The purpose of this dissertation is to examine and evaluate Arthur Schopenhauer’s aesthetic as it relates to the concept of Sabbath in order to see how and to what extent this aspect of his thought might correspond to a Christian view of Sabbath and thereby inform a Christian aesthetic. Chapter 1 sets the context for the discussion of art and Sabbath within the framework of Christianity and the Arts. Chapter 2 offers an overview and analysis of Schopenhauer’s metaphysic, placing his thought in the context of transcendental idealism and explaining his concept of Sabbath. Chapter 3 demonstrates the significant role that Schopenhauer’s aesthetic plays in his philosophy, explaining how the arts provide a “Sabbath” rest for Schopenhauer. Chapter 4 analyzes the empirical evidence that seems to affirm a sabbatical aspect of the arts. The chapter focuses on the fields of music and art therapy in order to provide examples of the positive effects that the arts have on the emotional and physical well-being of individuals, thereby suggesting that at least part of Schopenhauer’s aesthetic theory seems to correspond to real life in measurable ways. Chapter 5 compares and contrasts Schopenhauer’s concept of Sabbath with a biblical concept of Sabbath. The chapter concludes that while the scriptural and the Schopenhauerian Sabbaths have several points of similarity, major distinctions exist between them. Thus, a biblical approach to understanding the arts through a sabbatical lens will significantly diverge from Schopenhauer’s system. Chapter 6 highlights various Christian thinkers who have spoken of the arts in a manner consistent with a sabbatical approach to the arts. The chapter focuses on Augustine, Martin Luther, Jonathan Edwards, Karl Barth, Dietrich Bonhoeffer, and C. S. Lewis. Moreover, the chapter examines several biblical passages that seem to affirm that the arts serve a rehabilitative function. Chapter 7 demonstrates how the arts can function in a manner consistent with a biblical Sabbath. The chapter also notes the limitations of viewing art as Sabbath. Chapter 8 summarizes the main points of the dissertation and reiterates the value of Sabbath in a Christian aesthetic. The chapter also offers some areas for additional research.

No description available.

Esta pesquisa teve no debate teórico sobre ready made, pop art e arte conceitual, sua motivação inicial, surgida da crítica ao fechamento intelectual e estético presente nos cânones exigidos pelos currículos escolares no Brasil. As implicações destes conceitos são discutidas em paralelo à elaboração de uma visão crítica das classificações europeias e norte-americanas como matrizes adequadas para a compreensão da criação de artistas como Arthur Bispo do Rosário, Brasil (1919-1988) e de Georges Adéagbo, Benin (1942). De forma complementar, o percurso do pesquisador-artista participa do processo de compreensão e análise. O foco recaia de um lado no material e matéria dos objetos do cotidiano, utilizados na obra de Arthur Bispo do Rosário e nos itinerários das obras de Georges Adéagbo, artista autodidata que expõe suas ideias e narrativas em forma de objetos escultóricos, ocupações de espaços públicos. Eles têm ainda em comum, as metodologias e os processos que espelham conceitos próprios e arqueologias de saberes ligados às suas próprias culturas e sociedades, além de constante construção de suas identidades. Esses processos de pensamento envolvem a ação mental (conceituação ou projeto mental) e a execução das ideias que se reflete em seus trabalhos de arte. O interesse principal de ambos está na análise do cotidiano representado por objetos de origem endógena e exógena que são fundidos e geram aspectos diferentes à materialidade, à narrativa, à desconstrução do próprio objeto como fenômeno (logia) da metamorfose a ele impressa, retirado de seu espaço de significação original, resignificado e ambientado no espaço-ser da arte como pensamento a partir do objeto de Bispo e, na auto-arqueologia inversa de Adéagbo. / This research had its initial motivation the theoretical debate on ready-made, pop art and conceptual art, which comes up from criticism of intellectual and aesthetic closure present in the canons required by the school curriculum in Brazil. The implications of these concepts are discussed in parallel with a critical view of the European and American statements of these matrices for understanding the creation of Arthur Bispo do Rosário, Brazil (1919-1988) and Georges Adéagbo, Benin (1942). In addition, the path of the researcher-artist himself, participates on the understanding and analysis proposed. The focus lies on the one hand, in the everyday objects materials used in the work of Arthur Bispo do Rosário and in the routes of Georges Adéagbo, who is a self-taught artist that exposes his ideas and narratives shaped objects \"sculptural\" and public spaces interventions. They still have in common, their methodology that mirror their own concepts and archaeologies of knowledge linked to their own cultures and societies as well as constant construction of their identities. These thought processes involve mental action (concept or mental project) and implementation of the ideals reflected in his works of art. Both have as their main concern the everyday life presented by fused endogenous and exogenous objects that generate different materiality, narrative and even the deconstruction of the object itself as phenomenology of its metamorphosis, once it was removed from its place of original of meaning, reframed in space-being for Bishop, or in reverse self-archeology for Adéagbo.

