La thèse propose un paradigme d’interaction avec la notation musicale complexe pour piano selon une perspective « incarnée » et «située » de l’interprète. Ce paradigme, que je nomme navigation incarnée, s’oppose au paradigme traditionnel d’interprétation textuelle. Le paradigme traditionnel considère un processus de lecture linéaire et hiérarchique, selon lequel la compréhension et l’internalisation du texte musical sont les conditions préalables pour l’application de la technique instrumentale, permettant par la suite une interprétation personnelle. À la place de ce paradigme, je propose de traiter la notation musicale comme un élément dynamique, non linéaire, et à la fois incarné et externalisé. Dans une deuxième phase, le paradigme proposé devient la base du développement d’outils adaptés au projet de la navigation incarnée et de diverses applications, incluant l’analyse de la performance, l’apprentissage incarné et interactif, la composition musicale et l’improvisation. / This thesis proposes a performer-specific paradigm of embodied interaction with complex piano notation. This paradigm, which I term embodied navigation, extends and even confronts the traditional paradigm of textual interpretation. The latter assumes a linear and hierarchical process, whereby internalized understanding of the musical text is considered a prerequisite of instrumental technique towards personal interpretation. In lieu of that, I advocate for a dynamic, non-linear, embodied and external processing of music notation. At a second stage, the proposed paradigm serves as the basis for the development of methodologies and customized tools for a range of applications, including: performance analysis, embodied interactive learning, contemporary composition, free improvisation and piano pedagogy.

This study examines the eschatology of issues related to African folk religion. It argues about the eschatological understanding of time with regard to the afterlife, ancestors and the afterlife, Christ the eschaton and the incarnation of Christ as redeeming of the ancestors. Such a model of local theology can result from a comprehensive reflection based on the Scriptures. As such, this study suggests some principles and praxis that appropriately address mission in the African context. This study also intends to challenge the church in Africa in particular, and cross-cultural workers in general, to redefine their missions and themselves in the face of theological issues, as well as social problems, which occur at all levels of African society. / Christian Spirituality, Church History and Missiology / Thesis (D. Th. (Missiology))

Made available in DSpace on 2017-07-10T18:26:30Z (GMT). No. of bitstreams: 1 Jose Andre de Azevedo.pdf: 931606 bytes, checksum: 2a60f71a007c2445b64f3b0b84c69ef0 (MD5) Previous issue date: 2012-04-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Starting from a context of criticism to the modern scientism and rationalism, Marcel s work is projected above all, as a radical interrogation about the ontological weight of experience. It is in this direction that the philosopher explores the theme of the Incarnation as the central fact of metaphysics. Presenting with an unsystematic thought, wandering and questioning, Gabriel Marcel says that philosophy has an arket: the existence as a starting point and reference to the labor philosophicus. From the question Who am I?, Marcel projects a decisive point of arrival: the existence horizon embodied in its radicalism. More than just a problem, this question assigns, first of all, a radical ontological requirement, in other words, the revival of the incarnation as the "mystery of being." Now this fundamental fact of metaphysics is a reality that presents itself not in front of me, but where I am immersed. Therefore, the philosopher will set out this state of matter in terms of a "concrete philosophy" as opposed to some speculative hegemonic essentialism in the philosophical tradition. / Partindo de um contexto de crítica ao cientificismo e racionalismo modernos, a obra de Marcel se projeta, antes de tudo, como uma interrogação radical acerca do peso ontológico da experiência. É sob essa direção que o filósofo explora o tema da encarnação como o dado central da metafísica. Apresentando-se com um pensamento assistemático, itinerante e questionador, Gabriel Marcel afirma que a filosofia possui uma arché: a existência enquanto ponto de partida e de referência do labor philosophicus. A partir da questão Quem eu sou?, Marcel projeta um ponto de chegada decisivo: o horizonte da existência em sua radicalidade encarnada. Mais que um mero problema, esse questionamento fixa, antes de tudo, uma exigência ontológica radical, ou seja, o avivamento da encarnação como mistério do ser . Ora, esse fato fundamental da metafísica é uma realidade que se apresenta não diante de mim, mas na qual estou mergulhado. Por isso, o filósofo enunciará esse estado de questão nos termos de uma filosofia concreta em oposição a certo essencialismo hegemonicamente especulativo na tradição filosófica.

