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Dans L'idée de la phénoménologie, Husserl introduit pour la première fois de manière systématique les notions d'épochè et de réduction, deux temps méthodiques qu'il met en oeuvre dans son entreprise de fondation d'une nouvelle science philosophique : la phénoménologie transcendantale. Or, s'ils apparaissent de façon distincte dans L'idée de la phénoménologie, ils apparaîtront à certains moments par la suite de façon quasi conjointe au point d'y voir là deux concepts interchangeables. La thèse soutenue dans ce mémoire est que poser une telle équivalence encourt le risque d'un retour inaperçu des préjugés de l'attitude naturelle et que, à cet égard, une distinction conceptuelle mérite d'être maintenue entre la pratique de l'épochè et celle de la réduction phénoménologique, et ce, afin de favoriser la sortie de l'attitude naturelle essentielle à la compréhension de la phénoménologie transcendantale.

Ce mémoire retrace la réflexion de Husserl en ce qui a trait à la crise des sciences, telle que présentée dans la Krisis. Il s'agit en un premier temps de retracer l'évolution de la pensée scientifique depuis le tournant galiléen, pour ensuite interroger les présupposés qui se trouvent à l'origine de ce tournant. L'exposition des présupposés conduit à la découverte du domaine du monde-de-la-vie, fond commun de toute expérience. Cette découverte permet de replacer les diverses sciences au sein de l'horizon général du monde, et d'enrichir cet horizon par la notion de praxis. Cette régression achevée, il s'agit en un deuxième temps de procéder avec Husserl à une nouvelle lecture de l'histoire de la science, qui maintient ce qui fait la particularité de la science, sa visée d'universalité, et qui use des structures issues de l'analyse du monde-de-la-vie pour comprendre ce qui a conduit la science vers la crise que Husserl dépeint.

Unlike other Confederate armies at the conclusion of the Civil War, General Edmund Kirby Smith's Trans-Mississippi Army disbanded, often without orders, rather than surrender formally. Despite entreaties from military and civilian leaders to fight on, for Confederate soldiers west of the Mississippi River, the surrender of armies led by Generals Robert E. Lee and Joseph E. Johnston ended the war. After a significant decline in morale and discipline throughout the spring of 1865, soldiers of the Confederate Trans-Mississippi Department chose to break-up and return home. As compensation for months of unpaid service, soldiers seized both public and private property. Civilians joined the soldiers to create disorder that swept many Texas communities until the arrival of Federal troops in late June.

An examination of the stanzas of The Faerie Queene reveals a structural complexity that prosodists have not previously discovered. In the prosody of Spenser's epic, two formal prosodic orders function simultaneously. One is the visible structure that has long been acknowledged and studied, eight decasyllabic lines and an alexandrine bound into a coherent entity by a set meter and rhyme scheme. The second is an order made apparent by an oral reading and which involves speech stresses, syntactical groupings, caesura placements, and enjambments. In an audible reading, elements are revealed that oppose the structural integrity of the visible form. The lines cease to be iambic, because most lines contain some irregularities that are incongruent with the meter. The visible structure is further counterpointed by Spenser's free use of caesura and frequent employment of enjambment to create a constantly varying structure of different line lengths in the audible form. This study also examines precedents that Spenser could have known for the union of music and poetry. English lyric poetry written for existing melodies is analyzedand the French experiments with quantitative verse supported with musical settings are discussed. Special emphasis is given to the musical associations of the Orlando furioso, particularly its relation to the tradition of singing narrative