This work examines how the aesthetics of Japanese actor and playwright Zeami Motokiyo (1346-1443) offers insight into the value of the unseen elements in art, specifically in the art of acting. What acting makes appear is likened to a vessel, which creates an empty space of what doesn’t appear. This non-appearing element is at the same time what gives the vessel its function. Nō theater is described as an art of suggesting, giving a background to Zeami’s theories. The importance of the tangible in Zeami’s aesthetics is underscored in a discussion of the technique, beauty, specificity, and variation implied by the principals of two basic arts, monomane, and hana. Then, the way the actor according to Zeami can make use of the unseen to fascinate the spectator is thoroughly investigated, relating it among other things to the question of emotion in western theory of acting, and the japanese concept of yūgen. Finally, Zeami’s concept of hana is described as relying on both what appears and what doesn’t appear, and the relevance of hana as a definition of the value of art is emphasized.

Ephraim Amu is a distinguished musician. He is well known for his advocacy on African tradition and culture. Amu's pride in the African personality has earned him a place in Ghana's hall of fame. It was in recognition of these achievements that his portrait was embossed on Ghana's highest currency, the Twenty Thousand Cedi note. But there is more to the Amu story. In this thesis I have drawn substantially on Amu's own works to demonstrate how, in fact, he is an exemplar of mother tongue apprehension of the Christian faith in Africa. Amu showed in his songs, diaries, sermons, letters, addresses and private papers that the mother tongue, in this case, Ewe and Twi can be used to express not only Christian experience but also to formulate theological ideas in an innovative and creative ways. Amu's credentials as "African statesman" and "a self-conscious nationalist" owe not so much to Pan-African ideologies as his understanding of African culture and tradition from a biblical perspective. Amu believed that the entire universe, including the African cosmos, was created by God from the very beginning as kronkronkron (pure), pepeepe (exact), and fitafitafita (without blemish). He wrestled with the problem of (evil) and how this may have polluted an otherwise unblemished creation. Amu also wrestled with the issue of human participation in God's work of creation and the extent to which humankind may have contributed to the desecration of creation. In spite of the pollution, Amu believed that creation can be redeemed and restored to its original status by cleansing with the Word of God and the Holy Spirit. This belief led him to adopt a positive stance towards African culture and tradition. Amu demonstrated this particularly in the use of language. Most of his sermons and notable musical compositions are in Twi or Ewe. He kept a diary in his mother tongue, Ewe, for almost seventy years. Amu demonstrated that by using indigenous African languages it is possible to make a fresh contribution to theological issues and thereby present African Christianity as an authentic expression to God and capable of contributing to world Christianity. Apart from language, Amu believed that other elements in the African tradition could be employed to express the Christian faith. It is in this regard that his contribution to Christian worship, particularly the use of indigenous musical instruments, must be appreciated. Amu's realisation, that "There are deep truths underlying our indigenous religions, truths which are dim representations of the great Christian truths", led him to deal with the perception that / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.

Diss.--Neuphilologie--Tübingen, 1977. / Bibliogr. p. 166-187.

The dissertation undertakes an extensive investigation of the role of the gesture – from Lessing to emoji. Through close readings of bodily gestures as inscribed in text, documented on film, employed in performance, and shared throughout the cyberspace, the dissertation demonstrates how the human body has been imagined, conceptualized, and disciplined at various points since the second half of the 18th century. Presenting a reading of the body through the lens of different media, the analyses bring forth moments of disidentification and friction between medium and body: be that in gestural disobedience to ordered stage instructions, in resistance to the demands of the filmic apparatus, or in the form of a non-white emoji. To extrapolate historical developments and also processes of quotation and transference across media, material from different periods and disciplines is assembled: from unpublished manuscripts of the early Enlightenment (G. E. Lessing) via filmic footage from the late Weimar period (G. W. Pabst), to post-dramatic theatre performances around 2000 (Chr. Schlingensief), all the way up to present-day exchanges on social media platforms.

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The body of critical literature on Kant's philosophy of history and religion is examined and criticized for its failure to recognize the consistency of Kant's thought. In opposition to it, a new interpretation based on the critical ideas of freedom, morality and teleology is proposed. The transition from the Critiques to history and religion is justified in terms of the notion of "a priori end" and through the recognition of evil. Kant's ideas are viewed in the historical context of Leibniz, Lessing and Herder. / Kant conceives history as the process of self-creation whereby man overcomes the split within his being between the rational and sensible. Providence and freedom are complementary grounds of this process. Kant's views on biology and history rely on a revolutionary conception of time as a principle of internal development in life. The development of political wisdom and religious symbols add to rational thought an essentially historical dimension.

