Alejandro López Andrada, poète, romancier et essayiste appartenant à la « génération des fils » comme la nomme Juan Vila, retrace le passé perdu ou en voie de disparition de son Andalousie natale. Sa prose se démarque par son caractère élégiaque et en dépit de la diversité générique qui caractérise ses œuvres, celles-ci ont en commun l’expression d’un sentiment nostalgique. Cette étude s’attache à présenter, en premier lieu, la voix narrative qui s’exprime dans le corpus choisi ainsi que la subjectivité qui la définit, puis, dans un second temps, les modes d’expression de cette nostalgie à travers l’exaltation de l’enfance dans laquelle s’inscrit la représentation de la terre natale andalouse. Enfin, la dernière partie de ce travail est consacrée à l’humanisme chrétien qui se dégage des textes, lesquels traduisent ainsi la foi personnelle de l’auteur. Celle-ci se manifeste notamment par l’expression de l’amour de l’Autre, de la revendication de valeurs et modes de vie renvoyant à nouveau à la période de l’enfance de l’auteur et par le poids important du religieux dans l’ensemble de son œuvre. / Alejandro Lopez Andrada, a poet, novelist and essayist from the "generation of sons" as Juan Vila calls it, traces the lost or disappearing past of his native Andalusia.His prose is notable for its elegiac character and despite the generic diversity that characterises his works, they all express a feeling of nostalgia.This study aims to present, in the first instance, the narrative voice that is expressed in the chosen corpus as well as the subjectivity that defines it, and, secondly, the expression of this nostalgia through the exaltation of childhood, in which the representation of the Andalusian homeland is enshrined. Finally, the last part of this work is devoted to the Christian humanism that emerges from the texts, which reflect the author's own personal faith. This particularly manifests itself in the expression of love of the Other, in the demand for the values and way of life which hark back to the author's childhood and by the weight given to the importance of religion in all his work.

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Keywords Gilbert Simondon, Bernard Stiegler, Mark B. N. Hansen, philosophy, media, technology, humanism, individuation, information Abstract This text has two parallel objectives. First, to introduce the original work of french philosopher Gilbert Simondon. Second, to show its potential of his philosophy in relation to our thinking about the current media-techno- logically conditioned environment in which we live and through which we understand the world. I have two motivations for the first objective. First, the work of Gilbert Simondon is still completely unknown in Czech Repub- lic, therefore I find it necessary to offer to the reader the introduction of his work. Second, without such introduction it would be very difficult to ope- rate with his crucial concepts in the work of his contemporary interpreters whose contributions I will discuss in the second part of the text. The se- cond objective is motivated with my interest in delimitation of speculative and materialistic line of thinking based on the work of Gilbert Simondon. Such thought with its description of the world is in clear opposition with anthropocentrism. Nevertheless, it cannot be considered as a part of object oriented ontology neither. I'm not going to show the importance of Gilbert Simondon for media theory in this text. Rather, I will...

The diploma thesis deals with Marxist philosophy in Czechoslovakia between 1956 and 1968, it focuses especially on Marxist humanism. The XX. Congress of the Communist Party of the Soviet Union in 1956 and the Khrushchev's critique of Stalinism gave opportunity for critical approach in Marxist philosophy. Marxist humanism came with the turn to questions of man and his world and it refused the dehumanizing system of Stalinism. The campaign against revisionism was led in regimes of the Eastern Block between 1956 and 1960 as a reaction to critical efforts in Marxist theory and practice. The campaign against revisionism was led in Czechoslovakia against efforts of separation philosophy from ideology or emphasis to Hegelian origins of Marxism. Areas where was evolving critical thinking and original approach to Marxism were arising in the 1950s and especially in 1960s in Czechoslovakia. Examples of this areas were the Institute of Philosophy of the Czechoslovak Academy of Sciences and the dialogue between Marxists and Christians. In this thesis I examine thinking of Karel Kosík, Robert Kalivoda and Milan Machovec on questions of history and man. Through these themes I show different approaches to Marxist humanism in Czechoslovakia between the 1950s and 1960s. Marxist humanism is often seen as an unitary...

