequantique en France et le rôle de Louis de Broglie dans ce processus. Ce faisant, mon propos apporterade fortes nuances aux habituels récits portant sur cet aspect de l'histoire de la physique française duXXème siècle. Deuxièmement, je montrerai que l'essor de domaines tels que la physique des particules,la physique du solide et la physique nucléaire après la seconde guerre mondiale introduit unchangement dans les pratiques des jeunes théoriciens par rapport aux pratiques qui régnaient autour deLouis de Broglie. Je serai alors en mesure d'expliquer pourquoi l'héritage de Louis de Broglie au seinde la physique française de la seconde moitié du XXème siècle est si peu revendiqué, tout en évitant detomber dans le piège des jugements rétrospectifs et péjoratifs.

Le roman de César Aira, l'un des plus grands écrivains argentins actuels, Un episodio en la vida del pintor viajero (Un épisode dans la vie du peintre voyageur), publié en 2000 en Argentine et traduit en français en 2001, constitue le fil conducteur de notre recherche. Dans cette fiction inspirée d'un fait réel, Aira raconte le premier voyage en Argentine de Johann Moritz Rugendas, peintre romantique allemand de la première partie du XIXe siècle, qui sillonna l'Amérique latine durant vingt ans et rapporta de ses voyages des milliers de dessins et de peintures. Inspiré par les théories du savant Alexandre de Humboldt, et en particulier par la pensée de la « physionomie de la nature », Rugendas fit également partie de ces artistes naturalistes dont l'art servit la science. En 1838, accompagné du peintre Robert Krause, il traversa les Andes puis la pampa argentine, mais il fut victime d'une grave chute de cheval avant d'arriver à San Luis. Durant le trajet de retour vers le Chili, il aurait approché les Indiens de la région du sud de Mendoza. C'est cet épisode de la vie de Rugendas que Aira relate, à sa façon. La première partie de cette thèse consiste en l'analyse littéraire approfondie du roman, à travers ses différentes thématiques. Parmi celles-ci, figurent l'art en voyage, les liens entre écriture et peinture, art et science, la perception de la beauté et de la laideur. Ce périple fait d'épreuves et de découvertes se révèle être finalement un véritable voyage initiatique pour l'artiste. Dans la deuxième partie, nous adoptons un point de vue historique pour confronter le roman aux faits vécus, tels qu'ils sont racontés dans les biographies de Rugendas ou dans les témoignages de ses contemporains, et réfléchissons à la dialectique entre fiction et réalité. Tout cela nous amène à réfléchir, dans une troisième partie, à l'activité de peintre voyageur. Nous retraçons l'itinéraire des deux artistes en mettant en parallèle les peintures de Rugendas et le récit de Krause, puis nous nous intéressons à chacune des caractéristiques de la pratique de l'art en voyage à travers les expériences de ces deux peintres mais aussi à travers celles d'autres artistes ayant voyagé en Amérique latine au XIXe siècle, tels Léon Pallière, Auguste Borget ou Raymond Monvoisin par exemple, et les peintres de l'école artistique humboldtienne. Cette thèse, qui allie littérature, histoire de l'art et esthétique, est à vocation pluridisciplinaire. / This research is focused on the novel Un episodio en la vida del pintor viajero (An Episode in the Life of a Landscape Painter), by César Aira, one of the greatest contemporary Argentine writers. In this novel published in 2000, and translated to french in 2001, Aira relates Johan Moritz Rugendas'first trip to Argentina. Rugendas was a German romantic painter of the first part of the nineteenth century who travelled throughout Latin America during twenty years and made thousands of paintings and drawings. Inspired from Alexander von Humboldt's theories, and more precisely from "the physiognomy of nature", Rugendas was also a naturalist artist and his art could help science. In 1838, he crossed the Andes and the Argentinian pampa with another painter, Robert Krause, but he suffered a fall horse before arriving to San Luis. During the return trip to Chile, he is said to have approached the Indians near Mendoza. This episode of Rugendas' life is the one Aira relates, his own way. The first part of this thesis aims to deeply analyze the novel, through its different themes. Among them are the links between art and travel, writing and painting, art and science, the perception of beauty and ugliness. This trip made of pain and discoveries turns out to be a real initiatory journey for the artist. In the second part, I adopt an historical point of view, comparing the novel with the events related in biographies of Rugendas and in contemporary accounts, and reflecting about the dialectic between fiction and reality. All this leads me to think about the activity of traveller painter, in the third part. I first reconstitute the trip route of the two artists, drawing a parallel between the paintings of Rugendas and the narration of Krause, then I consider each characteristic of the occupation of traveller painter through the experience of these artists and other painters who travelled through Latin America in the nineteenth century, such as Léon Pallière, Auguste Borget or Raymond Monvoisin for instance, and the painters inspired from Humboldt's theories. This thesis, which deals with literature, history of art and aesthetics, is an interdisciplinary research.