poetry to folk melodies. Internal support for the thesis that Spenser deliberately employed musical techniques in his prosody comes from his use of the Tudor masque in the structure of the epic. Evidence is offered to show that the processional masque is the unifying foundation for the whole of The Faerie Queene, A characteristic of the sixteenth-century masque was its combination of art forms, and Spenser found a method for integrating the arts of music and literature. Spenser uses musical techniques in the prosody that he could have expected would echo musical experiences of his reader, thereby creating the accompanying music. The musical techniques not only unify the individual stanzas; they also integrate the prosody with the larger organizing plan of the epic,

Ce travail examine le problème de l'intervention d'un État ou d'un peuple dans les affaires d'un autre tel qu'il fut formulé dans le libéralisme naissant et à partir de la conjoncture ouverte par la Révolution française de 1789. Après un détour par les auteurs du droit des gens, il examine les écrits de Burke et de Godwin afin de donner à voir la nature polémique et les origines révolutionnaires du concept d'intervention. Puis, prenant comme fil directeur l'œuvre de John Stuart Mill, qui s'est penché de manière récurrente sur ce problème, en lui apportant des réponses diverses et contradictoires, il s'efforce d'en montrer l'équivocité. Loin de pouvoir se ramener à un simple chapitre de la théorie de la guerre ou du droit international, la question de l'intervention militaire fut au contraire réfléchie en relation avec l'économie, la politique ou encore la morale - les penseurs libéraux, tels que John Stuart Mill, Benjamin Constant, ou encore Richard Cobden, s'efforçant, dans chacun de ces champs et en faisant circuler les concepts, les maximes et les raisons, d'élaborer un ou des principes de non-intervention. Il propose enfin une nouvelle traduction et une lecture des « Quelques mots sur la non-intervention » de John Stuart Mill, en exhumant la nature dialectique de cet article de 1859. / This study examines the issue of intervention from a State or a people within the affairs of another as formulated in the nascent Liberalism and from the situation brought about by the French Revolution of 1789. After considering the authors of the law of nations, the study examines the writings of Burke and Godwin in order to highlight the controversial nature and revolutionary origins of the concept of intervention. Then, following the work of John Stuart Mill as a guiding theme, a philosopher who has provided diverse and contradictory answers in his recurrent study of this issue, an attempt is made to demonstrate the equivocal nature of intervention. Far from being a simple matter of war theory or international law, the issue of military intervention has on the contrary been considered in relation to economies, politics, and even morals - liberal thinkers, such as John Stuart Mill, Benjamin Constant, and Richard Cobden, having endeavored, in each of these fields and by spreading concepts, maxims and reasons, to elaborate one or several principles of non-intervention. Lastly, a new translation and an interpretation of "A Few Words on Non-Intervention" by John Stuart Mill are proposed by highlighting the dialectical nature of this 1859 article.

Made available in DSpace on 2016-04-04T18:29:33Z (GMT). No. of bitstreams: 1 Tommy Akira.pdf: 1262809 bytes, checksum: e0d6cd9384e939d230308dd228da5829 (MD5) Previous issue date: 2007-02-06 / The German philosopher Edmund Husserl (1859-1938), founding father of Phenomenology, was one of the most prominent thinkers of the 20th century, who not only influenced the philosophical trends of his time but also the sciences in general. Nevertheless, psychology was the science which strongly had direct influence of phenomenology which, in its turn, provided the possibility of developing a phenomenological psychology. The aim of this thesis is to (re)constitute, from a historical-critical point of view, the conception of phenomenological