My thesis draws connections among Herbert Read’s aesthetics, his anarchism, and Carl Jung’s aesthetic theory. I discuss Jung’s concept of individuation and its importance in his theory of the creative process of life. He distinguished between personalistic and archetypal art, and argued that the latter embodies primordial symbols that are inherently meaningful. Archetypal art, he believed, symbolizes unconscious knowledge, which can promote self-awareness and impact on society, if an individual is able to discern its relevance and integrate this into an ethical lifestyle. Jung emphasized the importance of rational discernment and ethical choices along with free creativity. I show how Read used these Jungian concepts to explain aspects of his aesthetic and political emphasis on freedom. According to Read, art creates reality and as such it is both personally transformative and socially activist: he believed that aesthetics are a mechanism of the natural world, and that art is a unique type of cognition that manifests new forms. Art communicates new versions of reality because perception is holistic, allowing people to perceive both the essence inherent in forms and the relationships among them. Further, I consider Read’s belief that cognition and society are both organic, and should be allowed to evolve naturally. Therefore, according to Read, society must be anarchist so that creative freedom and aesthetic consciousness can be adequately supported. Finally, I conclude by highlighting the pivotal role of creative freedom in Jung’s and Read’s theories of personal and social change. I illustrate that Jung and Read concurred that the unique individual is the site of transformation, living out the organically creative nature of life.

SILVA FILHO, Adauto Lopes da. História, razão instrumental e educação emancipativa. 2007. 172f. Tese (Doutorado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2007. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-07-02T16:12:48Z No. of bitstreams: 1 2007_Tese_ALSFilho.pdf: 962856 bytes, checksum: 14bf55a3b5216e3480652ebf83283315 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-20T11:10:37Z (GMT) No. of bitstreams: 1 2007_Tese_ALSFilho.pdf: 962856 bytes, checksum: 14bf55a3b5216e3480652ebf83283315 (MD5) / Made available in DSpace on 2012-07-20T11:10:37Z (GMT). No. of bitstreams: 1 2007_Tese_ALSFilho.pdf: 962856 bytes, checksum: 14bf55a3b5216e3480652ebf83283315 (MD5) Previous issue date: 2007 / The central issue in this work is the analysis of the advanced industrial society in the Critical Theory point of view, and re-thinking the meaning of barbarism and domination that is imperative in this viewpoint. Thru Marx’s, Marcuse’s and Adorno’s thinkings, we evidence men’s active role in their historicism, as well as the educational role in this society model. For this purpose we point out Marx’s ontological presuppositions of sociohistorical men’s relations, emphasizing his conception of History and the alienation socially constructed by men themselves. We also emphasize Marcuse’s critique of the Instrumental Reason, pointing out the new individuality patterns that emerge from the technological society, as well as his defense in rescuing the negative thinking as a condition to overcome and transform this society model. We demonstrate Adorno’s analysis of the dominant social relations through culture industry, which ended destroying the individual humane dimension. Based on his analysis, we point out his claims to rescue men’s humanization enabling them to enlightenment and critical reflection, so that they can free themselves of oppression and domination circumstances. We emphasize his beliefs in an emancipatory education which conducts men to the transformation of society. Finally, our work presents Marx’s, Marcuse’s and Adorno’s contributions in making possible this emancipatory and critical education / O trabalho tem como questão central de análise a sociedade industrial avançada do ponto de vista da Teoria Crítica, no sentido de repensar o significado da dominação e da barbárie que nela impera, evidenciando o papel ativo do homem na sua historicidade, como também o papel da educação nesse modelo de sociedade, através do pensamento de Marx, Marcuse e Adorno. Para isso destaca, de Marx, os pressupostos ontológicos das relações histórico-sociais dos homens enfatizando sua concepção de história, bem como a alienação socialmente construída pelo próprio homem. De Marcuse, enfatiza sua crítica à Razão instrumental, destacando os novos padrões da individualidade, surgidos na sociedade tecnológica, como também sua defesa para o resgate do pensamento negativo como condição para superação e transformação desse modelo de sociedade. Quanto à Adorno, demonstra a análise que ele faz das relações sociais dominantes, através da indústria cultural, que culminou com a destruição da dimensão humana do indivíduo e, a partir dessa análise, a defesa que ele faz da necessidade de resgatar a humanização do homem, capacitando-o para o esclarecimento e para a reflexão crítica, a fim de libertá-lo das condições de opressão e de menoridade em que se encontra. Enfatiza sua crença numa educação emancipatória, que conduz o homem para a transformação da sociedade. Finalmente o trabalho mostra as contribuições de Marx, Marcuse e Adorno que apontam e viabilizam essa educação crítica e emancipatória