SILVA, Natalia Ayres. Trabalho e linguagem na obra de A. R. Luria: um estudo à luz da ontologia marxiana. 2011. 116f. Dissertação (Mestrado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2011. / Submitted by Maria Josineide Góis (josineide@ufc.br) on 2012-07-10T13:32:13Z No. of bitstreams: 1 2011_Dis_NASilva.pdf: 760634 bytes, checksum: 69563c26388fb3c452efbdba057cde66 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-12T11:22:32Z (GMT) No. of bitstreams: 1 2011_Dis_NASilva.pdf: 760634 bytes, checksum: 69563c26388fb3c452efbdba057cde66 (MD5) / Made available in DSpace on 2012-07-12T11:22:32Z (GMT). No. of bitstreams: 1 2011_Dis_NASilva.pdf: 760634 bytes, checksum: 69563c26388fb3c452efbdba057cde66 (MD5) Previous issue date: 2011 / This dissertation, which has a bibliographical nature, was centered upon the analysis of the categories of labor and language in the work of Alexander Romanovich Luria. From the point of view of Marxian-Lukacsian ontology, it assumed labor as the act that founded human world and all the complexes which encompass human experience. Therefore, it elected as the main hypothesis, that labor, as the founding category of the social being, with the special participation of language, accounts for the origin of the conscientious activity and of the higher psychological functions in humans, both resulting from the necessities engendered by human activity itself. In this perspective, we tried to investigate to what extent the treatment ascribed by Luria to the categories of labor and language are consistent with the premises put by the ontology of social being, identifying, moreover, their relationship within the genesis and development of the higher psychological functions. Before discussing the main research questions, we considered of great importance to present Luria’s biography, in order to place the historical context in which his ideas were fostered, attesting his affiliation with Vigotski and Leontiev, as well, in the field of historical-dialectical materialism. The results of the research indicated that the treatment given by Luria to the categories of labor and language agree with the fundamental ontological concepts, emphasizing labor as the primary category in relation to the other complexes, herein included the complex of language. In this context, labor, together with language, brought about human conscientious activity, developing in man, complex functions, which are not present in animals. / Esta dissertação, de natureza teórico-bibliográfica, centrou-se na análise das categorias trabalho e linguagem na obra de Alexander Romanovich Luria. Partimos do pressuposto, presente na ontologia marxiano-lukacsiana, de que o trabalho foi o ato que fundou o mundo dos homens e todos os complexos que o comportam. Nessa perspectiva, a hipótese central da pesquisa é formulada em torno de que o trabalho, categoria fundante do ser social, dá origem, com a participação fundamental da linguagem, à atividade consciente e às funções psíquicas superiores do homem, as quais decorrem das próprias necessidades engendradas pela atividade humana. Buscamos, assim, investigar como figuram as categorias trabalho e linguagem em Luria e em que medida elas guardam correspondência com os termos postos na ontologia do ser social, identificando, ainda, a sua relação na gênese e desenvolvimento das funções psíquicas superiores. Antes de adentramos nas questões centrais de nossa pesquisa, consideramos fundamental a apresentação da biografia do autor estudado, com o intuito de situarmos o contexto histórico no qual se gestaram suas idéias, bem como a sua filiação a Vigotski e Leontiev no campo do materialismo histórico-dialético. Ao analisarmos as obras de Luria, pudemos constatar que o tratamento dado pelo autor às categorias trabalho e linguagem se assenta nos preceitos fundamentais da ontologia do ser social, evidenciando o primado do trabalho em relação aos demais complexos, incluindo, assim, a linguagem, que surge das necessidades engendradas por ele. Nesse contexto, o trabalho comparece, juntamente com a linguagem, como o ato que forja a atividade consciente do homem, desenvolvendo neste, funções complexas, as quais não estão presentes nos animais.