Este trabalho de pesquisa investiga o uso da fotografia como ferramenta de trabalho para o urbanismo a partir da análise de um estudo de caso: a atuação do urbanista e fotógrafo gaúcho Luiz Arthur Ubatuba de Faria (1908-1954), cuja relevância de sua atuação profissional em muito contribuiu para a constituição e consolidação do urbanismo no Rio Grande do Sul como campo profissional, e, de maneira pioneira fez uso sistemático da fotografia em seus trabalhos de urbanismo. Como “recorte serial”, foi estabelecida a série documental do conjunto iconográfico que conforma o Acervo Fotográfico de Luiz Arthur Ubatuba de Faria – Acervo LAUF. Foram analisados grupos de imagens que, através de suas narrativas, puderam contribuir com o seguinte questionamento de pesquisa: de que maneiras Luiz Arthur Ubatuba de Faria fez uso da fotografia como instrumento de trabalho para seu métier de urbanista no Rio Grande do Sul no período de 1926 a 1954? A partir de uma abordagem historiográfica a pesquisa assume como aporte teórico estruturador a indissociabilidade da tríade sujeito (fotógrafo), tecnologia (equipamento) e assunto (tema abordado) descrita por Kossoy. Nortearam a investigação as hipóteses de que Ubatuba de Faria tivesse feito uso de sua técnica de fotografar para o desempenho de seu trabalho enquanto urbanista, e da possibilidade de toda a produção fotográfica de Ubatuba de Faria tivesse contribuído de forma direta ou indireta para sua produção como urbanista. Ainda, considerou-se que o exercício de fotografar pudesse ter aguçado sua leitura do espaço urbano e das relações sociais inerentes ao urbanismo e que esta leitura realizada através de suas lentes, tenha, inclusive, contribuído na construção de seu entendimento do urbano e das questões relacionadas ao urbanismo em um processo de retroalimentação. O método contemplou duas dimensões de aproximação: uma dimensão laboratorial e uma dimensão analítica/ classificatória. A primeira abordou o conjunto de procedimentos técnicos que promoveu a salvaguarda do acervo. A segunda desenvolveu um quadro analítico constituído pela articulação das estratégias de análise de conteúdo e semiótica de imagens, através de uma abordagem qualitativa. Foram objetivos da pesquisa contribuir para o conhecimento do trabalho e da trajetória de Luiz Arthur Ubatuba de Faria enquanto urbanista com ênfase na sua produção fotográfica, bem como identificar as formas de uso da fotografia como ferramenta de trabalho para o urbanismo praticadas pelo urbanista. Por fim, objetivou-se dar visibilidade ao vasto acervo fotográfico identificado, visto que o trabalho de pesquisa empreendido apresenta e investiga um acervo inédito, com significativo valor documental e artístico. / This research investigates the use of photography as a work tool for urbanism from the analysis of a case study: the performance of the Gaucho urbanist and photographer Luiz Arthur Ubatuba de Faria (1908-1954). The relevance of his professional activity contributed greatly to the constitution and consolidation of urbanism in Rio Grande do Sul as a professional field, and he, in a pioneering way, made a systematic use of photography in his endeavors of urbanism. As a "serial clipping", the documental series of the iconographic set that constitutes the Photographic Collection of Luiz Arthur Ubatuba de Faria (LAUF Collection) was established. Groups of images were analyzed, who, through their narratives, could contribute to the following research inquiry: in what ways Luiz Arthur Ubatuba de Faria made use of photography as a working tool for his urbanist métier in Rio Grande do Sul in the period of 1926 to 1954? From a historiographical approach, the research assumes as a theoretical and structuring contribution the indissociability of the triad: entity (photographer), technology (equipment) and subject (subject matter) described by Kossoy. The investigation was based on the hypotheses that Ubatuba de Faria made use of his photographic technique for the performance of his work as an urbanist, and the possibility of all his photographic production to have contributed directly or indirectly to his production as a city planner. In addition, it was considered that the exercise of photographing could have sharpened his reading of the urban space and of the social relations inherent to urbanism, and that this reading realized through his lenses could have contributed to the construction of his urban understanding and of the issues related to urbanism in a feedback process. The method contemplates two dimensions of approach: a laboratorial dimension and an analytical/classificatory one. The first dealt with the set of technical procedures which promoted the safeguarding of the collection. The second one developed an analytical framework constituted by the articulation of the strategies of content analysis and semiotics of images, through a qualitative approach. The objectives of the research were to contribute to the knowledge of the work and of the trajectory of Luiz Arthur Ubatuba de Faria as an urbanist with an emphasis on his photographic production, as well as to identify his ways of using photography as a work tool for urbanism. Finally, it was aimed to give visibility to the vast photographic collection identified, as the research undertaken presents and investigates an unpublished collection, with significant documental and artistic value.