The primary research strategy of this study was to elicit meaningful answers from viewers by means of a focus-group procedure; this is a method associated with qualitative research (see Creswell, 1998; Berg & Lune, 2011) The group consisted of ten adults, whose visual literacy in terms of narrative films, was described as high (they frequently watch films at home, or in the theatre). The researcher acted as the moderator; and a set of semi-structured questions, based on meanings attached to camera-angle codes as defined by Mascelli, were answered by the participants. The codification scheme of Mascelli was applied to the unconventional camera angles in Avatar and The English Patient. These were compared with the viewers’ responses. Finally, the results were interpreted, in order to establish whether a meaningful relationship exists between the viewers’ responses and the interpretation of unconventional camera angles by such a seminal figure as Joseph V. Mascelli. The literature study focused on a media aesthetic explanation of cinematography, which included media aesthetics theory, framing, and composition, as well as the general codes and conventions relevant to cinematography. The literature overview includes a study of books, academic articles, internet sources, legislation, and training videos. A Nexus and EbscoHost search (Academic Search Premier and Jstor) was conducted on cinematography in general, and on camera angles in particular. Chapter 5 indicates the viewers’ overall interpretations of the unconventional camera angles used in Avatar and The English Patient. The graphs in Chapter 5 indicate that the viewers found the unconventional camera angles used in the films to represent the meaning of the shots appropriately, and that they understood why each unconventional camera angle had been used. The viewers’ responses correspond with the meanings of the unconventional camera angles, as stated by Mascelli. To ensure the effectiveness of a film and the accurate representation of the meanings of camera angles and camera sizes, the way it is described by Mascelli should ideally be taken into consideration by all future producers. Mascelli’s descriptions of camera angles and camera sizes, combined with the media aesthetics, as described by Zettl – when successfully applied – could lead to the production of a good quality film and images within the film. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

The primary research strategy of this study was to elicit meaningful answers from viewers by means of a focus-group procedure; this is a method associated with qualitative research (see Creswell, 1998; Berg & Lune, 2011) The group consisted of ten adults, whose visual literacy in terms of narrative films, was described as high (they frequently watch films at home, or in the theatre). The researcher acted as the moderator; and a set of semi-structured questions, based on meanings attached to camera-angle codes as defined by Mascelli, were answered by the participants. The codification scheme of Mascelli was applied to the unconventional camera angles in Avatar and The English Patient. These were compared with the viewers’ responses. Finally, the results were interpreted, in order to establish whether a meaningful relationship exists between the viewers’ responses and the interpretation of unconventional camera angles by such a seminal figure as Joseph V. Mascelli. The literature study focused on a media aesthetic explanation of cinematography, which included media aesthetics theory, framing, and composition, as well as the general codes and conventions relevant to cinematography. The literature overview includes a study of books, academic articles, internet sources, legislation, and training videos. A Nexus and EbscoHost search (Academic Search Premier and Jstor) was conducted on cinematography in general, and on camera angles in particular. Chapter 5 indicates the viewers’ overall interpretations of the unconventional camera angles used in Avatar and The English Patient. The graphs in Chapter 5 indicate that the viewers found the unconventional camera angles used in the films to represent the meaning of the shots appropriately, and that they understood why each unconventional camera angle had been used. The viewers’ responses correspond with the meanings of the unconventional camera angles, as stated by Mascelli. To ensure the effectiveness of a film and the accurate representation of the meanings of camera angles and camera sizes, the way it is described by Mascelli should ideally be taken into consideration by all future producers. Mascelli’s descriptions of camera angles and camera sizes, combined with the media aesthetics, as described by Zettl – when successfully applied – could lead to the production of a good quality film and images within the film. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

