L’évocation de la Renaissance italienne des XVe et XVIe siècles est souvent synonyme de la propagation d’une nouvelle pensée de l’homme, exaltant les valeurs oubliées de l’excellence et de la liberté humaines. Chez un philosophe comme Giordano Bruno (1548-1600), la question de la liberté ne se présente pas aussi facilement que chez d’autres grands auteurs des Quattrocento et Cinquecento (tel Marsile Ficin ou Pic de la Mirandole). Sa défiance héroïque envers l’autorité ecclésiastique et son exécution par l’Inquisition, le 17 février 1600, sur le campo dei Fiori, illustrent sa longue lutte pour libérer la philosophie des entraves de la religion révélée. Bruno peut se targuer d’être l’un des premiers penseurs depuis l’Antiquité à intégrer une cosmologie, une physique, une psychologie et une éthique dans un système de philosophie (la nova filosofia). Malgré une terminologie parfois fluctuante et des contradictions souvent apparentes, la philosophie de Bruno possède une réelle cohérence interne et peut être regardée comme annonçant celle de Spinoza. Or à la différence du déterminisme de ce dernier, Bruno soutient que l’homme est doté d’un libre arbitre, s’opposant en cela aux thèses de Luther et abondant dans le sens d’Erasme. Son affirmation d’une liberté humaine intimement liée aux problèmes éthiques et religieux de son époque n’est toutefois pas sans provoquer certaines tensions au regard de sa conception métaphysique d’un univers infini en acte. L’objet de ce travail est d’analyser la thèse brunienne de la compossibilité de la liberté humaine avec la nécessité divine qui s’exprime dans un univers métamorphique et infini, en recherchant, dans une première partie, les sources de son compatibilisme et en interprétant, dans une seconde partie, la manière dont Bruno concilie liberté et nécessité. / The evocation of the Italian Renaissance of the fifteenth and sixteenth centuries is often synonymous with the spread of a new human thought, exalting the forgotten values of human excellence and freedom. For a philosopher like Giordano Bruno (1548-1600), the problem of freedom does not arise as easily as it does for other great authors of Quattrocento and Cinquecento (such as Marsilio Ficino or Pico della Mirandola). His heroic defiance of ecclesiastical authority and his execution by the Inquisition on 17 February 1600 onto the Campo de’ Fiori, exemplifies his long struggle to free philosophy from the trammels of revealed religion. Bruno can claim to be the first thinker since Antiquity to integrate a cosmology, physics, ethics and psychology into a system of philosophy (nova filosofia). Despite sometimes inconsistent terminology and often apparent contradictions, Bruno’s philosophy has a real inner coherence and can be seen as announcing Spinoza’s. However, unlike the latter’s determinism, Bruno maintains that human being is endowed with a free will, opposing Luther’s theses and agreeing with Erasmus. Nonetheless, his affirmation of human freedom, intimately linked to the ethical and religious problems of his time, is not without causing tensions with regard to his metaphysical conception of the actual infinity in the universe. The purpose of this work is to analyse the brunian thesis of the compossibility of human freedom with the divine necessity expressed in a metamorphic and infinite universe, by seeking, in a first part, the sources of its compatibility and by interpreting, in a second part, the way in which Bruno reconciles liberty and necessity.

English Abstract This Master Degree (Mgr.) thesis, takes up the topic of so called Military Revolution theory debate, focusing on historical and social developmental process, unfolding in the Early modern Europe. Military revolution is conceptualised as a source of far reaching societal change, having a civilisational dimension, contributing to overall weberian rationalisation process, happening in the Occident. In this text, military revolution is theoretically approached as a non-substantional developmental process and its structure and dynamics are analyzed using customized version of actor-network-theory of Bruno Latour. In this attempt, usual assumptions of natural ontological continuity, totality and developmental character of social realm are critically suppressed. Theoretical outcome of this thesis, based upon historical evidences, confirms, that even using this profoundly critical approach, military revolution possesses a distinctive quality of a developmental process and it can serve as a strong cognitive instrument of social sciences for researching Early modernity in Europe. Powered by TCPDF (www.tcpdf.org)