psychology in Husserl s last work: The Crisis of European Sciences and the Transcendental Phenomenology (Die Krisis der europ?ischen Wissenchaften und die transzendentale Ph?nomenologie. Eine Einleitung in die ph?nomenologische Philosophie). At present, psychologists are developing a large number of versions of phenomenological psychology, particularly in Brazil; however, none of them have rigorously been based on Husserl s concepts. Thus, in order to have an understanding of what constitutes to Husserl a phenomenological psychology, we present, to start with, a brief introduction to the transcendental phenomenology, explaining the variations of the phenomenological method (i. e. phenomenological levels). After that, we point out the most meaningful aspects of Husserl s last piece of writing, concentrating our efforts on the revelation the philosopher makes concerning a crisis of the sciences and of reason, as well as his phenomenological criticism on epistemology of Psychology. At last, following Husserl s analyses of phenomenology and psychology, we conclude that the conception of phenomenological psychology will constitute a universal science of human beings whose object of study is the animistic being. This science will have basic functions such as: a) the rebuilding of the scientific psychology and the explanation of the psychological concepts; b) the constitution of a universal science of the psychic; c) the description of the intentional experiences and d) be a propaedeutic discipline for the transcendental phenomenology. For Husserl, the authentic and genuine conception of the phenomenological psychology is important to the psychologists since that it is through the development of this discipline that they will recover the subjectivity as the original source of human life and its correlation with the world-life. / O fil?sofo alem?o Edmund Husserl (1859-1938), fundador da Fenomenologia, foi um dos principais pensadores do s?culo XX, que influenciou tanto as correntes filos?ficas de seu tempo quanto as ci?ncias em geral. No entanto, a psicologia foi a que mais recebeu influ?ncia direta da fenomenologia, a qual proporcionou a essa ci?ncia a possibilidade de desenvolver uma psicologia fenomenol?gica. A finalidade dessa tese ? (re) constituir, a partir de uma leitura hist?rico-cr?tica, a concep??o de psicologia fenomenol?gica na ?ltima obra de Husserl: A Crise das Ci?ncias Europ?ias e a Fenomenologia Transcendental (Die Krisis der europ?ischen Wissenchaften und die transzendentale Ph?nomenologie. Eine Einleitung in die ph?nomenologische Philosophie). Atualmente, os psic?logos est?o desenvolvendo muitas vers?es de psicologia fenomenol?gica, principalmente no Brasil, por?m nenhuma delas tem se fundamentado rigorosamente nas conceitua??es de Husserl. Assim, para termos uma compreens?o do que constitui para Husserl uma psicologia fenomenol?gica, apresentamos, de in?cio, uma breve introdu??o ? fenomenologia transcendental, explicitando as varia??es do m?todo fenomenol?gico (n?veis fenomenol?gicos). Em seguida, destacamos os pontos principais do ?ltimo escrito de Husserl, concentrando-nos na den?ncia que o fil?sofo faz de uma crise das ci?ncias e da raz?o bem como sua cr?tica fenomenol?gica ? epistemologia da Psicologia. Por fim, seguindo as an?lises de Husserl sobre a fenomenologia e a psicologia, conclu?mos que a concep??o de psicologia fenomenol?gica se constituir? em uma ci?ncia universal do seres humanos cujo objeto de estudo ? o ser an?mico. Esta ci?ncia tem como fun??es b?sicas: a) a reformula??o da psicologia cient?fica; o esclarecimento dos conceitos psicol?gicos; b) a constitui??o de uma ci?ncia universal do ps?quico; c) a descri??o das viv?ncias intencionais e; d) ser uma disciplina proped?utica ? fenomenologia transcendental. Para Husserl, a aut?ntica e genu?na concep??o de psicologia fenomenol?gica ? importante para os psic?logos, porque ? com o desenvolvimento dessa disciplina que eles poder?o resgatar a subjetividade como fonte origin?ria da vida humana e a sua correla??o com o mundo-da-vida (Lebenswelt).