My thesis explores the posthumous literary life in the early modern period by examining responses to ‘dead poets’ shortly after their deaths. Analysing responses to a series of literary figures, I chart a pre-history of literary biography. Overall, I argue for the gradual emergence of a linkage between an individual’s literary output and the personal life that predates the eighteenth century. Chapter 1 frames the critical investigation by contrasting examples of Lives written for authors living before and after my chosen period of specialisation. Both these Lives reflect changed attitudes towards the writing of poets’ lives as a result of wider discourses that the following chapters examine in more detail. Chapter 2 focuses on the events following the death of Robert Greene, an author often described as the first ‘professional’ English writer. The chapter suggests that Greene’s notoriety is for the most part a posthumous construct resulting from printed responses to his death. Chapter 3 is concerned with the problem of reconciling a poet’s life-narrative with the vita activa model and examines potential causes for the ‘gap’ between Sir Philip Sidney’s public life and his works, which continues to pose a challenge for biographers. Chapter 4 examines the evolution of Izaak Walton’s Life of Donne. The ‘life history’ of Walton’s Lives, particularly the Life of Donne, reflects an accidental discovery of a biographical technique that anticipates literary biography. My method is mainly based on bibliographical research, comparing editions and making distinctions between them which have not been made before, while paying particular attention to paratextual materials, such as dedications, prefaces and title pages. By investigating assumptions about individual authors, and also authorship in general, I hope to shed some light on a promising new area of early modern scholarship and direct greater scrutiny towards the assumptions brought into literary biography.

Science fiction identifies three characteristics as definitive of and essential to humanity: 1) sentience or self-awareness, 2) emotions, and 3) most importantly, the capacity for sociability. Through the vital possession of these three traits any entity can come to be called human. In the first chapter, I examine Cordwainer Smith's "Scanners Live in Vain" and Samuel R. Delany's "Aye and Gomorrah...," two stories in which human subjects become Other than human. In the second chapter, I explore the prospect of creatures, not biologically human who gain human status through an analysis of Smith's "The Dead Lady of Clown Town" and Philip K. Dick's Do Androids Dream of Electric Sheep? In the third chapter, I investigate the uniquely science fictional notion that "humanity" does not require biology through a comparison of H.G. Wells's The Island of Dr. Moreau and William Gibson's Idoru. / by Charles Barry Herzek. / Works Cited (p. 54), reflected in the Table of Contents, lacking from the University Library's copy. / Thesis (M.A.)--Florida Atlantic University, 2008. / Includes bibliographical references based on the footnotes on pages 51-53. / Electronic reproduction. Boca Raton, FL : 2008 Mode of access: World Wide Web.

A presente dissertação de mestrado tenta estabelecer como e em qual medida o Conceito de Direito de Herbert Hart é influenciado por teorias da linguagem do século XX. Com este objetivo, são primeiro analisadas as passagens do livro e as considerações do autor que indicam uma influência de teses próprias da filosofia da linguagem em sua obra. Após, são expostas algumas intepretações do tema, tanto no sentido de concordar que existe esta relação entre as teses de Hart e a filosofia da linguagem do século 20, quanto no sentido de negar este vínculo. Especial atenção é atribuída a interpretação de Ronald Dworkin do tema, tendo em vista a sua relevância histórica e o fato do autor reconhecer a vinculação referida e a utilizá-la como base para críticas das teses do Conceito de direito. Estabelecidas estas interpretações divergentes, são então expostas as principais ideias e propostas dos filósofos da linguagem do ambiente acadêmico de Oxford, tendo em vista a relação e proximidade de Hart a estes autores. Expostas estas teses, diferentes pontos da carreira bibliográfica de Hart são analisados, com o objetivo de traçar a relação dos escritos do autor com as teorias recém vistas e de tentar estabelecer a evolução da linha argumentativa que culminou no Conceito de Direito. Uma vez que os argumentos dessa obra forem analisados e um entendimento específico dessas teses for defendido, as críticas de Dworkin e de outros autores são revistas. Este exercício, por fim, mostra como o entendimento defendido neste trabalho serve também como defesa contra algumas caracterizações da obra de Hart que considero equivocadas. / The main goal of this paper is to establish to what extent the work “The Concept of Law” was influenced by philosophical theories of language from the 20th century. First are considered some passages of this work, together with some pronouncements of its author Herbert Hart that appear to confirm that his theses were so influenced. Then are shown some interpretations that recognize the influence between the author and theses from the philosophy of language, together with other interpretations that deny this relationship. Special attention is given to the perception of Ronald Dworkin of the subject given its historical relevance and the fact that it recognize a relationship between these theses and uses it as basis for criticism of the arguments expressed in The Concept of Law. Once these distinctive interpretations are stablished, the main ideas and goals of the Oxford language philosophers, given their relationship and proximity to Hart, are exposed. Once these theses are dealt with, varied moments of the bibliography of Herbert Hart are considered in order to show the connection between his works and the language theses here exposed. After these point are considered and a distinct understanding of the subject is developed the criticism of Dworkin and other authors are retaken. This last point aims to show how the understanding developed in this paper also develops a defense of Hart’s theory from some mischaracterizations of his work.

