Théologien du Grand Siècle, minor de la République des Lettres, Isaac Papin (1657-1709) est né calviniste. Il appartient à l'École théologique dite de Saumur : fils spirituel du théologien novateur Claude Pajon (son oncle), il adopte les théories de ce dernier sur la grâce et, lecteur de Spinoza dès 1681, développe une conception originale de la tolérance à une période d’effervescence sur cette question dans la pensée protestante. Au moment de la révocation de l'édit de Nantes, Papin rejoint le Refuge : il est alors proche de citoyens des Lettres comme Jacques Lenfant, Jean Le Clerc et Pierre Bayle. Il s’installe d'abord en Angleterre où il est ordonné prêtre de l'Église anglicane puis se rend aux Provinces-Unies, puis dans le Saint-Empire où il tente de s'installer comme pasteur d'une Église wallonne. Son identité de novateur déclenche l'opposition de l'orthodoxe Pierre Jurieu (déjà ennemi de Pajon) qui l'empêche d'atteindre son but. Il décide alors de se convertir et revient en France en 1690, où il passe au catholicisme grâce à Bossuet. Jusqu’alors nomade huguenot de la République des Lettres, Papin se mue en catholique sédentaire dans sa ville natale, Blois : il devient l'un des acteurs de la controverse antiprotestante et se rapproche du jansénisme grâce à l’un de ses amis,également pasteur calviniste converti. En associant histoire sociale des réseaux théologiques et religieux et histoire des idées et des controverses, cette biographie intellectuelle retrace la trajectoire théologique particulière d’un converti du Grand Siècle passé de l’humanisme réformé de Saumur à un jansénisme entre Nicole et Quesnel. / Theologian of the Grand Siècle, minor of the Republic of Letters, Isaac Papin (1657-1709) was born Calvinist. He belongs to the so-called theological school “École de Saumur” : spiritual son of pioneering theologian Claude Pajon (his uncle), he adopts his theories on grace and, as Spinoza reader from 1680, he develops an original design of tolerance during a boom period on this issue in Protestant thought. At the time of the Revocation of the Edict of Nantes, Papin joins the Refuge : he is then close to Letters’ citizens such as Jacques Lenfant, Jean Le Clercand Pierre Bayle. He first moves to England where he is ordained priest of the Anglican Church. Then he goes to the United Provinces and to the Holy Empire, where he tries to settle as a pastor of a Walloon Church. His innovative identity triggers opposition from the Orthodox Pierre Jurieu (Pajon’s former enemy) that prevents him from reaching his goal. He decides to convert and returns to France in 1690, where he becomes a Catholic under the authority of Bossuet. Until then nomadic Huguenot of the Republic of Letters, Papin turns into a sedentary Catholic in his hometown, Blois.He becomes one of the actors of the anti-Protestant controversy and approaches the Jansenism thanks to a friend who is also a converted Calvinist pastor. By combining social history of theological and religious networks and history of ideas and controversies, this intellectual biography traces the particular path of a theologian converted of the Grand Siècle, from reformed humanism of Saumur to Jansenism, between Nicole and Quesnel.

This paper is an interview study with 12 women between the ages of 17-88 from Bohuslän, Sweden and their thoughts about female virginity and the hymen. Today it has been proven that there exists no hymen that breaks at a woman’s first sexual intercourse. Nonetheless, the study shows that the myth of the hymen is still alive even though it is fading in the younger generations. All the women in the study have at some point in their lives believed there was a hymen but many have via education or media been informed that that’s not the case. Despite education, the hymen was still related to blood, pain, difficulties using feminine care products, or thoughts that something might rupture due to sport activities, like horse riding. Based on the women’s reports, this paper interprets why female virginity has become something that is in need of surveillance and control. As understood from Lévi-Strauss’s theories on the kinship system, the woman becomes a gift unit through the ritual of marriage. The alleged presence of the intact hymen is the valorizing factor in said structure.      The semi-structured interviews were analyzed through a content analysis and interpreted by using the post-modernistic theoretical frameworks, with focus on the ideas of Michel Foucault. Further post-structuralist theories are applied to interpret how language and action create norms and truths. The results indicate that the belief in the existence of the hymen as an anatomical structure took hold in medical science and popular culture in line with the hypothesis that power creates knowledge. The results also show that knowledge is not constant: from being an established truth among the older participants in the study, to the youngest generation expressing that the hymen is something “old”. Simultaneously, all women expressed that the hymen and female virginity are connected to discipline and power asymmetries. The results show that the hymen, in this specific context can be seen as a social construction with the aim of maintaining unity and discipline.

