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O presente trabalho tem como finalidade principal demonstrar que não existem maiores divergências entre o criacionismo bíblico e a teoria da evolução, quando olhamos o fato à luz do transformismo do Pe. Teilhard de Chardin, isto é, sem desprezar a ciência, mas com um profundo conhecimento bíblico, no qual seja possível detectar a verdade científica e, ao mesmo tempo, ter uma visão da verdade bíblica revelando-se a ponto de ver e sentir a união entre matéria e espírito. Quanto ao criacionismo bíblico, fizemos questão de apresentar as duas narrativas da criação descrita nos Gênesis e algumas interpretações hermenêuticas sobre elas, bem como a aceitação da segunda narrativa no Antigo e no Novo Testamento. No que se refere à teoria da evolução, preocupamo-nos em apresentar os pontos de vista científicos, com as naturais divergências entre eles, para que se possa entender melhor o conteúdo de tal teoria, que se empenha em mostrar como surgiu o ser humano na terra, através de uma enorme cadeia de ocorrências até a aparição inexplicável do homo sapiens. Após colocarmos as bases do criacionismo e do evolucionismo é que tratamos dessa possibilidade de equilíbrio entre os dois temas através do transformismo teilhardiano, que nos deixa ver bem claro que o elo perdido da evolução é o sopro de Deus, que promove aquele salto, inexplicável pela ciência, através do fenômeno complexidade-consciência, promovendo o equilíbrio tão almejado / This Work aims meanly at demonstrating that there are not so great divergences between biblical Creationism and Evolution Theory, as we look onto the fact on its whole, in view of Fr. Teilhard de Chardins Transformism, i. e. without disregarding Science, but with a biblical deep knowledge in which it could be possible detecting up scientific truth, revealing itself in a such way that turns possible seeing and feeling deep unity, fusion between matter and spirit. Regarding to biblical Creationism, we have assumed, we have undertaken presenting the two narratives in reference to Creation, described in Genesis and some hermeneutic interpretations about them the two narrations as weel as our adoption, acceptance with regards to second narration in Old and New Testament. As for Evolution Theory, we have been concerned focusing the scientifical viewpoints, with natural divergences among them, in order to make possible a better comprehension, understanding regarding to such a theory content that strives showing up the way human being arose in earth, through a large events, accurences chain, series until Homo Sapiens inexplicable appearance. Since we have delt with we have discussed this equilibrium possibility between these two themes, through Teilhardian transformism, that enables us seeing very clearly that Evolutions missing link is Gods Breath that moves on, through complexity consciousness, that leap, jump, inexplicable for Science, moving on the so longed for equilibrium

Made available in DSpace on 2017-06-01T18:12:23Z (GMT). No. of bitstreams: 1 dissertacao_dirson_maciel.pdf: 650986 bytes, checksum: 1fd7666931f1a5508592f440408fe446 (MD5) Previous issue date: 2008-11-04 / This Work aims meanly at demonstrating that there are not so great divergences between biblical Creationism and Evolution Theory, as we look onto the fact on its whole, in view of Fr. Teilhard de Chardin s Transformism, i. e. without disregarding Science, but with a biblical deep knowledge in which it could be possible detecting up scientific truth, revealing itself in a such way that turns possible seeing and feeling deep unity, fusion between matter and spirit. Regarding to biblical Creationism, we have assumed, we have undertaken presenting the two narratives in reference to Creation, described in Genesis and some hermeneutic interpretations about them the two narrations as weel as our adoption, acceptance with regards to second narration in Old and New Testament. As for Evolution Theory, we have been concerned focusing the scientifical viewpoints, with natural divergences among them, in order to make possible a better comprehension, understanding regarding to such a theory content that strives showing up the way human being arose in earth, through a large events, accurences chain, series until Homo Sapiens inexplicable appearance. Since we have delt with we have discussed this equilibrium possibility between these two themes, through Teilhardian transformism, that enables us seeing very clearly that Evolution s missing link is God s Breath that moves on, through complexity consciousness, that leap, jump, inexplicable for Science, moving on the so longed for equilibrium / O presente trabalho tem como finalidade principal demonstrar que não existem maiores divergências entre o criacionismo bíblico e a teoria da evolução, quando olhamos o fato à luz do transformismo do Pe. Teilhard de Chardin, isto é, sem desprezar a ciência, mas com um profundo conhecimento bíblico, no qual seja possível detectar a verdade científica e, ao mesmo tempo, ter uma visão da verdade bíblica revelando-se a ponto de ver e sentir a união entre matéria e espírito. Quanto ao criacionismo bíblico, fizemos questão de apresentar as duas narrativas da criação descrita nos Gênesis e algumas interpretações hermenêuticas sobre elas, bem como a aceitação da segunda narrativa no Antigo e no Novo Testamento. No que se refere à teoria da evolução, preocupamo-nos em apresentar os pontos de vista científicos, com as naturais divergências entre eles, para que se possa entender melhor o conteúdo de tal teoria, que se empenha em mostrar como surgiu o ser humano na terra, através de uma enorme cadeia de ocorrências até a aparição inexplicável do homo sapiens. Após colocarmos as bases do criacionismo e do evolucionismo é que tratamos dessa possibilidade de equilíbrio entre os dois temas através do transformismo teilhardiano, que nos deixa ver bem claro que o elo perdido da evolução é o sopro de Deus, que promove aquele salto, inexplicável pela ciência, através do fenômeno complexidade-consciência, promovendo o equilíbrio tão almejado