Made available in DSpace on 2016-03-15T19:48:51Z (GMT). No. of bitstreams: 1 Kleber de Oliveira Machado.pdf: 621007 bytes, checksum: 76a73a4baa22b12bbe95f429ceaed24e (MD5) Previous issue date: 2009-02-09 / Fundo Mackenzie de Pesquisa / This essay analyses the most important thesis of the pluralist theologian John Hick. It gives special attention to the ground books: The metaphor of God incarnate, An interpretation of religion, Death and eternal life. In the first book, he reformulates the incarnation doctrine to turn the pluralist hypothesis possible. In the second, he introduces his pluralist hypothesis that all religions are valid responses to the Real or Ultimate Reality. And in the third, which is his global theological work, he searches to build up what would be a pareschatology embracing the pluralist hypothesis. Finally, the essay seeks to demonstrate the inconsistency of Hick‟s Kantian epistemological grounds. It also presents the strong consequences that the revisionist project and the global theology have to Christian theology. It shows that the revisionist task, which has been proposed by Hick, empties the meaning of Christian theology. Therefore, it does not consider it as an authentic response to the Real, what invalids Hick's pluralist hypothesis. / Esta dissertação analisa as principais teses do teólogo pluralista John Hick. Dá-se especial atenção aos livros que as fundamentam: A Metáfora do Deus Encarnado, An Interpretation of Religion e Death and Eternal Life. No primeiro livro, ele reformula a doutrina da encarnação para tornar a hipótese pluralista possível. No segundo, ele apresenta sua hipótese pluralista de que todas as religiões são respostas válidas ao Real ou Realidade Última. E no terceiro, o qual é seu trabalho de teologia global, ele busca construir o que seria uma parescatologia que mantenha a hipótese pluralista. Finalmente, a dissertação procura demonstrar a inconsistência da base epistemológica kantiana de Hick. Demonstra também as profundas conseqüências que o projeto revisionista e a teologia global têm sobre a teologia cristã. Apresenta que a tarefa revisionista que tem sido proposta por Hick, esvazia o significado da teologia cristã. Por conseguinte, não a considera como uma resposta autêntica ao Real, o que invalida a hipótese pluralista de Hick.

Submitted by Haroudo Xavier Filho (haroudo.xavierfo@ufpe.br) on 2016-04-08T18:59:56Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação_PatriciaTenório_BC.pdf: 884166 bytes, checksum: 0a78095c224981af6d91420fd610f878 (MD5) / Made available in DSpace on 2016-04-08T18:59:56Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação_PatriciaTenório_BC.pdf: 884166 bytes, checksum: 0a78095c224981af6d91420fd610f878 (MD5) Previous issue date: 2015-09-17 / Dissertação resultado da pesquisa de Mestrado em Letras, área de concentração Teoria da Literatura, linha de pesquisa Intersemiose, no Programa de Pós-Graduação em Letras da Universidade Federal de Pernambuco, tendo como objetivo relacionar o romance O retrato de Dorian Gray, de Oscar Wilde, com três pilares teóricos: o índice fotográfico de Charles Sanders Peirce, o tempo de Agostinho de Hipona e a prefiguração no conceito de figura de Erich Auerbach. A cada capítulo, outros teóricos são convidados a dialogar, tais como John R. Searle, Susan Sontag, Philippe Dubois, Roland Barthes, Albert Einstein, Henri Bergson, Georges Didi-Huberman e Gaston Bachelard. / Dissertation result of Master’s research in Literature, area of concentration Literary Theory, line of research Intersemiosis, in the Postgraduate Program in Literature from the Federal University of Pernambuco, having as objective order to relate the novel The Picture of Dorian Gray, by Oscar Wilde, with three theoretical pillars: the photographic index of Charles Sanders Peirce, the time of Augustine from Hippona and the foreshadowing in the concept of figure from Erich Auerbach. Each chapter, other theorists are invited to dialogue, such as John R. Searle, Susan Sontag, Philippe Dubois, Roland Barthes, Albert Einstein, Henri Bergson, Georges Didi-Huberman and Gaston Bachelard.