Un film qui dérange et qui déclenche des réactions violentes dit forcément quelque chose de la société qui le rejette. Pour prendre la mesure du scandale, le Festival de Cannes est un bon repère car c’est la caisse de résonance du cinéma. Les quatre scandales qui nous servent de point de départ ont eu lieu entre 1986 et 1999. Ces quatre films Tenue de soirée (Blier, 1986). Sous le Soleil de Satan (Pialat, 1987) De Bruit et de Fureur (Brisseau, 1988) et L’Humanité (Dumont, 1999) ont tous obtenus des prix à Cannes. Le trouble que ces films provoquent, relève du corps : un corps perçu comme marginal (l’enfant des cités), grossier puis risible (une star masculine grimée en femme puis en mystique), ou indigne (l’acteur amateur). Au cinéma, le trouble se base sur la gêne, le désir, le malaise. Le spectateur, face à une image qui ne répond pas à ses attentes est décontenancé et perd ses repères. Le trouble cache également toute une série de problèmes. Un corps hors norme qui ne correspond pas à ce que l’on a l’habitude de voir, un corps difficile à classer. Au cinéma, l’authenticité peut être troublante tant elle ressemble à la vie. Comment un corps authentique peut-il être troublant alors que le cinéma est affaire d’artifice ? C’est pourtant de cela dont il est question quand la vérité surgit dans le cadre, elle peut déranger voire devenir insupportable.Par la mise en scène, le cinéma peut-il rendre visible les corps délaissés par la société et ses images ? Comment aborde-t-il les questions qui dérangent en produisant des images troublantes ? Dans notre approche esthétique et socioculturelle nous allons analyser comment Brisseau, Dumont, Blier et Pialat rendent les corps troublants. Cette thèse s’articulera autour de trois idées motrices : le corps perçu comme obscène (une œuvre qui provoque des émotions contradictoires), le corps de l’exclu (les personnages démunis tentent d’échapper à l’entropie qui les menace) et le corps de l’acteur (le trouble physique qui traverse l’acteur dirigé par le réalisateur). / A film, which disturbs and triggers violent reactions, obviously illustrates the society that rejects it. In order to measure the scandal, the Cannes festival is a good reference because it is the sounding box of cinema.The four scandals we use as a starting point took place between 1986 and 1999. Those four films, Menage by Blier in 1986, Under the Sun of Satan by Pialat in 1987, Sound and Fury by Brisseau and Humanity by Dumont were all rewarded in Cannes.The confusion induced by these films is connected to the human body: a body perceived as of marginal importance (the housing estate child), coarse then ridiculous (a male star made up as a female then as a mystic). In a film, the confusion is based on embarrassment, desire, and uneasy feelings. The spectator, confronted with unexpected images, feels confused and lost.That confusion also hides all sorts of problems. An abnormal body we are not used to see, a body difficult to classify.In a film, authenticity can be disturbing by being so much like life. How can a genuine body be disturbing when cinema means artifice ? However that is exactly the point when truth appears in the setting, it can disturb and even become unbearable.Can cinema make bodies abandoned by society and its pictures visible again ? How does it tackle the questions which upset by producing disturbing images ? Through our aesthetic and sociocultural approach we are going to analyze how Brisseau, Dumont, Blier and Pialat make bodies disturbing. This thesis will hinge upon three leading ideas: the body perceived as obscene (a work which provokes conflicting emotions), the body of the excluded (weak characters try to escape the entropy which threatens them) and the body of the actor (the physical disorder which goes through the actor guided by the director).

L’interférence et interaction Europe-Asie sur le plan culturel et artistique qui s’est épanouie durant le XIXe siècle a ouvert une nouvelle réserve de nouveaux matériaux pour la création littéraire et artistique. De cet échange chacun des deux continents a retiré pour lui-même des éléments qui lui étaient bénéfiques aux points de vue littérature, peinture, musique, architecture, et même religion... La thèse intitulée “Influence de la musique asiatique sur la composition chez Claude Debussy” est entreprise dans le but de rechercher les ingrédients exotiques exploités avec grande délicatesse et sensibilité par Debussy – homme progressiste ouvert aux courants nouveaux, symbole de l’Impressionnisme en musique et surtout grande célébrité pour ses nouvelles limites en timbres. L’analyse d’environ 140 œuvres officiellement publiées de Debussy confirme sa grande réussite dans la mise en œuvre des matériaux musicaux Asiatiques. D’autre part, la thèse se propose aussi de montrer cet autre aspect de Debussy, à savoir qu’il était la somme harmonieuse de l’esthéticisme dans l’art Japonais, de la pureté des échelles traditionnelles, et de la témérité dans l’emploi de timbres nouveaux provenant des instruments Asiatiques. / The cultural and artistic interference and interaction that flowered during the 19th century between Europe and Asia brought a new enormous storage of artistic material at the disposal of European artists. Both continents derived from it materials useful to them in terms of literature, paintings, music, architecture and even religion... The present thesis, “Influence of Asian music on Claude Debussy’s composing”, aims at spotting out exotic materials subtly and sensitively brought into play by Debussy – a progressist spirit open to new trends, symbol of Impressionism in music and, above all, top celebrity for his setting of the new limits for timbres. Analysis of 140 Debussy’s officially published works confirms his success in using Asian materials for his music. Moreover, the thesis also manage to bring into light this other aspect of Debussy, as the final and successful product from the blend between Japanese estheticism, purity of the traditional scales and boldness in the use of new timbres from Asian instruments.

