Thesis (Ph.D. in Religious Studies)--S.M.U. / Title from PDF title page (viewed July 12, 2007). Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4067. Adviser: William J. Abraham. Includes bibliographical references.

Comme l’indique le titre de cette étude, notre travail se situe dans le prolongement de celui de Franck, et plus précisément de sa thèse déployée dans son livre, Chair et Corps : sur la phénoménologie de Husserl. Dans ce livre, Franck a démontré clairement le fondement dernier de la phénoménologie de Husserl, en disant que dans la mesure où la chair est définie par Husserl comme « auto-affection pure », cette chair ne peut pas se constituer comme un corps. Notre travail est un essai pour éprouver la phénoménologie de Henry, à partir de cette objection adressée à Husserl par Franck : l’impossibilité de l’incorporation de la chair. Notre question est donc la suivante : comment l’incorporation est-elle possible pour Henry, dans la mesure où, pour lui, l’auto-affection de la chair est pure. Notre travail sera conduit par cette seule question. Cependant, ce dont il s’agit ici ne peut pas être une simple interprétation de la philosophie de Henry. S’il est vrai que la phénoménologie de Husserl est un essai qui, en désirant « la phénoménologie comme science rigoureuse », cherche le fondement indiscutable de la philosophie, notre question touche ce fondement même, c’est-à-dire, le commencement de la philosophie. Lorsque nous interrogeons Henry sur le problème auquel est conduit inévitablement Husserl, cela nous conduit à poser la question du fondement dernier de la philosophie, à savoir, la question de son commencement qui, à vrai dire, est un commencement qui a toujours et déjà commencé. / As like the title of this study, our work is a continuation of the Franck’s work, specifically, which he deployed in his book Flesh and body : on the phenomenology of Husserl. In his analysis on the phenomenology of Husserl, Franck demonstrates that the flesh cannot be embodied, if it is defined as “pure auto-affection.” Our work expands on this thesis : the impossibility of emboyding the flesh, and attempts to examine the phenomenology of Michel Henry. The most important question is : how can Michel Henry explain an embodiment of flesh to the extent that he defines the flesh as pure auto-affection. However, what is involved here cannot be a simple interpretation of the Henry’s philosophy. While it is true that Husserl’s phenomenology is a test that, desiring "phenomenology as rigorous science", seeks the indisputable foundation of philosophy, we are asking for this foundation of philosophy that means the beginning of philosophy, when we ask Henry about the problem which inevitably leads Husserl. So, our question is the ultimate foundation of philosophy, the question of its beginning which, indeed, is a beginning that has always already begun.

The mature work of Henry James gives the fullest expression of certain ideals which I have called the ideals of consciousness and conduct. These ideals are the subject of this thesis. As they are best illustrated in the two novels The Ambassadors (1903) and The Golden Bowl (1904), I have first analysed these books in detail. Though emphasising "theme" rather than "techniques" (I make the usual working distinction while recognising its limitations), I have also attempted to show how intimately James's technique is related to his exploration of consciousness and conduct. In Part Three I have tried to gather up ideas arising from the analyses of The Ambassadors and The Golden Bowl to compare them, expand on them and generalise from them. In this way I have arrived at conclusions that may help to interpret mature vision of James.