Malgré la grande postérité de ses idées, Évhémère de Messène reste très peu étudié en France ; il n’existe actuellement aucune édition traduite des fragments et témoignages portant sur cet auteur. Notre travail consiste donc d’abord à proposer un classement personnel accompagné d’une traduction française des différents fragments. Nous procédons ensuite à une évaluation minutieuse et systématique des principaux fragments – Diodore, Bibliothèque historique, V, 41-46 ; Eusèbe, Préparation évangélique, II, 2, 52-62 ; Lactance, Institutions divines, I, 11, 13, 14, 17 et 22 – afin de déterminer jusqu’à quel point ces différentes sources peuvent être considérées comme des reflets fidèles de l’Ἱερὰ Ἀναγραφή d’Évhémère. Cette étude philologique est suivie d'un commentaire d'ensemble de l'ouvrage d'Evhémère.. / Despite the large renown of his ideas, Euhemerus of Messene remains very little studied in France. There is currently no translated edition of the fragments and testimonies on this author. Our first task is therefore to propose a personal classification together with a French translation of the various fragments. We then proceed to a thorough and systematic assessment of key fragments – Diodorus, Historical Library, V, 41-46 ; Eusebius, Evangelical Preparation, II, 2, 52- 62 ; Lactantius, Divine Institutions, I, 11, 13, 14, 17 and 22 – to determine to what extent these different sources can be regarded as faithful reflections of Euhemerus’ Ἱερὰ Ἀναγραφή. Philological commentary is followed by a global analysis on Euhemerus'work

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-02-26Bitstream added on 2014-06-13T18:53:19Z : No. of bitstreams: 1 biziak_js_me_arafcl.pdf: 248612 bytes, checksum: 753837a79ba2e73bf519e415d3544d50 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação busca estabelecer uma discussão que coloque em evidência as relações dentre ficção e histórica, mas de forma a também estabelecer as mudanças das concepções de sujeito e de representação da realidade ao longo dos tempos, desde Descartes, passando por Kant, Schopenhauer, Nietzsche e Foucault. Mais do que tentar apreender como o romance histórico incorpora o passado, cabe, aqui, compreender como este se torna objeto de apresentação e de representação artística, uma vez que é valor que está submetido aos critérios de verdade e realidade de quem produz e de quem lê a obra artística que, por si só, já é objeto específico da criação humana. Como forma de oferecer respaldo às nossas reflexões e de estimulá-las, entraremos em contato com duas obras específicas de dois autores portugueses, uma do século XIX, Eurico, o presbítero, de Alexandre Herculano, outra do XX, História do cerco de Lisboa, de José Saramago. A intenção, aqui, é analisar como, por meio de duas obras distantes no tempo mas como a mesma preocupação de utilizar a história como parte da matéria-prima de suas composições, a ficção pode estimular a multiplicação de sentidos e de reflexões a respeito do que é verdadeiro, do que é real e do que é humano. A um questionamento paulatino da história segue-se um questionamento crescente a respeito do próprio estatuto do pensamento humano e da criação literária enquanto objeto de conhecimento. / The aim of this work is to establish a discussion in which both, fiction and history, are emphasized but also establish the changes of subject conceptions and of reality throughout the time since Descartes, going through Kant, Schopenhauer, Nietzsche and Foucault. More than trying to apprehend how the historical novel incorporates the past, it is also vital to comprehend how it becomes object of presentation and artistic representation since it is value that is submitted to veracity and reality criteria of those who create and of those who read the artistic piece that is specific object of human creation by itself. As a way to offer backup and to stimulate our reflections we will work with two specific pieces of two Portuguese authors, one of them dates from the XIX century, Eurico, the Presbyter (Eurico, o Presbítero), by Alexandre Herculano, the other dates from the XX century, The History of the Siege of Lisbon (História do Cerco de Lisboa), by José Saramago. The intention here is to analyse how, through both pieces distant in time, but sharing the same concern to use history as part of the raw material of their pieces, fiction can stimulate the multiplication of senses and reflections concerning what is true from what is real and from what is human. From a gradually questioning on history, it follows an increasing questioning concerning the own statute of human thought and of literary creation as knowledge object.