The Becoming-other of the Existence, Essay on Contemporary Phenomenology, is both a systematic and a historical study of phenomenology. By choosing a systematic problem of becoming-other of the existence it attempts to present and to confront five major contemporary phenomenologists in France within a single phenomenological field: Henri Maldiney, Claude Romano, Jean-Luc Marion, Renaud Barbaras, and Marc Richir. The study enters phenomenology with Edmund Husserl and presents some key original concepts invented by two generations of post-husserlian authors who marked out the road to contemporary phenomenology: Martin Heidegger, Erwin Straus, Maurice Merleau-Ponty, Jan Patočka, Emmanuel Lévinas. Then it turns to "evential empiricism" in the work of Maldiney and Romano who consider the existent and the world in their belonging-together: the event is thus understood as co-birth of the subject and the world. Nevertheless, because of the fact that the existence that "becomes-other" is necessarily a finite existence, a radically separated existence from the metaphysical transcendence of the world, three other authors must become involved in the discussion: Marion, whose adonné is a limit of the givenness, and then Barbaras and Richir who explore the most archaic layers of the subjectivity within a...

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Based on the semiotic analysis, this diploma thesis analyses mythological frameworks of chosen magazines. It consists of two parts, a theoretical and a practical one. The theoretical part is focused on semiotics as science, examines a sign and its historical development, describes myth, its history and research, as well as defines a theoretical starting points leading to definition of mythological framework. This definition is built on the theory of decoding and encoding of Stuart Hall, as well as his representation acknowledgements, as well as on the works of Claude Lévi-Strauss and Roland Barthes examining the myth. The practical part consists of definition of research-subject and semiotic analysis of mythological frameworks in front pages of Reflex and Respekt magazines. Findings of this analysis are then compared. This comparison leads to confirmation or disproval of hypotheses the author articulated prior to the analysis.

Much socialist realism art from Soviet-era Russia has been misunderstood by scholars. It has been considered "synthetic art," which ordinary citizens were forced to admire under the Soviet regime. It also has been interpreted as peasant kitsch art because of its seemingly unacademic and unchallenging theoretical language utilized in order to meet the expectations of Soviet communism. This ideology conditioned artists to make art accessible and nationalistic to serve the perceived needs of the Russian proletariat. Nikolai Rakov (1908-1990), a Soviet-era composer, is also all too often received as a second-class socialist realistic composer. There are, however, other approaches to understanding art created in Soviet Union. Within music scholarship, alternative perspectives on Soviet art remain largely unexplored. It is in that spirit that I turn to Rakov, whose works carry his artistic idea of irresistible beauty, elegance, irony and charm. They evoke colorful images and feelings that draw the audience into Rakov's own compositional world despite his reputation of technical simplicity and uninventive language at a glance. In this dissertation, I therefore turn my attention to the aesthetic side of Rakov's music in order to reevaluate his works. In order to achieve this, I develop and utilize a hermeneutical approach grounded in Claude Lévi-Strauss's The Savage Mind to examine and gauge Rakov's musical aesthetics. I closely evaluate two characteristics of Rakov's music through Lévi-Strauss' ideology of bricolage: 1) miniature structure and 2) contingent chords. This dissertation examines three of Rakov's piano works: Variations in B minor, Concert Etudes, and Four Preludes.