L’œuvre de Michel Henry introduit l’idée d’une phénoménologie non-intentionnelle, fondée sur le concept d’auto-affection comme mode de la phénoménalité plus fondamental que l’intentionalité qui révèle le monde, le visible. La vie est l’être qui se révèle à soi dans l’immanence de l’auto-affection, dans l’invisible. C’est sur ce dualisme onto-phénoménologique que repose l’esthétique que Henry développe dans Voir l’invisible. Il y définit l’art comme accomplissement de la vie, c’est-à-dire comme Rappel pathétique de la vie. L’art est donc conçu, selon le paradoxe qu’énonce le titre de l’ouvrage, comme une manifestation de l’invisible dans le monde visible. L’art, pour Michel Henry ne vaut donc pas en tant qu’il révèle le « phénomène phénoménologique », mais en tant que, ce faisant, il accomplit la vie : il n’est pas contemplation, mais action. Il constitue l’accomplissement pratique d’une éthique de la vie. Cependant, la définition de la vie comme auto-affection, et l’affirmation fondamentale selon laquelle l’art constitue l’accomplissement de celle-ci, expose l’entreprise de Henry à un certain nombre de difficultés : sous-détermination de l’art, impossibilité de rendre compte d’une réalité objective de l’œuvre d’art, exclusion de la littérature hors du champ de l’esthétique. La décision d’édifier une esthétique fidèle à l’affirmation fondamentale de Henry, qui soit aussi un discours capable de rendre compte au plus près des pratiques artistiques dans leur diversité, et leur réalité concrète, conduit ici à interroger les fondements théoriques de l’esthétique henrienne : ses conceptions de la transcendance et de la subjectivité. La réinterprétation de l’impression comme intentionnalité fondamentale, et du sens de l’auto-affection comme plurivoque vise ainsi à préciser la définition de l’art comme Rappel, d’une manière assez concrète pour en édifier une théorie générale, qui permette de le concevoir dans ses déterminations concrètes, et comme moment de la culture.Mots-clés : Michel Henry, Art, Esthétique, Phénoménologie, Intentionnalité, Affectivité, Auto-affection, Subjectivité, Invisible. / Michel Henry’s work has brought about the idea of a non-intentional phenomenology, based on the analysis of self-affection, as a phenomenological process allegedly more fundamental than intentionality. Whereas the latter reveals the visibility of the world, self-affection reveals, for its part, the invisibility of affective life. The theory of aesthetics that Henry develops in Voir l’invisible is based on this onto-phenomenological dualism. In this book, Henry defines art as the accomplishment of life, as its pathetical « emotional Recall ». Consequently, art is conceived accordingly to the paradoxical statement implied in the title of his book, since “voir l’invisible” means seeing what is invisible. So, to Henry’s opinion, art doesn’t bring forth the ‘phenomenological phenomenon’, but is the practical fulfilment of the ethics of life. Nevertheless, determining life as the invisibility of self-affection, and art as the accomplishment of life, urges him to face a certain number of difficulties : what about the risk of underestimating the complex structure of the work of art ? What about its actual reality ? And how is one supposed to understand, in such an aesthetical context, the possibility and structure of literature ? The purpose of settling a new theoretical basis for aesthetics, grounded on Michel Henry’s fundamental concept of the “Recall”, but at the same time able to solve these problems, and to actually take into account the wide variety of art practices, leads to investigate here the ontological foundations of Henry’s aesthetics : the way he conceives transcendence and subjectivity. Reinterpreting ‘impression’ as the fundamental intentionality, and showing self-affection as equivocal, enables to shape a more accurate and balanced characterization of art, viewed as ‘Recall’, in a much more realistic and concrete way, which brings about the conditions for a general theory of art and its relation to culture.Key words : Michel Henry, Art, Aesthetics, Phenomenology, Intentionality, Affectivity, Self-affection, Subjectivity, Invisible.