This thesis deals with the cultural efforts of the Swedish labour movement during the periodof 1917-1939. It aims to examine the similarities and differences between social democratsand communists in their approach towards culture.My theoretical guidelines are the dialectic and materialistic view on history as set forth byKarl Marx and Friedrich Engels.I have examined some important individuals in the cultural debate within the Swedish labourmovement, such as Ture Nerman and Arthur Engberg, and I also briefly outline the debate inthe Soviet Union from the classics of Lenin and Stalin.I have found that the social democrats were mainly concerned with a democratic distributionof the existing bourgeois culture rather than working for the creation of a new proletarianculture; the communists on the other hand made considerable efforts to benefit the workers'own culture based on class struggle, but failed to threaten the social democratic ideologicalhegemony among the Swedish working class.

Submitted by Nilson Junior (nilson.junior@unila.edu.br) on 2016-07-14T23:58:54Z No. of bitstreams: 1 SILVA_Jorge Antonio_Arthur Bispo do Rosário_ok.pdf: 51409006 bytes, checksum: e654670b6e130a6459577b46cd83c8e6 (MD5) / Made available in DSpace on 2016-07-14T23:59:23Z (GMT). No. of bitstreams: 1 SILVA_Jorge Antonio_Arthur Bispo do Rosário_ok.pdf: 51409006 bytes, checksum: e654670b6e130a6459577b46cd83c8e6 (MD5) Previous issue date: 1995 / Este trabalho é o resultado de quatro anos de pesquisa sobre a vida e a obra do negro Arthur Bispo do Rosário. Foi realizado com o objetivo de se proceder a um levantamento de dados a respeito da real história do artista, sua trajetória pessoal, e como projeto de análise descritiva de sua obra. Acometido pela loucura em 24.12.1939, após um surto psicótico de origem em delírio auditivo, foi preso e encaminhado ao Hospital dos Alienados, na Praia Vermelha (RJ). Após internações intermitentes, que incluiu passagens por outros hospitais no Rio, passou a organizar formas no princípio da montagem e a realizar bordados nos quais recompunha acontecimentos de seu passado, através da junção da figura com a escrita. Bispo, como é reconhecido, poderia ser tematizado de diferentes formas. Uma delas pelo enunciado de sua loucura que é a sua própria história manicomial. A outra ocorre pela enunciação de sua arte incomum e feita de estranhamento.

by Chow Chiu Mei, Loletta, Fok Hoi Yun, Irene. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1998. / Includes bibliographical references (leaves [67-70]). / ABSTRACT --- p.i -ii / TABLE OF CONTENTS --- p.iii -iv / CHAPTERS / Chapter 1. --- INTRODUCTION --- p.1-5 / Chapter 2. --- ARTHUR ANDERSEN & CO --- p.6 -15 / Chapter 2.1 --- Vision and Mission --- p.7 / Chapter 2.2 --- Arthur Andersen Strategic Framework --- p.7-15 / Chapter 3. --- RESOURCE-BASED FRAMEWORK --- p.16 -30 / Chapter 3.1 --- Firm Resources --- p.16-18 / Chapter 3.2 --- Competitive Advantage and Sustained Competitive Advantage --- p.18-19 / Chapter 3.3 --- Resource Homogeneity and Mobility and Sustained Competitive Advantage --- p.20 -21 / Chapter 3.4 --- Firm Resources and Sustained Competitive Advantage --- p.21 -27 / Chapter 3.5 --- Applications of Resource-based Approach --- p.27 -30 / Chapter 4. --- METHODOLOGY --- p.31-33 / Chapter 4.1 --- Data Sources --- p.31 -32 / Chapter 4.2 --- Measurement --- p.32 / Chapter 4.3 --- Method of Analysis --- p.33 / Chapter 5. --- FINDINGS --- p.34 -47 / Chapter 5.1 --- Valuable --- p.35 -39 / Chapter 5.2 --- Rareness --- p.39 -45 / Chapter 5.3 --- Imperfectly Imitable --- p.45-46 / Chapter 5.4 --- Substitutability --- p.46-47 / Chapter 6. --- DISCUSSIONS --- p.48-52 / Chapter 7. --- CONCLUSION --- p.53-54 / Chapter 7.1 --- Limitations of the Study --- p.54 / APPENDICES / Chapter A. --- Big-Six Accounting Firms Comparative Data / Chapter B. --- Andersen Worldwide Facts1996 / Chapter C. --- Structure of Andersen Worldwide / Chapter D. --- Arthur Andersen Strategic Framework / Chapter E. --- Arthur Andersen Range of Services / Chapter F. --- 1996 Manpower Survey Report of Accountancy / REFERENCES