The Incarnation Mystery in the writings of John of the Cross as a reverberation of Johannine Christology. This thesis analyzes the mystery of Incarnation in the mystical experience and doctrine of John of the Cross, a Spanish Carmelite from 16th century, and searches for traces of the testimony of the Fourth Gospel in his conception of this mystery. Based on analysis of excerpts of his writings it concludes that the mystery of Incarnation has crucial role both in his experience and his writings. It consists in the fact that Jesus - the Word incarnate - is a principal agent in the process of uniting with God: He is both a model for a Christian to shape him or herself after and a beloved Spouse with whom he or she should be united and so enter a loving communion with Father and Son and the Holy Spirit. The main work which reveals how much John of the Cross esteems the mystery of Incarnation is a poetic paraphrase of the Gospel of John: Romance based on the Gospel »In principio erat verbum«. It depicts author's view of the incarnational mystery as a dialogue between Father and Son in eternity. The Incarnation is seen as nuptials of the Word incarnate and humankind which elevates humankind to the God's level. By extension, humankind gains participation on the relationship between Father and Son. The...

L’objectif de ce mémoire est de réfléchir aux différentes implications du récit de soi lorsqu’il nous parvient de façon fragmentée. J’ai souhaité penser la création de liens et de relations à travers la mise en distance, la discontinuité et le détour et j’ai proposé pour cette raison que ces aspects sont centraux à l’économie du récit et à l’établissement d’un rapport à soi. J’ai donc privilégié l’étude de deux livres, Roland Barthes par Roland Barthes (1975) et The Argonauts (2015) par Maggie Nelson, qui offrent un portrait éclaté du sujet. Ces ouvrages sont liés l’un l’autre par une image que Maggie Nelson emprunte à Barthes, soit le vaisseau Argo. Métaphore de la métaphore pour George Kliebenstein, l’image de l’Argo permet de naviguer à travers ces récits dont les fragments se superposent plutôt qu’ils ne s’enchaînent. Cette métaphore offre une compréhension des textes dans un hors temps, au contact d’une destination à définir. Des liens s’établissent néanmoins au fil de la lecture entre l’auteur.ice et soi-mêmes. Ce dispositif littéraire constitue le projet d’étude du mémoire que j’associe à l’incarnation. Ainsi, l’écriture de soi peut être entrevue comme un acte qui permet la construction d’un rapport à soi. Le mémoire est divisé en trois sections. Dans un premier temps, les récits sont interrogés afin d’en comprendre la composante biographique tout en explorant la discontinuité de leurs présentations. Par la suite, le corps et ses représentations sont examinés dans les deux récits, ce qui permet une première apparition de l’incarnation dans ce mémoire. Enfin, la troisième section établit le rôle de la langue et de ses marges. / This study aims to examine the many implications of self-writing when it comes in a fragmented form. My intention was to consider the creation of links and relationships through distancing, discontinuity and digressions and I suggested those aspects are crucial to the narrative and giving an account of oneself. I therefore chose to focus on the study of two books, Roland Barthes par Roland Barthes (1975) and Maggie Nelson’s The Argonauts (2015), which offer a fragmented portrayal of the subject. These works are linked to each other by an image that Nelson borrows from Barthes, the Argo ship. A metaphor’s metaphor for George Kliebenstein, the image of the Argo allows a navigation between those narratives in which fragments overlap rather than following each other. This metaphor offers an out of time understanding of the texts heading to an undefined destination. Links are nonetheless established throughout the reading between the authors and themselves. This literary device constitutes the core of this study which I link to embodiment. Thus, self-writing can be seen as an act allowing the building of a relationship with oneself. The study is divided in three sections. Firstly, narratives are looked into in order to understand their biographical foundation while also exploring their discontinuous form. Secondly, the body and its representations are examined, enabling a first understanding of embodiment. Finally, the third section establishes the function of language and its margins.

In the thesis a methodology of understanding and explicating Christian faith consistent with the mystery of the simultaneous close connection and radical difference of God, human beings and the physical-organic cosmos environment is been mapped out. The theanthropocosmic principle as an expression of the mystery functions as the heuristic key in opening up the notion of kenosis (and incarnation) of Jesus Christ and the Holy Spirit within the scope of the enduring interaction of . The Spirit in the kenotic sense of the word connects and differentiates the overall processes of being and becoming, here and there, now and then of the mystery of the `presences' of God, human beings and the natural cosmic world in being there (Dasein), being thus and thus (Sosein) and being dynamically actual (Aktsein). God acts in terms of the Spirit's operational kenotic presence within the margins of the creatureliness of people and the natural cosmic world as the kenotic clothing of God. A dynamic interpretation of the integral and differential character of being and becoming suggests that making sense of the dynamics of the formation of identities and identification is an ever ongoing endeavour. It implies a continuous process of negotiation whilst experiencing various continuums, remaining open-ended in an ever-increasing sense of wonder and mystery of "exitus a Deo-reditus in Deum". / Systematic Theology and theological Ethics / D. Th. (Systematic Theology)