Made available in DSpace on 2016-04-27T17:27:23Z (GMT). No. of bitstreams: 1 Jonas Moreira Madureira.pdf: 602505 bytes, checksum: e021610d48ec5847401dd3413ec2441e (MD5) Previous issue date: 2008-05-19 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / In this study, it is justified the phenomenology of the representations, found in the V Investigation of the Investigations logics of Edmund Husserl. More specifically, it refers to about the husserlian analysis of the equivocation of the term representation in the thesis all the acts either are representations or are established in representations . To explain the equivocation of the term representation especially in what concerns to the cited thesis and not in what it relates to the general use of the term -, it is necessary to discriminate the equivocation s elements. In the V Investigation, Husserl analyzes only four of them, which are: the mere representation (bloβe Vorstellung); the matter of act (Aktmaterie); the nominal act (nominaler Akt); the objective act (objektivierender Akt). From this quadruple equivocation, Husserl presents three possible interpretations of the thesis: (1) all act either is one mere representation or have one matter of act as a fundamental component in the intentional essence; (2) all act either is one nominal act or it is established in one or several nominal acts; (3) all act either is one objective act or it is established in one objective act. Thus, the main objective of this dissertation is to explain exactly these three interpretations. For this, it becomes necessary to clarify the husserlian structure of act, once the understanding of such structure is conditio sine qua non for the understanding of Husserl s the three interpretations / Nesta dissertação, explica-se a fenomenologia das representações, presente na V Investigação das Investigações lógicas de Edmund Husserl. Mais especificamente, trata-se de uma elucidação da análise husserliana da equivocação do termo representação na tese todos os atos ou são representações ou se fundam em representações . Para explicar a equivocação do termo representação especialmente no que diz respeito à referida tese e não no que se refere estritamente ao uso do termo , faz-se necessário discriminar quais são os elementos equivocados. Na V Investigação, Husserl analisa apenas quatro. São eles: a mera representação (bloβe Vorstellung); a matéria de ato (Aktmaterie); o ato nominal (nominaler Akt); o ato objetivante (objektivierender Akt). A partir dessa quádrupla equivocação, Husserl apresenta três interpretações possíveis da tese. São elas: (1) todo ato ou é uma mera representação ou possui uma matéria de ato como componente fundante na essencial intencional; (2) todo ato ou é um ato nominal ou está fundado em um ou vários atos nominais; (3) todo ato ou é um ato objetivante ou se funda em um ato objetivante. Assim, o objetivo central desta dissertação é explicar justamente essas três interpretações. E, para tanto, faz-se necessário clarificar, primeiramente, a estrutura de ato husserliana, uma vez que a compreensão de tal estrutura é a conditio sine qua non para a compreensão das três interpretações de Husserl

Made available in DSpace on 2016-04-25T19:20:38Z (GMT). No. of bitstreams: 1 Tamara Pereira de Souza.pdf: 1637759 bytes, checksum: 0b02e8cb66e06e2d13e24219345a9f99 (MD5) Previous issue date: 2015-09-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In recent years, more specifically since the modern era, the phenomena rituals have been object of formation of concepts both in the context of the studies of Sciences of Religion, as well as of the social sciences. Within this perspective, Edmund Leach proposed a model of time ritual where in each intermission of ritual festivities, situated between periods of social life, represents a change from the normal order-profane existence to the unusual order-sacred and thus retroactively. However, when addressing the knowledge about the intermission of Sacred Time, in Leach configured in his own time ritual proposal and conceived as a taboo area, marginal, from another world, we have identified that this represents an area insufficiently studied by the same author who interpreted this ritual domain exclusively, from mythological elements associated with the notion of Cronus, leading us to assume that some issues have been "hidden". .In this respect, and taking as a reference that, for some traditions of ancient Greece, the time was designed from a dual perspective, our research focused on an interpretation of Sacred time interval, in Leach in the light of Kairos. This research which was developed based on the bibliographical research method, reached results indicating that while the time interval, in Leach interpreted in the light of the myth of Cronus, manifests itself as part of a linear sequence which combines switchovers and stops between Sacred Time while this same interval ritual associated with kairological time, denotes not a part of time, but its origin or an outburst of eternity in time pulsing between speed (continuum) and immobility, follows an irreversible and one-way course when time rewinds and stops. It is expected from the results of this research to contribute to the context of the Sciences of Religion, Social Sciences and Psychology regarding the knowledge