Ce travail constitue une analyse de la place du pictural dans la poétique de Rimbaud. Il a pour objectif de comprendre la naissance du pictural, cette image particulière qui s’impose au lecteur dans les poèmes de Rimbaud. Le pictural désigne la plasticité de l’image poétique, qui prend la forme d’une image mentale évoquée par l’agencement des mots. Ce travail traite ainsi, non pas du rapport entre un certain poème et une certaine peinture, mais du lien entre la formation du pictural et la forme d’expression. L’auteur cherche à montrer l’importance du pictural qui est ancré dans la poétique de Rimbaud, à travers l’analyse de la formation et de l’évolution de la notion du pictural de ses premiers poèmes aux Illuminations. À cette fin, ce travail explore en premier lieu la connaissance livresque que Rimbaud avait de l’art, la naissance d’une définition personnelle de la peinture qui permettent l’apparition d’une forme primitive du pictural dans les premiers poèmes de Rimbaud. En second lieu, il analyse l’évolution du pictural propre à Rimbaud qui émerge de l’emprunt intentionnel aux formes d’expression déjà établies : les trois chapitres sont consacrés à l’ekphrasis, au pittoresque et à la métaphore dans les poèmes descriptifs des Illuminations. Mettant en relief le rôle de médium du pictural, entre le poète et le lecteur, le lecteur et le texte, et le texte et le poète, l’incorporation du moi du poète dans la poésie est analysée sous l’angle du pictural. La recherche porte finalement sur la correspondance esthétique entre le langage poétique de Rimbaud et le langage plastique de Roger de La Fresnaye autour des dessins de ce dernier pour les Illuminations. / In this analysis of how pictorial takes place in Rimbaud’s poetics, we aim at understanding the birth of pictorial, this particular image which compels the reader of Rimbaud’s poems. Pictorial refers to the plasticity of poetic imaging, when the ordering of words elicits the creation of a mental picture. This study does not deal with the relationship between a given poem and a given painting, but explores the link between the building of pictorial and the wording of expression. We attempt to show the importance of the pictorial that is anchored into Rimbaud’s poetics, through a study of how the elements of pictorial form and develop from his first poems to the Illuminations. We first explore the bookish knowledge of art that Rimbaud had acquired and the emergence of a personal definition of painting which gave birth to a primitive form of pictorial in the first poems of Rimbaud. Secondly, we examine the evolution of Rimbaud’s own pictorial after it had emerged from intentional borrowings from already established forms of expression : three consecutive chapters deal with ekphrasis, picturesque and metaphor in the descriptive poems of the Illuminations. By giving depth to the role of the pictorial’s medium, from poet to reader, reader to text, and text to poet, we analyze the incorporation of the poet’s ego in his poetry, under the pictorial viewpoint. Our research concludes with the esthetical correspondence between the poetic language of Rimbaud and the plastic language of Roger de La Fresnaye in his drawings to illustrate the Illuminations.