When Argentina invaded the Falkland Islands in 1982, it was the beginning of a two month long war. The aim of this essay is to find alternative explanations to the Falklands war with the main question being whether there were hidden motives for Thatcher and her reactions in 1982.   The essay will focus on the period 1965-1982 in which different texts will be analyzed by applying theories. The diversionary war theory describes how state leaders can improve their political popularity by intentionally escalating a conflict. The geopolitical theory explains how a state, by investments, constructions and military, can create demographic and international perceptions regarding a territory while foreign political theory describes how decision making is affected by the bureaucracy, psychology and the international system.   The ministry of defense and the navy was heavily affected by the financial cuts during the conflict and may also have affected the manner in which they advised Thatcher in 1982. Because of the British unwillingness to invest geopolitically in the Falklands and their aggravation of the diplomatically efforts to find a peaceful solution, the conflict got worse. In addition, Thatchers intentions to implement economic reforms and her record low political popularity make it plausible to suspect her for having, intentionally, escalated the conflict to gain political popularity and to enable the economic reforms.

Orientador: Omar Ribeiro Thomaz / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-07T03:46:04Z (GMT). No. of bitstreams: 1 Gajanigo_PauloRodrigues_M.pdf: 1541760 bytes, checksum: 7bdd4e6ed1893bea7db9bb595a3cede5 (MD5) Previous issue date: 2006 / Resumo: Essa pesquisa teve como objeto a obra Usos e Costumes dos Bantos, escrita em 1913 pelo missionário e etnógrafo suíço Henri Junod (1863­1934). Seu trabalho etnográfico no sul de Moçambique, particularmente com o estudo do costumes do que foi denominado grupo "tsonga", teve relevância em vários temas do debate antropológico. Porém a historiografia da disciplina se restringiu, majoritariamente, ao seu argumento sobre parentesco e evolução social exposto pelo texto basilar de Radcliffe-Brown "O irmão da mãe na África Austral". Nessa pesquisa buscou-se explorar outras contribuições etnográficas do autor, a partir de uma leitura detalhada de sua principal obra. Para isso, outros escritos, e versões da mesma obra, foram incluídos no estudo a fim de aprofundar nas idéias do autor. Dessa forma, a pesquisa apresenta contribuições de Junod sobre temas como linhagem, ritos de passagem. sistemas de casamento e sobre a relação entre norma social e comportamento. Apresenta-se também um breve estudo sobre a trajetória de Junod e a relação com sua obra. O olhar da historiografia da antropologia dirigido à obra de Junod a partir do debate estabelecido com Radcliffe-Brown relegou o pensamento de Junod à matriz evolucionista. Porém, com essa pesquisa, mostra-se que há outros pontos obscurecidos até então que o relacionam também à crescente corrente da antropologia social / Abstract: The object of this research is the work Ufe in a $outh African Tribe, wrote in 1913 by the Swiss missionary and ethnographer Henri Junod (1863-1934). His ethnographic work in the south of Mozambique, particularly with the costumes' study of what had been named "tsonga" group, had relevance in several themes in the anthropological debate. However, the anthropological historiography restricted itself, mostly, to Junod's argument about kinship and social evolution exposed through the Radcliffe-Brown's basilar article "The mother's brother in South Africa". In this research, it was explored others ethnographical contributions of Junod, found through a detail reading of Ufe in a South African Tribe. Other texts was used too, inclusively others versions of the work in question, with the objective of deepening in the author's ideas. In this matter, this dissertation presents Junod's contributions in themes as lineage, rites of passage, systems of n:arriage and the relation between social norm and behavior. Also, it was possible to present a brief study of the Junod's trajectory and its relation with his work. The Radcliffe-Brown's vision about Junod' s ideas located him in the evolutionary matrix. However, with this research, it was demonstrated that others elements, that had been obscured until now, relates Junod to the growing current of the social anthropology / Mestrado / Mestre em Antropologia Social