In the thesis a methodology of understanding and explicating Christian faith consistent with the mystery of the simultaneous close connection and radical difference of God, human beings and the physical-organic cosmos environment is been mapped out. The theanthropocosmic principle as an expression of the mystery functions as the heuristic key in opening up the notion of kenosis (and incarnation) of Jesus Christ and the Holy Spirit within the scope of the enduring interaction of . The Spirit in the kenotic sense of the word connects and differentiates the overall processes of being and becoming, here and there, now and then of the mystery of the `presences' of God, human beings and the natural cosmic world in being there (Dasein), being thus and thus (Sosein) and being dynamically actual (Aktsein). God acts in terms of the Spirit's operational kenotic presence within the margins of the creatureliness of people and the natural cosmic world as the kenotic clothing of God. A dynamic interpretation of the integral and differential character of being and becoming suggests that making sense of the dynamics of the formation of identities and identification is an ever ongoing endeavour. It implies a continuous process of negotiation whilst experiencing various continuums, remaining open-ended in an ever-increasing sense of wonder and mystery of "exitus a Deo-reditus in Deum". / Systematic Theology and theological Ethics / D. Th. (Systematic Theology)

Les auteurs contemporains, des plasticiens aux réalisateurs de blockbusters, créent des images où le réel et le virtuel semblent de la même étoffe. Leurs films, vidéos et installations exposent un monde qui émerge de l’immatérialité des écrans.À la différence des images qui procèdent de l'imprégnation de la lumière réelle sur des surfaces photosensibles, les simulacres numériques résultent du langage binaire. Ils correspondent à du code informatique qui transforme l’image en une somme de données.Dès lors, ceux-ci entraînent-ils une mutation de notre rapport à l’image ? En quoi induisent-ils une nouvelle perception des représentations artistiques où prime l’apport d’une subjectivité ?Les simulacres numériques apparaissent après des millénaires d’images qui relèvent de l’ontologie et entretiennent un lien sensible avec le réel. Le spectateur ayant besoin de se projeter dans ce qui emprunte à sa nature et ce qui interroge ses aspirations, ses sentiments comme ses croyances, il attend de la simulation numérique la même capacité d’incarnation et de transfiguration que les autres moyens d’expression.Entrelaçant la tradition et le contemporain, cette recherche analyse l’éloquence sensible du simulacre numérique au défi du vivant dans le cinéma et les arts plastiques des années 2000-2010 selon les concepts de présence, représentation et simulation.Comment le numérique actualise-t-il des codes culturels et esthétiques hérités de l’histoire de l’art ? Cette recherche tente de comprendre la nature et le sens des simulacres numériques du vivant en tant qu’ils conjuguent l’incorporel synthétique à l’argument ontologique. / The contemporary authors, from visual artists to blockbusters’ directors, create images where the real and the virtual seem from the same cloth. Theirs movies, videos and installations show a world which emerges from the immateriality of the screens.Unlike images which are the result of the impregnation of the actual light on photosensitive surfaces, digital simulacra stem from binary language. They are made of pure computer code that can transform the image into a sum of data.Therefore, will the digital simulacra change our relationship to images? How do these digital sham images induce a new perception of artistic performances where subjectivity and its contributions are the prime factors?We are confronted with these digital simulacra of images after millennia of imagery that relate from ontology and that maintain a significant link with reality. The viewer, having the need to project himself into something that borrows from his nature and that questions his aspirations, his feelings as well as his beliefs, expects from the digital simulation the same capacity for incarnation and transfiguration that he experiences from others means of expression.Confronting and intertwining the traditional and the contemporary, this research analyses the sensitive eloquence of digital simulacra and how they face the challenge of real life, through film and in visual arts over the decade 2000-2010, based on the concepts of presence, representation and simulation.How do the various uses of digital technology force us to update the cultural and aesthetic codes that we inherited from Art history? Thus, this research attempts to understand the substance and the meaning of the digital pretence of life, which combines the synthetic intangible with an ontological argument.