Submitted by Cleide Dantas (cleidedantas@ufpa.br) on 2014-10-10T12:39:21Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_SofrimentoConhecimentoSi.pdf: 629484 bytes, checksum: e5d15b19c61160c8bb7a4db3c75f1cf6 (MD5) / Approved for entry into archive by Ana Rosa Silva (arosa@ufpa.br) on 2014-10-10T13:20:45Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_SofrimentoConhecimentoSi.pdf: 629484 bytes, checksum: e5d15b19c61160c8bb7a4db3c75f1cf6 (MD5) / Made available in DSpace on 2014-10-10T13:20:45Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_SofrimentoConhecimentoSi.pdf: 629484 bytes, checksum: e5d15b19c61160c8bb7a4db3c75f1cf6 (MD5) Previous issue date: 2013 / Esta pesquisa busca explicar em que consiste o fundamento do sofrimento para a filosofia de Schopenhauer, especialmente segundo sua obra magna O mundo como vontade e como representação, partindo de uma concepção de natureza que espelha a Vontade em sua contradição consigo mesma, percorrer seus graus de objetivação até chegar ao “ápice” que se apresenta na consciência humana, e, através dela, compreender que o conhecimento, produzido como um apêndice para servir de auxílio na complexidade inerente a esta consciência, na realidade se comporta como um “parasita” trazendo, assim, pela via da individualidade e do corpo, uma consciência de ansiedade e impotência. Busca-se explorar o porquê da limitação desse conhecimento teórico frente a vontade e, pelo sentido contrário, explicitar a sentimentalidade, enquanto via de acesso a essa vontade, no corpo, torna-se como uma saída possível para a percepção de si, a qual, se for trabalhada em conjunto com o conhecimento teórico, oferece uma “melhor consciência” frente ao inexorável sofrimento. / This research seeks to explain what constitutes the basis of suffering in Schopenhauer's philosophy, especially, in his magnum opus The World as Will and Representation. From a perspective of nature that mirrors the Will in its contradiction itself, go seek their degrees of objectification until reach the "summit" that presents itself in human consciousness, and through it, to understand that the knowledge produced as an appendix to serve as a help to the inherent complexity of this awareness, actually behaves like a "parasite" thus bringing through the path of individuality and body, a consciousness of anxiety and impotence. We seek to explore the reason of the limitation of this theoretical knowledge that faces the will and, in the other hand, explain how the sentimentality as a way of access to the will, in the body, it is presented as a possible solution to the perception of self, in which, if it works in conjunction with the theoretical knowledge, offers a "better consciousness" against the relentless suffering.

This project began in Dr. Anthony Magistrale’s graduate seminar focused on the works of Edgar Allan Poe. It is the result of our common interests in Poe’s textual canon, and furthermore in the nineteenth- and twentieth-century illustrative works that were inspired by it. After performing significant research, the conclusion was reached that despite the extensive collection of visual works, catalogued by Burton Pollin, little work had been done that actually explored the relationship between these works and the text. I found myself asking what role this canon of illustrations played in shaping the public understanding of and reception towards the Poe tales that are so widely known today. “A Par/ergon for Poe: Arthur Rackham and the Fin de Siècle Illustrators” is intended as an introduction for further study on the extent of influence that nineteenth- and twentieth- century artists had in promoting and supplementing Poe’s work. Given that the earliest prominent illustrator of the canon, Édouard Manet, began illustrating “The Raven” at the request of Charles Baudelaire, Poe’s first translator and the man who communicated Poe’s work to the world, the fin de siècle illustrations were produced concurrently to Poe’s burgeoning popularity. In the first chapter, I engage in a literary history of the fin de siècle artistic movements and major figures and their exposure to Poe, including Manet, Gustave Dore, and the Symbolists, Aubrey Beardsley, Harry Clarke, and the Decadents, and finally, Arthur Rackham and the Modernists. I track Poe’s influence after his death, exploring the question of why such prominent artists were interested in representing Poe’s work, specifically, in the first place. Subsequently, this thesis also discovers what elements of their work and aesthetics could be seen as representative of Poe’s. Then, using Jacques Derrida’s ekphrastic theory of the parergon/ergon supplementary relationship, I deconstruct the textual “lack” in Poe’s tales as that which sets up an availability to the illustration. Through this “lack,” the supplemental illustration can insert itself and exert its own power, altering the way the text is received based on the style and time of its reception. My second chapter turns to Poe’s tales and the subsequent illustrations by Rackham. I place particular emphasis on texts and images of “The Cask of Amontillado” and “The Fall of the House of Usher,” with supplementary references to “Hop-Frog,” “Ligeia,” “The Domain of Arnheim,” and “Landor’s Cottage.” I use textual analysis and visual case studies to demonstrate the way in which the illustrations fill the “lack” present in their respective texts, and build out precisely where this lack can be seen. I explore the way the images both mimic and change the reader’s relationship with the tales and characters, altering the reader’s response and thus, the overarching canonical interpretation. By doing this, my project demonstrates how strong of an impact Arthur Rackham and the fin de siècle illustrators made on the public perception of and reception to the tales of Edgar Allan Poe.