This dissertation comparatively examines musical nostalgia, particularly nostalgia for childhood, in video games and post-Romantic classical music. An introductory chapter lays out several key concepts drawn from video games—loops, gameworlds, and role-play—and suggests the correspondences these have in Romantic music and thought. The central chapters offer case studies of pieces by Robert Schumann, Brahms, Debussy, and Ravel, each along with a corresponding concept drawn from video games. Each chapter articulates ways that works by these composers provide analogies for practices in contemporary role-playing and adventure video games and, conversely, suggests that features drawn from those games might illuminate how these pieces create musical meaning out of dwelling on the past or imagining distant places. The central chapters draw video games and classical music more closely together over their course. In an analysis of Schumann’s Kinderszenen, I suggest that Schumann’s music could be conceived as offering the player a form of role-play, allowing its players and listeners to play as an imagined child and gain access to otherwise inaccessible space. Brahms’s works often dwell in the past (and are often analyzed as such), especially when that past is metaphorically conceived as childhood or the classical tradition. I suggest that we might hear Brahms’s music as preoccupied with the “unrevisitable location,” a feature of video games in which certain spaces are visitable only a fixed number of times and therefore charged with melancholy and loss. Debussy’s Children’s Corner extends role-play to an extreme degree, while at the same time suggesting distant, unreachable vistas. In particular, I borrow Jay David Bolter and Richard Grusin’s ideas on mediation and Christopher Goetz’s notion of “nostalgic travel” to suggest ways that Debussy’s music incorporates impossible distance into its sound and structure. Video games and classical music converge as much as possible in an analysis of Ravel’s Ma mère l’Oye, which I read alongside Nintendo’s open-world game The Legend of Zelda: Breath of the Wild. I suggest that Ravel’s music offers space for its players to explore similar to this video game. In particular, we might hear the music as allowing linear narrative to give way to a freer, open-ended exploration, suggesting the opening of a world. Finally, a concluding chapter examines nostalgia in video games themselves, specifically Undertale, Final Fantasy VII, and Final Fantasy VII Remake, while revisiting elements of the Romantic musical past as they have accrued in the dissertation so far. The argument in this final chapter is that of the dissertation as a whole: that the same desires for fantasy and adventure animate both traditions, and that the two provide meaningful contexts for each other, in ways that studies of the two have until now overlooked.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-11-09T10:29:19Z No. of bitstreams: 1 476035 - Texto Completo.pdf: 1278773 bytes, checksum: 43d03cf50e5a823d41fc4a4e2de0a598 (MD5) / Made available in DSpace on 2015-11-09T10:29:19Z (GMT). No. of bitstreams: 1 476035 - Texto Completo.pdf: 1278773 bytes, checksum: 43d03cf50e5a823d41fc4a4e2de0a598 (MD5) Previous issue date: 2015-10-22 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This Master?s thesis aims to address the relevance of Claude Geffr??s theological hermeneutics for the understanding of the phenomenon of revelation from the perspective of religious pluralism. According to Geffr?, a theology with hermeneutical orientation designates the very fate of theological reason in the context of contemporary thinking, as it relates to a new position in today?s religious pluralism. Given the current religious polyphony found among the plurality of world religions, Christianity is called to express and to redefine its unique identity. To Geffr?, the sacred can only be conceived as a multifaceted phenomenon. There is an enigma within this plural otherness of religious conceptions, whose manifestation expresses the spiritual richness of the human experience of the divine. The confessions of faith emerge from tradition, whose settings cannot be conceived only as an instance of juridical acts, but as the very translation of acts of interpretation that seek to address existential crisis situations, where the element of faith is called into question. Changing the contextual situations causes an adaptation of the original sense of the reality at stake. The reception dynamic brings about an opening of the statements of faith revealed and elaborated dogmatically. The willingness to recast creatively the meaning of faith in view of the new historical experience brings in a vitality to the statements of faith. Catholic theology has sought to overcome an ecclesiocentric standpoint so as to embrace a more ecumenical and kingdom-centered sense of God?s revelation in history. / Esta disserta??o de mestrado pretende abordar a relev?ncia da teologia hermen?utica de Claude Geffr? para a leitura do fen?meno da revela??o na perspectiva do pluralismo religioso. Segundo Geffr?, uma teologia com orienta??o hermen?utica designa o pr?prio destino da raz?o teol?gica no contexto do pens?vel contempor?neo, pois diz respeito a uma nova postura diante do pluralismo religioso hodierno. Diante da atual polifonia religiosa entoada pela multiplicidade de religi?es do mundo, o cristianismo ? chamado a expressar e a redefinir a sua identidade singular. Para Geffr?, o sagrado s? pode ser concebido como um fen?meno multifacetado. H? um enigma presente na alteridade plural das concep??es religiosas, cuja manifesta??o expressa a riqueza espiritual da viv?ncia humana do divino. As confiss?es de f? emergem da tradi??o, cujas defini??es n?o podem ser concebidas apenas como atos de jurisprud?ncia, mas sim como a tradu??o de atos de interpreta??o que buscam responder ?s situa??es existenciais de crise, onde o elemento da f? ? questionado. A mudan?a das situa??es contextuais provoca uma adequa??o do sentido original ? realidade em quest?o. A din?mica da recep??o provoca uma abertura de sentido aos enunciados da f? revelada e elaborada dogmaticamente. A disposi??o em retomar de modo criativo o sentido da f? em vista das novas experi?ncias hist?ricas, traz uma vitalidade aos enunciados da f?. A teologia cat?lica tem buscado superar uma postura eclesioc?ntrica para abra?ar um sentido mais ecum?nico e reinoc?ntrico da revela??o de Deus na hist?ria.