Made available in DSpace on 2016-04-29T14:27:29Z (GMT). No. of bitstreams: 1 Anderson Fasano.pdf: 956165 bytes, checksum: e855e50eeb2358b56683d2c1b7d462bf (MD5) Previous issue date: 2009-10-30 / Objectively describe, after analysing subjectively, the Matter circunvolutions in its space-time evolution from Man, who marches to the building of his definite I was the huge challenge to Father Teilhard; and that in the present dissertation was studied along three chapters. The first chapter delineates, thus, historic contextualization of Teilhard de Chardin s work and the fundamental aspects of his Cosmovision in order to enhance through the text, the escathological mark of his thought: his methodology and epistemology, and the traces of cognitive fundamentation of his theology from theological place privileged by him in insights of this nature: the Cosmos. Besides, he had thought of the Mistery of Salvation in a christocentric perspective. His preoccupation in this specific field had its main finality to attempt to connect the Christ announced by the Church as The Savior of the World with the Universe in evolution that aims the Escathological Plenitude in the Omega, Meta-Consummatory in the sótero-cosmic-evolutive process: that was the theme that constituted the third chapter. At last, his actual and relevant systematic view of the All is also a kind of mystical contemplation of a christified Cosmos; in a transfigured Universe in the Love of God that makes His Creation always New. / Descrever, objetivamente, depois de analisar, subjetivamente, as circunvoluções da Matéria em sua espácio-temporalidade evolutiva a partir do Homem, que marcha para a construção do seu eu definitivo, foi o ingente desafio do pe. Teilhard; e que na presente dissertação fora estudado ao longo de três capítulos. O primeiro capítulo delineia, portanto, a contextualização histórica da obra de Teilhard de Chardin e os aspectos fundamentais de sua Cosmovisão de modo a realçar, no decorrer do texto, a marca escatológica de seu pensamento. O segundo capítulo tratou, por sua vez, da estruturação teórica de seu pensamento: sua metodologia e epistemologia, e os traços da fundamentação cognitiva de sua teologia a partir do lugar teológico por ele privilegiado em reflexões dessa natureza: o Cosmos. Ademais, ele pensara o Mistério de Salvação sob uma perspectiva cristocêntrica. Sua preocupação neste campo específico tivera sua finalidade precípua na tentativa de relacionar o Cristo anunciado pela Igreja como Salvador do Mundo com um Universo em evolução que visa à Plenitude Escatológica no Ômega, Meta Consumatória do processo sóterocósmico- evolutivo: esta foi a temática que constituiu o terceiro capítulo. Enfim, atual e relevante, sua visão sistemática do Todo é também uma espécie de contemplação mística de um Cosmos cristificado; de um Universo transfigurado no Amor de Deus que faz Sua Criação sempre Nova.