Le traité de rythmique de Francisco Salinas, seconde partie de son De Musica Libri Septem de 1577, est révélateur de tendances communes à l’ensemble du mouvement humaniste européen du XVIe siècle. En restituant une modélisation « à l’antique » du rythme musical, Salinas prétend résoudre les contradictions du système mensural en vigueur, dans l’économie des agencements de durées sonores organisées par une battue proportionnelle, et suit un impératif de simplification qui concerne également les autres sciences du nombre. Cette entreprise de recadrage épistémologique se double d’une valorisation esthétique de la simplicité du « mètre », en vertu de son pouvoir sur les esprits, et au nom d’objectifs extra-musicaux partagés par tous les courants réformateurs. Le traité sert parallèlement des ambitions pédagogiques et missionnaires, et s’inscrit dans des « politiques du mètre » visant à la maîtrise des outils de contrafacture, comme à la création de « cantiques nouveaux ». Les savoirs-faire dont il promeut l’exercice, et qui culminent dans l’art de faire des vers musicaux et de construire des formes strophiques élaborées, révèlent ses parentés avec les recherches des élites culturelles françaises à la même époque, qui formaient un horizon d’attente particulièrement favorable à ces théories. L’impact du texte de Salinas sur les évolutions des conceptions rythmiques entre la Renaissance et l’âge baroque affecte aussi bien les typologies que les notations des nouveaux langages musicaux, ainsi que les diverses expressions d’une « crise de la conscience rythmique » apparaissant dans les sources théoriques françaises de 1581 à 1640. / Francisco Salinas' treatise on rhythm, the second part of his De Musica Libri Septem of 1577, is indicative of trends common to the entire European humanist movement of the sixteenth century. By restoring an "antique" model of musical rhythm, Salinas claims to solve the contradictions of the current mensural system, in the economy of arrangements of sound durations organized by a proportional beat, and follows a simplification imperative which also concerns the other sciences of the number. This epistemological reframing enterprise doubles as an aesthetic valuation of the simplicity of the "meter", by virtue of its power over the spirits, and in the name of extra-musical objectives shared by all reformist currents. The treatise also serves pedagogical and missionary ambitions, and is part of "meter policies" aimed at mastering tools of contrafacture, as at the creation of "new canticles". The know-how he promotes, and which culminates in the art of making musical verses and building up elaborate strophic forms, reveals his kinship with the research of French cultural elites at the same time, which formed a particularly favorable horizon for these theories. The impact that Salinas' text has had on the evolutions of the rhythmic conceptions between the Renaissance and the Baroque age affects both the typologies and notations of new musical languages, as well as the various expressions of a "crisis of rhythmic consciousness" appearing in French theoretical sources from 1581 to 1640.

With his thought-provoking and socially relevant music, American composer Jake Runestad has quickly become one of the most performed choral composers of the 21st century. Although music and social justice have been tied together for centuries, there is a new movement bringing social justice to American choral music in a noticeably increased manor, and Jake Runestad is a leading composer in this movement. In this paper, I provide a detailed analysis into the social justice themes employed by Runestad, interviews with him and several well-respected American choral directors programming and commissioning his music, as well as compositional devices employed within his compositions. The purpose of this study is to show Jake Runestad's place as an American choral composer by offering a historical overview of the social justice themes in American music and Western choral music separately. I will then narrow the scope to Jake Runestad, who since 2013 has been using his choral music to bring awareness to human inequalities within the United States today.

The thesis examines the atheistic development visible in the Swedish Human-Ethical Society’s (HEF) journal 1979 to 1999. It argues that HEF:s atheism from a diachronic perspective is best understood with the regards both to its religious criticisms, as well as to the specific outlook on life that the organisation developed over time as a secular alternative to religious belief-systems. The thesis further stresses the importance of comprehending atheism as a pluralistic system of thought that throughout history – as well as in present day – have taken a variety of different formations. Hence, atheism is not seen as possessing one single overall essence. The result of the study show that several developmental patterns can be made visible in HEF:s atheism throughout the period. The organisations religious criticism changed regarding its objects, contents and rhetoric. From initially having its focus directed towards Christianity (Swedish Christianity in particular), HEF later to a larger extent directed their critical gaze towards what they regarded as fundamentalist ideological values. Over time the organisation also started to highlight atheism in a, according to their phrasing, more “positive” light. With this, HEF:s human-ethical life stance was given a more instrumental role in the organisations message to the public. The thesis argues that this development should be understood as a successive shift in the basis for HEF:s atheism. On a general analytic level this process is characterized as a move from scientific atheism to humanist atheism.