Young Ada. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 134-139). / Abstracts in English and Chinese. / Abstract --- p.i / 摘要 --- p.iii / Acknowledgments --- p.v / Introduction / "Crisis Unveiled: ""All that is Positive Melts Away""" --- p.1 / Chapter Chapter I --- "Crisis in Interpersonal and Intrapsychic Realms: and ""England, My England""" --- p.17 / Chapter Chapter II --- Crisis in Interpersonal and Intrapsychic Realms: Desire and its Perversions in Death in Venice and The Magic Mountain --- p.37 / Chapter Chapter III --- "Crisis at the Societal Level: in Women in Love and ""England, My England""" --- p.64 / Chapter Chapter IV --- Crisis at the Societal Level: From the Corrosions of Meaning in Life to the Dislocations of Societal Order in Death in Venice and The Magic Mountain --- p.94 / Coda / Crisis (Un)ended: The Great War and its Aftermath --- p.122 / Notes --- p.129 / Works Cited --- p.134

A pretensão do positivismo jurídico é o esclarecimento teórico para se realizar uma descrição correta do direito. A presente dissertação busca verificar qual a abordagem mais adequada para se alcançar a concretização da separação do direito da moral, sendo que o fio condutor é a obra de H.L.A. Hart, na qual se destaca o livro The Concept of Law. Dessa maneira, o problema a que se propõe o trabalho é evidenciar a complexidade da separação do direito da moral. Pretende-se demonstrar, principalmente através da teoria e obra de Herbert Hart, que Oliver Holmes e Hans Kelsen ao apresentarem seus projetos para separação do direito da moralidade, trataram o direito do ponto de vista descritivo, perdendo a caracterização do próprio direito. O primeiro capítulo é dedicado a apresentar e explicar o projeto positivista, já que condutas exigíveis por regras jurídicas não se confundem com as condutas exigidas por regras morais, ainda que conjuntamente possam existir. Ainda nesse capítulo apresentam-se algumas noções importantes para a compreensão e desenvolvimento do trabalho em relação à teoria de Hart, em especial no que tange ao ponto de vista interno e externo. No segundo capítulo é abordada a obra de Holmes, The Path of the Law, e as principais críticas construídas por Hart e discutidas por Stephen Perry e Scott Shapiro. Partindo-se da perspectiva do homem mau presente na teoria, pretende-se demonstrar que esta é insuficiente para compreender a teoria do direito, em especial nas razões pelas quais um cidadão segue o direito, já que nem todos estariam preocupados em qual é a sanção que receberão do Estado caso desobedeçam à regra. No terceiro e último capítulo demonstra-se quais os problemas da teoria de Kelsen apontadas por Hart. Especialmente no que se refere à ideia de Kelsen de que o direito é só forma, podendo ter qualquer conteúdo, enquanto que Hart acredita que o direito deve possuir conteúdo mínimo. Segundo Kelsen, a estrutura normativa é pressuposta, sendo que a regra funciona como esquema de interpretação e a principal função desta é a sanção. O objetivo final do trabalho é demonstrar que neste projeto de tentar salvar a autonomia do direito, Holmes e Kelsen descaracterizaram o fenômeno jurídico como uma prática social. / The claim of legal positivism is the theoretical clarification to perform a correct description of the law. This work aims to verify the most appropriate approach to achieving the implementation of the separation of law from morality, and the common thread is the work of H.L.A. Hart, which stresses the book The Concept of Law. Thus, the problem that is proposed work is to show the complexity of separating law from morals. We intend to show, especially through the theory and work of Herbert Hart, that Oliver Holmes and Hans Kelsen when presented their projects for separating the right of morality, they treated law of the descriptive point of view, losing the characterization of the law itself. The first chapter is dedicated to present and explain the positivist project, as required by legal conduct rules are not confused with the conduct required by moral rules, albeit jointly may exist. Although this chapter presents some important concepts for understanding and development work in relation to Hart's theory, especially with regard to internal and external point of view. The second chapter discussed the work of Holmes, The Path of the Law, and the main criticisms built by Hart and discussed by Stephen Perry and Scott Shapiro. Starting from the bad man present perspective in theory, intended to demonstrate that this is insufficient to understand the theory of law, in particular the reasons why a citizen follows the law, since not everyone would be worried about what is the sanction which receive if they disobey the rule. In the third and last chapter shows is that the problems of Kelsen's theory pointed out by Hart. Especially with regard to the idea of Kelsen that law is shaped and can have any content, while Hart believes that law should have a minimum content. According to Kelsen, the regulatory framework is presupposed, and the rule works as interpretation scheme and the main function of this is the sanction. The ultimate goal of the work is to demonstrate that this project of trying to save the autonomy of law, Holmes and Kelsen misrepresent the legal phenomenon as a social practice.