Zugl.: Göttingen, Univ., Habil.-Schr., 2006

Se buscará analizar cómo a través de la representación de paisajes y descripciones dadas por viajeros que visitaron el Perú en el siglo XIX se definió una imagen del país, mostrando una diversidad de desigualdades en torno a la geografía, habitantes, costumbres y climas respecto a la Costa. Estas descripciones se fueron consolidando en el siglo XIX y se definieron algunas de las construcciones culturales que prevalecen hasta el día de hoy sobre el espacio geográfico. Los Andes se van presentando de una manera desfavorable para la integración nacional a diferencia de la Costa donde es evidente la circulación de bienes y personas entendiéndose como más fluida. Es en la Sierra donde se hace presente la imagen del indio que está acompañado de lo geográfico, donde indios y Andes se encuentran en un mismo vínculo, donde se inventa la tradición del paisaje como un lugar sombrío, deshabitado y nostálgico-, constituyendo un obstáculo que retarda el progreso nacional. Por medio de las descripciones y representaciones de paisajes, ejecutados por viajeros extranjeros como Antonio Raimondi, George Squier y Charles Wiener se intentará analizar los distintos puntos de vista que contribuyeron a la formación del paisaje de la Sierra del Perú en el siglo XIX. / Tesis

Orientador: Oswaldo Giacoia Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-31T15:21:56Z (GMT). No. of bitstreams: 1 Paula_MarcioGimenesde_M.pdf: 13709328 bytes, checksum: 77e62ee337bf0a1e6f086448ced5ea44 (MD5) Previous issue date: 2002 / Resumo: Em que consiste o pensamento objetivo? Qual é a base do pensamento subjetivo? Há uma cisão irrecuperável entre essas duas formas de pensar? Poderiam ambas ajudar-se mutuamente? A objetividade não foi, ao longo dos anos, confundida com objetivismo? Subjetividade não foi confundida com subjetivismo, arbitrariedade ou mera vontade individual? Pensando nessas questões- e no conflito entre subjetividade e objetividade desenvolvo nessa dissertação um estudo de tal temática baseando-me na obra de Kierkegaard (1813-1855). Para a realização de tal tarefa, analiso especialmente o Post-Scriptum, relacionando-o com algumas outras obras suas e pseudônimos do pensador dinamarquês. A relação entre subjetividade e objetividade em Kierkegaard se esclarece através da sua concepção das figuras de Sócrates e Cristo. O pensador grego e Cristo- a suma imagem do mistério- são tomados como exemplos de subjetividade, a despeito de suas diferenças. Nessa pesquisa, três outros autores são de importância capital para Kierkegaard: Hegel, Lessing e Feuerbach. Hegel não figura apenas como oponente de Kierkegaard. Tal oposição kierkegaardiana foi tratada como uma estratégia no contexto geral de suas obras. O pensador dinamarquês também não defende uma subjetividade que pode ser confundida com qualquer espécie de subjetivismo, desprezando a objetividade. A leitura kierkegaardiana da figura de Lessing é bastante relacionada ao fato desse pensador ter trabalhado exaustivamente o confronto entre fé e razão. O Post-Scriptum de Kierkegaard será muito influenciado por uma carta de Lessing intitulada Sobre a demonstração em espírito e força. Feuerbach representa, no pensamento kierkegaardiano, uma espécie de adversário declarado e aliado involuntário. Este estudo mostra como Kierkegaard concorda com muitas das teses materialistas de Feuerbach acerca do cristianismo e afirma que este tem uma compreensão verdadeira do cristianismo, coisa que nem os pastores da cristandade luterana da Dinamarca, nem os filósofos sistemáticos conhecem. O Post-Scriptum também é fortemente influenciado por algumas das teses da Essência do Cristianismo de Feuerbach. Com essas delimitações e especificidade- a dissertação se propõe a estudar o debate entre subjetividade e objetividade no pensamento de Kierkegaard, contribuindo para um debate importantíssimo da história do pensamento filosófico ocidental / Abstract: What does objective thinking consist or? What is the foundation of subjective thinking? Is there a irreconcilable schism between these two ways of thinking? Could they complement each other? Wasn't objectivity for many years confused with objectivism? Wasn't subjectivity merely confused with arbitrary decisions or individual willingness; that is, the so-called subjectivism? Based on the work of Kierkegaard's (1813-1855) this dissertation explores the subjectivity/objectivity conflict. In order to achieve this goal, Kierkegaard's Post-Scriptum is analyzed in connection with other works of the Danish thinker. The subjectivity/objectivity relationship becomes clear in Kierkegaard's work through his analysis of Socrates and Christ, whereby, in spite of their differences, the Greek thinker and Christ are shown as examples of subjectivity. In this piece of research three other authors are of crucial importance for Kierkegaard: Regel, Lessing and Feuerbach. Regel is not only Kierkegaard's opponent. Such kierkegaardian position should be better analyzed and seen as a strategic stance in general context of his work. The Danish thinker does not support a kind of subjectivity which could be confused with any kind of subjectivism either. He does not despise objectivity. Kierkegaard's position with respect to Lessing is strongly related to the fact that the German thinker thoroughly explores the confTontation between faith and reason. Kierkegaard's Post-Scriptum will be greatly influenced by a letter of Lessing's entitled: Demonstration spirit and strength. Feuerbach is, in kierkegaardian's thinking, at the same time a kind of declared adversary and involuntary allied. This piece of research shows how the kierkegaardian position agrees with many of Feuerbach's materialistic theses conceming Christianity and also agreewith his true analysis of the Christianity. Kierkegaard considerers these theses better than the position of the Danish Luther ministers and the sistematic philosophers. The Post-Scriptum is also strongly influenced by some of Feuerbach's theses on the Essence of Christianity. This dissertation studies- within carefully described constraints and levels of specificity- the debate between subjectivity and objectivity in Kierkegaard's thinking. It is hoped that this work will be a small contribution to the crucial debate in the history of westem philosophical thinking / Mestrado / Mestre em Filosofia

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