Le présent travail compte deux parties. La première (section création), intitulée Léon et le vent du diable, consiste en l'adaptation dramatique que j'ai faite du roman de Bruno Hébert C'est pas moi, je le jure ! Cette adaptation a donné lieu à un exercice présenté devant public au LANTISS (Laboratoire des nouvelles technologies de l'image du son et de la scène) de l'Université Laval, en janvier 2006. La deuxième partie (section essai) consiste en un retour sur l'ensemble de l'expérimentation théâtrale (adaptation, mise en scène et création) menée dans le cadre de ma recherche de maîtrise. Il s'agit d'une réflexion personnelle sur mon parcours de création, intitulée « De l'adaptation dramatique de C'est pas moi, je le jure ! à la représentation scénique de Léon et le vent du diable ». Une des représentations publiques a été captée sur DVD. Ce DVD accompagne et complète le travail.

Tesis para optar al grado de Magíster en Literatura

Ce mémoire de maîtrise s’intéresse aux quatre tomes de La frousse autour du monde de Bruno Blanchet, qui sont étudiés à partir d’un double paradoxe. L’humoriste affirme, au sujet de ses récits de voyage, souhaiter surprendre son lecteur en évitant de suivre une recette. Des chercheurs associent pourtant son humour à une recette. Qu’en est-il dans La frousse autour du monde ? Par ailleurs, Blanchet publie ses récits à une époque où les guides touristiques abondent et où le monde semble être « rincé de son exotisme » (Henri Michaux). Alors que les écrivains voyageurs recourent bien souvent à des solutions rhétoriques convenues et semblables, Blanchet parvient-il à écrire des récits de voyage originaux ? Le mémoire est divisé en deux chapitres. Le premier chapitre se concentre sur les représentations de l’ailleurs dans La frousse autour du monde. Bien que Blanchet utilise plusieurs stratégies rhétoriques pour décrire l’ailleurs, deux sont particulièrement récurrentes. Il s’agit de la déconstruction des idées reçues et du détournement vers le voyageur. L’auteur emploie aussi quelques procédés humoristiques de façon fréquente. Le deuxième chapitre s’intéresse à la représentation de l’Autre dans les récits de l’humoriste. Blanchet recourt à des préjugés séculaires pour dépeindre l’étranger, mais également à une façon plus nuancée. Blanchet déploie les mêmes stratégies humoristiques que celles qu’il utilise pour représenter l’ailleurs pour faire rire son lecteur.

My Diploma Thesis has a theoretical character. I dealt with fairy tales as a genre. I worked only with the folkloric fairy tales that are different from the modern ones in the way of universality. In the first part I looked for characteristic features of these stories from the literary and psychological point of view. I focused on time and place expression and how the fairy tale deals with the identity of characters and typical phenomenon of the good and the bad. Through these principles children can easily identify with the heroes of stories and therefore they help to solve specific developmental crisis and also to reach individual autonomy and integrity. For me, the theoretical basis was psychoanalysis and thus I followed the fairy tales theory of Bruno Bettelheim. I used this theory in the second part of my thesis as well. The interpretation of four fairy tales: Litte Red Riding-hood (Červená Karkulka), Jack an Jill (Perníková chaloupka), The Snow White and the Seven Dwarfs (Sněhurka) and Hrnečku, vař! are given. It is about the determination of the main topic and the interpretation of individual motives. Besides the different options how to interpret it I also compared the different versions of these stories. At the end I tried to have a critical view on Bettelheim's approach and also to find...

Abstract The nexus between Uganda’s contemporary art and politics forms the overarching theme of this thesis. The trajectory of Uganda’s contemporary art as a political expression has been retraced. The different political dispensations which have shaped Uganda’s political art have been analysed. The political postures and visual symbols Uganda’s contemporary artists have engaged have been analysed in the context of the wider socio-political discussions which have shaped, and been shaped by, the country. It has been contended that different political epochs have invited response from Uganda’s artists since the early- 1940s. Whereas this debate has been attempted by varied scholars, it has not been rigorously pursued. Formalist discourses seeking to prioritise formal aesthetics have been engaged; conclusions that after 1986 contemporary Ugandan art[ists] became apolitical have been made. With emphasis on two contemporary artists—Fred Kato Mutebi and Bruno Sserunkuuma—this formalist reading has been decentred; the socio-political relevance of Uganda’s contemporary art has been retraced and prioritised. It has been argued that although initially depoliticised through colonial modernity, Uganda’s contemporary artists have been sensitive to the socio-political conditions affecting their space and time; issues of governance and service delivery have preoccupied them albeit in different but often complementary ways.