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Notre hypothèse est que la réflexion de Diderot dans les Salons ne porte pas tant sur l’image que sur le langage : la confrontation avec les œuvres d’art l’oblige à questionner la langue. Traduire l’image permet d’expérimenter les limites expressives de la langue, de saisir ses conditions d’apparition, son origine. La présente étude se donne trois objectifs principaux. Remettre les Salons au cœur des pratiques d’écriture des salonniers. La critique d’art est à envisager non seulement au regard des idées nouvelles défendues par les salonniers, mais aussi de leurs expérimentations formelles. En examinant les textes antérieurs et postérieurs aux Salons se dessine la genèse de la critique d’art comme genre littéraire. À l’autre extrémité des influences, cette étude explore les Salons en les plaçant au cœur de l’ensemble de l’œuvre de Diderot. Diderot y approfondit ses intuitions théâtrales et esthétiques, développe ses thèses sensualistes et matérialistes, sa philosophie morale, ses idées politiques et physiologiques, affine sa conception de la langue. Les Salons l’accompagnent dans son cheminement intellectuel et dépassent le commentaire des œuvres exposées. La critique d’art est laboratoire d’écriture et de pensée. Plus encore, sa critique d’art pose avec une acuité toute particulière l’un des grands problèmes du tournant des Lumières : le conflit naissant entre nature et culture, dont le langage devient l’un des lieux d’interrogation privilégié. C’est à la question du langage que nous avons choisi de nous intéresser, parce que ses fonctions sont emblématiques des tensions du texte. Le langage peut servir à communiquer avec les autres, à échanger. Mais il a également la capacité de figurer, de créer une image dans l’esprit. Il permet enfin de s’interroger sur lui-même. Une involution semble poindre dans les Salons : c’est à partir des discours sur l’art comme lieux de sociabilité que Diderot réfléchit à la langue originelle. / My thesis is entitled “La mise en question du langage dans les Salons de Diderot”. It aims at showing that Diderot’s art critic does not focus so much on image than on language, or more precisely on the fact that, when looking at a painting, Diderot is compelled to question language. In the Salons, he tries to make pictures arise from words and to give speech and voice to images. Three aspects of the relationships between image and language arise, and make up the three parts of my thesis. First of all, Diderot talks about the paintings of the Louvre’s exhibitions. The Salons are part of Grimm’s Correspondance littéraire, whose subscribers are all members of European monarchies. While he depicts paintings, Diderot always keeps in mind that these very urbane readers expect to be entertained. Speech about art need to remain close to playful conversation in order to entertain the elite. I studied Diderot’s borrowings from other art critics, thanks to the “Collection Deloynes” in which are gathered all texts from the eighteenth century about the Louvre’s exhibitions. Working on this collection enable me to prove Diderot’s influence on evolution of art criticism considered as a literary genre. The second part of my thesis focuses on the language of image. Diderot also tries to invent a language that imitates image, whose structure and phrasal progression match the dynamic of the painting. He adapts his writing to pictures until he reaches sometimes the limits of syntactic structure. Finally, Diderot questions the ability of words to convey images, which lead him to a metalinguistic reflection. Paintings are perceived as a gestural form of language which gives clues to understand the origins of language. My research consists in proving that there is a kind of “involution” of language in Diderot’s art critic. Whereas evolution led language from nature to urbanity, in the Salons, being confronted to images, Diderot seems to go the way back, from urbanity to nature.

[Truncated abstract] In this thesis I examine the poetics of Thomas Traherne’s often over-looked Christology through a reading of The Kingdom of God. This work, probably written in the early 1670s, was not discovered until 1997, and not published until 2005. To date, no extended studies of the work have been published. It is my argument that Traherne develops an expansive and energetic poetic expressive of the theme of the ‘Cosmic Christ’ in which Christ is understood to be the source, the sustaining life, cohesive bond, and redemptive goal, of the universe, and his body to encompass all things. While the term ‘Cosmic Christ’ is largely of 20th century origin, its application to Traherne is defended on the grounds that it describes not so much a modern theology, as an ancient theology rediscovered in the context of an expanding cosmology. Cosmic Christology lies, according to Joseph Sittler,“tightly enfolded in the Church’s innermost heart and memory,” and its unfolding in Traherne’s Kingdom of God is accomplished through the knitting together of an essentially Patristic and Pauline Christology with the discoveries and speculations of seventeenth century science: from the infinity of the universe to the workings of atoms. … The thesis concludes with a distillation of Traherne’s Christic poetic The Word Incarnate. The terms put forward by Cosmic Christology are used to explicate Traherne’s intrepid poetic. In his most remarkable passages, Traherne employs language not only as a rhetorical tool at the service of theological reasoning, but to directly body forth his sense of Christ at the centre of world and self. He promises to “rend the Vail” and to reveal “the secrets of the most holy place.” Scorning more “Timorous Spirits,” he undertakes to communicate and “consider it all.”

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