O poema icônico de T. S. Eliot The Waste Land, publicado em 1922, é indiscutivelmente o texto principal de poesia moderna em inglês. Eliot residia em Londres no momento da sua composição, e embora o poema contenha numerosas citações literárias e culturais, The Waste Land não é considerado como tendo sido influenciado por nenhum dos poetas ingleses que foram contemporâneos de Eliot. Pelo contrário, o poema é tido como um afastamento radical e uma reação contra, a poesia inglesa escrita antes e durante a Primeira Guerra Mundial (1914-1918). Neste artigo, eu argumento que The Waste Land contém ecos da obra dos poetas ingleses Harold Monro e Herbert Read, ambos os quais conheciam Eliot bem. Olhando retrospectivamente a partir de 1922, tendo The Waste Land como meu texto modernista base e ponto de partida crítico, eu conduzo uma reavaliação da cena poética inglesa do período 1910- 1922, a partir dos Georgian Poets do pré-guerra até o aparecimento, no pós-guerra, da obraprima de Eliot. Ambos Monro e Read foram influenciados pelo movimento radical 'Imagism' de Ezra Pound, que formou um elemento central na cena da poesia progressiva de Londres nos anos que antecederam a guerra. Portanto, utilizo ambos The Waste Land e os experimentos 'Imagist' de Pound como modelos de prática modernista através dos quais comparar e contrastar a obra dos Georgian Poets (especificamente Wilfrid Gibson), a poesia produzida durante a Primeira Guerra Mundial, e a obra de Monro e Read. Os princípios orientadores da minha abordagem analítica são dois: em termos de prática poética, eu avalio o trabalho de Eliot e seus contemporâneos, comparando as suas abordagens quanto à forma, a fim de demonstrar como a forma poética não apenas define o conteúdo, mas também revela mudanças nos valores culturais. Em segundo lugar, minha abordagem teórica é baseada nos conceitos mutantes da função estética da poesia, buscando demonstrar como valores estéticos estão historicamente relacionados a, e determinam, a produção e a recepção da poesia, expondo como os experimentos modernistas de Eliot e Pound estão historicamente relacionados com princípios estéticos românticos. / T. S. Eliot’s iconic poem The Waste Land, published in 1922, is indisputably the key Modernist poetry text in English. Eliot was living in London at the time of its composition, and although the poem contains numerous literary references, The Waste Land is not thought to have been influenced by the poetry of Eliot’s English contemporaries. On the contrary, the poem is regarded as a radical departure from, and reaction against, the English poetry being written before and throughout the Great War (1914-1918). In this paper, I argue that The Waste Land contains echoes of the work of English poets Harold Monro and Herbert Read, both of whom knew Eliot well. Looking back retrospectively from 1922, with The Waste Land as my exemplary Modernist text and critical starting point, I carry out a reassessment of the English poetry scene from 1910 to 1922, from the pre-war Georgians to the post-war appearance of Eliot’s masterpiece. Both Monro and Read were influenced by Ezra Pound’s radical ‘Imagism’ movement, which formed a central plank in the progressive London poetry scene in the years leading up to the war. I therefore employ both The Waste Land and Pound’s ‘Imagist’ experiments as models of Modernist practice by which to compare and contrast the work of the Georgians (particularly Wilfrid Gibson), the poetry produced during the Great War, and the work of Monro and Read. The guiding principles of my analytical approach are twofold: firstly, in terms of poetic practice, I evaluate the work of Eliot and his contemporaries by comparing their approaches to form, assessing how poetic technique both defines content and offers insight into shifts in cultural values; secondly, my theoretical approach is based on changing concepts of the aesthetic function of poetry, revealing how aesthetic values are historically relative to, and determine, the production and reception of poetry, ultimately exposing how Eliot and Pound’s Modernist experiments are historically related to Romantic aesthetic principles.