Made available in DSpace on 2015-04-15T12:50:18Z (GMT). No. of bitstreams: 1 422632.pdf: 430425 bytes, checksum: 6c457eab0b1de4bc1851a6ed8af70ee6 (MD5) Previous issue date: 2010-03-26 / O tema principal dessa disserta??o consiste na ?tica da transcend?ncia a partir do pensamento de Bruno Forte. Versa sobre a necessidade da transcend?ncia para possibilitar a ?tica. Fundamenta-se na responsabilidade de sair de si mesmo e ir ao encontro do outro, reconhecendo-o na concretude de sua alteridade. Em um mundo marcado pela crise de esperan?a e vazio de sentido, no qual o ser humano pensa bastar-se a si mesmo, em um crescente egocentrismo, torna-se obrigat?ria a reflex?o sobre a fronteira de liberdade entre um sujeito e outro. Constata-se que o limite da liberdade do sujeito ? o outro e afirma-se que o Amor Absoluto ? a fonte essencial para transcend?ncia e para a responsabilidade ?tica.

Made available in DSpace on 2016-04-29T14:23:38Z (GMT). No. of bitstreams: 1 Tarcisio de Sa Cardoso.pdf: 1957795 bytes, checksum: 2ec735b233e87e46a64f20519835aa98 (MD5) Previous issue date: 2015-09-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Interdisciplinary researches have been found problems using conceptual systems founded on philosophical dichotomies such as subject/object, mind/matter, human/non-human, which are often unable to cope with emergent properties, especially interesting for such studies. In order to contribute to a maturing of the discussion interested at the border more than in the center of the disciplines, this research will study the idea of mediation that the work of Bruno Latour has given rise in its construction of a non-dualistic theory. We believe that the notion of mediation, which appears in several parts his work, is a key concept to promote a non-dualistic thinking as it establishes a mediator ground between the poles built by modern philosophy. In this sense, the present research asks: how the concept of mediation appears in the reticular thinking of Bruno Latour and what it adds to modern thought? / Pesquisas interdisciplinares têm encontrado problemas em usar sistemas conceituais fundados em dicotomias filosóficas como sujeito/objeto, mente/matéria, humano/não humano, muitas vezes incapazes de dar conta das características emergentes, especialmente interessantes para tais estudos. Tendo em vista contribuir para um amadurecimento da discussão interessada mais nas bordas do que nos centros das disciplinas, o presente trabalho vai estudar o que a ideia de mediação ensejada na obra de Bruno Latour tem a acrescentar para a construção de modelos não dualistas. Acredita-se que a noção de mediação, que aparece em diversas obras do autor, seja um conceito-chave para fomentar um pensamento não dualista, pois instaura um fundamento mediador entre os polos construídos pela filosofia moderna. Neste sentido, esta pesquisa pergunta: como o conceito de mediação aparece no pensamento reticular de Bruno Latour e o que ele acrescenta ao pensamento moderno?