Made available in DSpace on 2015-09-25T12:20:32Z (GMT). No. of bitstreams: 1 PDF - Jaene Guimaraes Pereira.pdf: 1924609 bytes, checksum: 4fe01fea06bc914063b3e3d3008fedd6 (MD5) Previous issue date: 2012-12-17 / This research intends to address a lack of historical studies which can be useful to science teaching. We propose posting a historical episode on a blog to reach teachers who want to use history and philosophy in their classes. We chose the Henry Cavendish experiment about the density of the Earth as the historical episode and the methodology adopted was to divide the research into three distinct steps. First, we performed the historical and epistemological study about the episode. We looked for the primary and secondary sources which helped us to understand the experiment and the hypotheses already done proposed on about the value of the Earth s density and how it was related to the gravitational law proposed by Isaac Newton. Then, we considered how this episode can make explicit some aspects of the nature of science, such as the role of the experiment in the construction of a theory and the controversies about the value of the density during the 18th century. We also explored the physics concepts related to the Cavendish experiment such as the torsion pendulum, torque and moment of inertia. The second goal was to investigate why and how blogs are employed in science teaching and in the history of science. This investigation helped us define the necessary elements in our blog to interact with teachers and students and, at the same time, to propose a historical material based on specialized studies. The third step consisted of preparing the text and complementary activities to post on the blog and to complement the blog with pictures, drawings, sound files, original sources, etc. (http://lordecavendish.blogspot.com.br/). Because the nature of the blog is dynamic and in progress, this research is partly finished and will depend on the answers and suggestions posted in the future by the followers to know if it has achieved its purpose. The construction of the blog is only the first part of a bigger project that intends to inform science teachers of the history of science by an in-depth study and presentation of historical material. / Nossa pesquisa busca minimizar um problema com relação à divulgação e à acessibilidade de materiais históricos potencialmente significativos no ensino de ciências, auxiliando professores interessados em realizar trabalhos em sala de aula e ao mesmo tempo discutir o papel da experimentação na física e a natureza da ciência com o uso de um episódio histórico. Escolhemos como episódio histórico o experimento de Henry Cavendish (1731-1810), que permite associar discussões sobre as tentativas de obter a densidade da Terra durante o século XVIII, o papel de destaque dos experimentos neste século e a lei da gravitação universal de Newton, entre outros. O episódio histórico será aprofundado considerando três perspectivas: a histórica, explorando o contexto em que o experimento foi desenvolvido, seus pressupostos, a descrição detalhada e os resultados obtidos; a epistemológica, discutindo o papel da experimentação no século XVIII e a conceitual, que versará sobre os conteúdos de movimento oscilatório, pêndulos, força restauradora, momento de inércia, segunda lei de Newton na forma angular, gravitação e torque. Nossa proposta consiste em usar um blogue como fonte de divulgação da pesquisa histórica, ferramenta que nos possibilitará uma ampla discussão com os interessados no assunto, auxiliando-os no uso do episódio em sala de aula. Propomos um material histórico interativo, onde os professores assim como seus alunos possam tirar dúvidas e comentar ao mesmo tempo online, facilitando o acesso e a aprendizagem.