of the Sacred Time in Leach as benchmarks for future researchers who intend to discuss and deepen the theme / Nos últimos anos, mais especificamente, desde a era moderna os fenômenos rituais, tem sido objeto de formação de conceitos tanto no contexto de estudo das Ciências da Religião, quanto das Ciências Sociais. Dentro desta perspectiva Edmund Leach propôs um modelo de tempo ritual em que cada intervalo de festividades rituais, situado entre períodos da vida social, representa uma mudança da ordem Normal-Profana da existência para a ordem Anormal-Sagrada e, assim, retroativamente. Contudo, ao abordarmos o intervalo de Tempo Sagrado, em Leach concebido como uma zona tabu, marginal, do outro mundo, identificamos que este representa um domínio insuficientemente estudado pelo mesmo autor que interpretou este domínio ritual exclusivamente, a partir de elementos mitológicos associados à noção de Cronos, levando-nos a supor que algumas questões ficaram escondidas . Neste sentido e, tomando como referência a crença adotada por algumas tradições da Grécia antiga, de que Cronos e Kairos, representavam dois aspectos do tempo, distintos e em oposição embora, de mesma natureza nossa investigação centrou-se em uma interpretação do intervalo de Tempo Sagrado, em Leach à luz de Kairos. Esta investigação que foi desenvolvida tendo por base o método bibliográfico de pesquisa alcançou resultados indicando que o intervalo de Tempo Sagrado, em Leach interpretado à luz do mito de Cronos, manifesta-se como parte de uma sequência linear que conjuga repetições e paradas entre Tempo Sagrado e Tempo Profano enquanto este mesmo intervalo ritual associado ao tempo kairológico, denota não uma parte do tempo, mas, sua origem ou, uma irrupção da eternidade no tempo que pulsando entre velocidade (continuum) e imobilidade, segue um curso irreversível e unidirecional quando o tempo retrocede e pára. Espera-se a partir dos resultados desta pesquisa contribuir com o contexto das Ciências da Religião, Ciências Sociais e Psicologia a respeito do conhecimento do Tempo Sagrado, em Leach, bem como com referenciais de futuros pesquisadores que tenham a intenção de abordar e aprofundar o tema

À partir de définitions empruntées à la philosophie antique (Platon, Aristote), à la littérature païenne (Ovide), à la théologie chrétienne (Augustin, Thomas d’Aquin), ou encore à la médecine (de Galien à Robert Burton), cette thèse étudie les représentations du désir dans la poésie narrative élisabéthaine des années 1590, en particulier chez Shakespeare (Venus and Adonis), Marlowe et Chapman (Hero and Leander) et Spenser (The Faerie Queene, II et III). Le postulat de départ est que le désir détermine les conditions de sa représentation : il est ainsi à la fois objet poétique et principe de création littéraire. L’approche rhétorique cible les figures de style associées au mouvement : la métaphore et la métonymie, mais aussi les figures de construction qui jouent sur l’ordre des mots et les figures de pensée qui se dévoilent progressivement, comme l’allégorie. Si le désir fonctionne comme un lieu commun dans les textes de la Renaissance anglaise, le recours à une rhétorique commune et le partage d’un même lieu physique ne garantissent pas nécessairement le rapprochement des corps. C’est face à face que sont envisagés le corps désiré, caractérisé par sa fermeture et considéré comme une œuvre d’art intouchable, et le corps désirant, organisme vivant exposé à la contamination. La perméabilité gagne le poème lui-même, dans son rapport à son environnement politique et social, dans son utilisation de ses sources et dans sa composition. Parce qu’il joue un rôle en tant que mécanisme de progression du récit, notamment dans la relation entre description et narration, le désir invite à envisager la mimésis comme un processus réversible. / Starting from definitions of desire borrowed from ancient philosophers (Plato, Aristotle), classical poets (Ovid), Christian theologians (Augustine, Thomas Aquinas), and physicians (from Galen to Robert Burton), this dissertation studies the representations of desire in Elizabethan narrative poetry from the 1590s, and more particularly in Shakespeare’s Venus and Adonis, Marlowe and Chapman’s Hero and Leander, and Spenser’s Faerie Queene (II and III). The guiding hypothesis is that desire determines the terms and images in which it is represented; it is therefore both a poetical object and a principle of literary creation. Using a rhetorical approach, I focus on stylistic devices linked with motion: metaphor and metonymy, but also figures of construction which play on word order, and figures such as allegory, which progressively unravel thought. Although desire does act as a commonplace in Early Modern texts, sharing the same language and the same locus does not necessarily entail physical communion for the bodies involved. The body of the beloved, enclosed upon itself and depicted as an untouchable work of art, is pitted against the lover’s organism, alive and exposed to contamination. The poem itself becomes permeable in relation to its social and political environment, in its use of sources, and in its compositional procedures. Desire articulates description and narration, leading the narrative forward but also backward, which suggests that mimesis can be a reversible process.