[pt] Esta dissertação tem por propósito investigar os modos de composição discursiva das crônicas portuguesas ultramarinas dos séculos XV e XVI. O discurso histórico apresentado por cronistas como Gomes Eanes de Zurara, João de Barros e Fernão Lopes de Castanheda, que serão aqui analisados, vinculados que estão à retórica, aplicam convenções morais e sociais, através das quais compõem os comportamentos e dignidades dos indivíduos representados por meio das narrativas. A crônica, como lugar de inscrição dos res gestae, atualizava a concepção epocal da história como memória, monumento e celebração de feitos dignos de serem historiados, relacionados a um regime de verdade e veridicção das imagens reputadas honestas dos indivíduos. Estas imagens são construídas através da alegoria, da metáfora e da figuração, representando, segundo os critérios semânticos da época, a verossimilhança e verdade dos feitos narrados, a partir de técnicas retóricas da evidentia e da ekphrasis. Como narrativa moral, cuja utilidade se reconhece na disponibilização de exemplos de virtudes e vícios a serem evitados e seguidos pelos indivíduos ligados à classe senhorial, as crônicas serviam ao bem comum do reino. Discurso ligado à retórica e à teologia-política, a história, nos séculos XV, XVI e XVII serve como memória artificial do patrimônio coletivo da comunidade, seguida de sua celebração e amplificação. / [en] The purpose of this dissertation is investigate the modes of discursive composition of the Portuguese Chronicles of the Fifteenth century and of the Sixteenth century. The historical discourse presented by the chroniclers Gomes Eanes de Zurara, João de Barros and Fernão Lopes de Castanheda, composed rhetorically for apply moral and social conventions, compose the behaviors and dignity of the represented individuals in the narratives. The chronicle, as a narrative of the res gestae, comprise the epochal conception of history as a memory, a monument and a place of celebration of facts worthy for history. These are facts are related a regime of truth and veridiction of the honesty of individuals. These reputations are be construed through the allegory, of the metaphor and the figuration. These forms of representation, according with the representation concept of Sixteenth century, was building of the truth and verisimilitude of the historical narrative, made from the category rhetoric of the ekhprasis and evidentia. As a morality tale, whose usefulness are be recognized in providing examples of virtues and vices, to avoid and followed by individuals linked to the master class, chronic served the common good of the kingdom. Connected discourse rhetoric and theology, politics, history, in the fifteenth, sixteenth and seventeenth centuries serves as an artificial memory of the collective heritage of the community, followed by a celebration and amplification.

Because of the great importance of the human element in the drama of today we shall attempt to trace it from its first great exponent down to our times. Therefore, within the following pages we shall conduct an analysis of the humanism of Euripides as expressed in his plays and reflected in selected plays of modern drama. Our analysis, by necessity, shall have a six-fold purpose; (1) to analyze briefly the characteristics of the Attic theatre for which Euripides wrote; (2) to study the life and philosophy of Euripides in order to determine the presence of humanism; (3) to conduct an analytical study of plays by Euripides in order to detect the presence of humanism; (4) to establish a connecting-link between Euripides and the modern era; (5) to analyze selected plays of the modern era for the presence of humanism; and (6) to present a comparative analysis between the humanism found in Euripides and the humanism found in the selected plays of modern drama. We shall endeavor to present the findings in a manner of particular interest to students of the theatre. At all times we shall try to present the material from a production stand-point so that it may be utilized by student-actors and directors in their background preparation for a dramatic presentation. All student actors and directors should begin their study of a part or a play in the light of background material. In a play the shallowness of an actor or director's background is often revealed by the shallowness of interpretations.

The thesis is a meta-narrative discourse regarding the subversion in the representation of late capitalist realism. Through a post-humanist Marxist perspective, it connects three video game industry’s favorites with the ultimate question of capitalism: Cyberpunk 2077, Death Stranding, and Disco Elysium‪‬.‬‬‬‬‬‬‬‬ By looking through the unanimous retrospective paradigm, the thesis starts an exploratory journey analyzing the three games in terms of their narrative and mechanics lineages. Eventually, it wishes to reveal the possibility of genuine alternatives to our late capitalist reality from the late capitalist entertainment industry. By exposing the retrospective and inquisitive obsession of the three games, it reveals the underlying collective political trauma derived from the inability to defeat the late capitalist realism. While the analysis also leads to a potential solution that favors chance and randomness in order to disrupt the insatiable capitalist desire for the assimilation of originality.