Tradução comentada da correspondência entre Henry James (Nova York, 1843 Londres, 1916) e Robert Louis Stevenson (Edimburgo, 1850 Samoa, 1894), inédita em português. A correspondência começou em dezembro de 1884, e se estendeu por uma década. As cartas revelam uma amizade algo improvável entre dois escritores muito diferentes, e um interesse compartilhado pela arte da ficção. O material analisado joga luz sobre uma discussão importante acerca da literatura em um momento decisivo, à véspera das transformações por que passaria no início do século XX. O ensaio introdutório visa reconstituir o curso dessa discussão e apontar algumas de suas implicações. / Annotated translation of the correspondence between Henry James (New York, 1843 London, 1916) and Robert Louis Stevenson (Edinburg, 1850 Samoa, 1894), unpublished in Portuguese. The correspondence began in December 1884 and lasted for a decade. The letters reveal an unlikely friendship between two very different writers and a shared concern for the art of fiction. The material examined sheds light on an important discussion about literature at a decisive moment, on the eve of the transformations that it was to undergo at the beginning of the twentieth century. The introductory essay seeks to recreate the course of this discussion and point some of its implications.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work has as purpose, from the thought of Michel Henry, contemporary French philosopher, afford a study on the phenomenology of affectivity, more specifically on henrianas investigations regarding affectivity, considering the essential notes investigated and formulated in relation life, phenomenology, in the case the Phenomenology of Life or Material Phenomenology, and passivity. The intended reflection aims to consider possibilities that arise for the contemporary phenomenological field. The main thesis to be defended and grounded is that the essence of phenomenology of life manifests itself in immanent way by means of the affectivity. It is investigating the foundations for a Phenomenology of Affectivity, thus presenting a conceptualization from the radical immanence of life. Affectivity, privileged subject in Henry's works, is reached or reaches a very special way the experience of radical subjectivity, which, according to our philosopher, the life essentializes up itself, affecting itself in the experience of self same, the radical immanence of his affectivity. Because the concrete truth of this movement is the life that proves herself. Which is realized in his pathos, in the subjectivity that is known, independent of any conceptual or sensitive approach, or of a intentional look, but life in the absolute probation of their intrinsic certainty, in a material meaning, in the materiality of his pure appear that gives us access to itself, made in the modalities of suffering and enjoy, in the revelation itself, in its pathos of passivity that is affected. In order to sustain the structure of his thought, which culminates in the formulation of the phenomenology of life, Henry's concern aims to open up new fields of inquiry about the effective fenomenalização the phenomenality as such and in the reversal of phenomenology, a rethinking on this, another direction, a material bias. Therefore, this work is based in the works of this philosopher, in particular L'Essence de la manifestation. / A presente dissertação tem por intuito, a partir do pensamento de Michel Henry filosófo contemporâneo francês, proporcionar um estudo acerca da fenomenologia da afetividade, mais especificamente sobre as investigações henrianas a respeito da afetividade, levando em consideração os apontamentos essenciais averiguados e formulados em relação à vida, fenomenologia, no caso a Fenomenologia da Vida ou Fenomenologia Material e passividade. A reflexão pretendida objetiva considerar possibilidades que surgem para o campo fenomenológico contemporâneo, a tese principal a ser defendida e fundamentada é: que a essência da fenomenologia da vida se manifesta de forma imanente por meio da afetividade. Trata-se de investigar os fundamentos para uma Fenomenologia da Afetividade, apresentando assim, uma conceituação a partir da imanência radical da vida. A afetividade, assunto privilegiado nas obras de Henry, é atingida ou atinge de modo muito especial à experiência da subjetividade radical, a qual conforme o nosso filósofo a vida essencifica em si mesma, se autoafetando, na experiência de si mesma, na imanência radical de sua afetividade. Pois a verdade concreta desse movimento é a vida que se prova a si mesma. A qual se realiza em seu pathos, na subjetividade que se conhece independente de qualquer abordagem conceptual ou sensível, ou de um olhar intencional, mas a vida na provação absoluta de sua certeza intrínseca, em uma significação material, na materialidade de seu puro aparecer que nos dá acesso a si mesma, que se constitui nas modalidades do sofrer e do fruir, na revelação de si, no seu pathos da passividade que é afetada. A fim de sustentar a estrutura de seu pensamento, que culmina na formulação da fenomenologia da vida, a preocupação de Henry mira-se a abrir novos campos de investigação acerca da fenomenalização efetiva da fenomenalidade enquanto tal e na reversão da fenomenologia, um repensar esta, um outro direcionamento, um viés material. Para tanto este trabalho tem como base as obras deste filósofo, em especial, a L Essence de la manifestation.

D.Litt. et Phil. / A sense of isolation pervades all of Montherlant's writings -- the notebooks, the essays, the novels, and the plays. Although cognisance has been taken of his oeuvre as a whole, we have limited our study to that of Montherlant's theatre, for it is in his theatre that many of the thematic interests dispersed throughout the novels and the essays are crystallised in a striking and concrete form. We have, however, had recourse from time to time to his other writings. The object of this study is to examine in both intellectual and theatrical terms, the way in which Montherlant presents the voluntary distancing of the self in his plays. Almost all of his protagonists appear isolated within their family groups and social frameworks, but they seem voluntarily to have embraced that condition, and, furthermore they actively seek this isolation. Montherlant's first play, L'Exil, establishes a leitmotif that recurs time after time in all his subsequent plays.

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The purpose of this study is to illustrate the power image of Henry James's female protagonists through a Readers Theatre adaptation of his novels, Daisy Miller, The Wings of the Dove, and The Portrait of a Lady. Chapter I includes an introduction and defines the purpose of the thesis. Chapter II briefly examines biographical information on James. Chapter III includes the analysis of the three selected novels in relation to preparation of a performance based script for Readers Theatre. In the Appendix is the Readers Theatre script with the inclusive transition and introductory material. The illustration of a typical Jamesian woman reveals a philosophic view of the human possibilities in freedom, power, and the destructive elements that limit an independent spirit.