La tesis se compone de cuatro partes. La primera tiene carácter introductivo, ofreciendo un visión general de la breve pero intensa experiencia profesional de Bruno Taut en Turquía. En particular evidencia como el acercamiento a la modernidad ejercido por Taut, bajo un punto de vista teórico y práctico, haya encontrado perfecta sintonía en el contexto cultural de la joven Republica Turca. Gracias a esta empatía Taut ganó el papel privilegiado de Experto en los debates culturales de aquellos años en el país, no sólo por la propuesta de un lenguaje arquitectónico moderno y al mismo tiempo devoto a la tradición, sino también en relación a temas diferentes como el estudio de la arquitectura tradicional y los problemas debidos a su conservación. La primera parte muestra además un catálogo descriptivo de las obras realizadas y de los textos publicados en Turquía entre el año1936 y el año 1938.La segunda parte mira a los aspectos más eterminantes de la llegada de Taut como director del Departamento de Arquitectura de la Academia de Bellas Artes de Istambul y de la Oficina de Proyectos del Ministerio de Cultura. Se juntan informaciones procedentes de otros autores, de testimonios que en parte hasta este momento habían sido secundarios, de notas del diario turco de Taut y de un documento inédito, que nos permite entender la complejidad del procedimiento burocrático en el encargo que le fue confiado.La información contenida en el documento inédito, sobretodo, tiene información sobre los primeros trabajos de la Oficina de Proyectos bajo la dirección de Taut: los proyectos para las Clínicas universitarias y el Instituto de Química de la Universidad de Istambul.La tercera parte enfoca un aspecto de la actividad de Taut en Turquía hasta ahora desconocido: su papel de experto extranjero en el programa del Ministerio de Cultura para la protección de los monumentos históricos. Gracias a un artículo dedicado a la restauración del Mausoleo Verde de Bursa (una de las restauraciones más importantes de los años treinta) en el que se habla de la implicación de Taut en el proyecto, a notas de su diario y al texto de la Relación que Taut escribió para la restauración (documento inédito recuperado en Japón), la tercera parte busca hacer luz sobre esta anómala experiencia profesional, que no se limitó solo al caso Bursa sino que le implicó en otras dos importantes restauraciones de aquellos años.La Relación sobre el Mausoleo de Bursa abre un nuevo capítulo sobre la actividad de Taut en Turquía y permite reelaborar las críticas empezando por los aspectos inéditos de sus pensamientos sobre las principales problemáticas de la restauración.La cuarta y ultima parte contiene la traducción italiana de documentos: una carta del año 1916, conservada en Ankara, escrita por Taut a un destinatario desconocido, después del viaje a Istambul, en ocasión del Concurso para la Casa de la Amistad Turco-Alelmana con anexo al texto Impresiones de viaje desde Costantinopoli; el artículo-entrevista La casa Turca, Sinan, Ankara, publicado en el número de febrero de 1938 de la revista Her Ay; la Relación sobre el restauro de la Yeþil Türbe de Bursa, escrita en 1938. / This thesis is formed by four parts. First one gives up an introductory overview. It aims to depict a general frame of Bruno Taut's both short and busy professional experience in Turkey. In detail it tries to show how transversal approach to modernity claimed by Taut quite fit the specific cultural context of young Turkish Republic. Thanks to this nearness Taut gained a privileged role of Expert alongside the cultural debate under definition in the country. This role was effective both for the diffusion of an architectonic language proposing a sinthesis between modernity and tradition and for different issues such as studies about traditional architecture and consideration about monumental heritage's preservation. This first part moreover displays a sort of descriptive catalog on realized works and published texts between 1936 and 1938.Second part aims to frame most important aspects linked with Taut's debut as head of Architecture Department in the Istanbul Fine Arts Academy and of the Culture Ministry Architectural Office. Informations from different scholars, evidences untill now ignored, Taut's turkish booknote's entries and an unpublished official document compose critic machinery that allows to focus the complexity of bureaucratic iter standed behind Taut's assignment definition. Especially the official document displays precious evidences about first works Office was kept busy with under Taut's tenure: projects for Istanbul University's Medical Clinics and Chemistry Insitute.The whole third part deals with an unknown Taut's activity side: his role as foreigner Expert alongside the Culture Ministry program for historical monuments preservation. Thanks to an article about the restoration of the Green Tomb in Bursa (one of the most important restoration works in the thirties) refering to Taut's involvement, to diary's entries and to the original Report Taut drawn up about that restoration (unpublished document recovered in Japan), this part analizes this professional experience not only focusing on Bursa case study but also taking into consideration other two restoration episodes (Ottoman Market in Ankara and a series of monuments in Edirne). The Report for Bursa's Tomb opens a new chapter on Taut's activity in Turkey and allows to redefine its critical assest moving from unusual statements Taut dealt with regarding Restoration's fundamental issues.Fourth and last part is formed by some documentary fonts. It collects italian language translation of three documents: a letter, kept in Ankara, Taut wrote in 1916 to an unknown person after the trip in Istanbul on the eve of the competition for the German-Turkish Friendship House and the text Trip's impressions from Costantinople, the interview Turkish house, Sinan, Ankara pubblished in Her Ay magazine on february 1938, the Report on Green Tomb Restoration in Bursa written in 1938.