À la fin du XIXe siècle, avec l’avancée de la pensée démocratique, le décadent fait l’expérience de la rupture ontologique d’avec l’ordre ancien dont les hiérarchies, sous la pression de l’égalité sociale, ont été ruinées. Du système hiérarchique de l'Ancien Régime, qui par définition est transcendant et garant de la volonté divine, l'individu passe à un système démocratique du nivellement et de l’indifférenciation de l’immanence. Consécutive au mal fin de siècle, la haine que voue le décadent à la démocratie se manifeste par la condamnation de tout son fondement idéologique. Ainsi les Lumières se trouvent être la cible privilégiée de sa critique, en particulier Rousseau et son hypothèse philosophique de « l'homme naturellement bon », mais aussi leur héritage direct à travers la notion de Progrès. Car le décadent ne saurait être en accord avec l’idée concernant le progrès indéfini qui ne peut qu’être néfaste pour l’âme humaine, un frein à son Salut. Devant l'avènement de la démocratie, le décadent voit également son statut de poète menacé. Car la désacralisation et le désenchantement du monde sont aussi synonymes de la dé poétisation du poète. Sous l'effet de l'uniformisation des masses, la pensée conformiste et contagieuse de la société démocratique met en péril la singularité, l'individualité et le caractère aristocratique du décadent. Face à cet état de fait, il se retrouve face à une alternative. Ou bien il se retranche dans sa tour d’ivoire, à l’abri des valeurs bourgeoises de la société, afin de préserver sa singularité et son unicité, ou bien, dorénavant sans auréole, poète maudit, il chante la modernité en prose, celle d’un monde en déréliction, dans une compassion fraternelle avec tous les déshérités, pour ainsi créer une nouvelle harmonie. / At the end of 19th century, as the democratic thought process was evolving, the decadent experienced an ontological break away from the old order, whose hierarchies were crushed under the pressure of social equality. From the hierarchical system of the Ancien Régime which, by definition, transcended and pledged the divine will, one adopted a democratic system of levelling and non differentiation of immanence. As a consequence of the end of century malaise, the hatred which the decadent had for democracy was apparent through the condemnation of its entire ideological basis. Hence, Rousseau and his philosophical premise of « man being naturally good » became the preferred target of his critique, which besides was directed at the entire legacy of the Enlightened, particularly their belief in the notion of Progress. Indeed, the decadent could not agree with the idea that indefinite progress could but be harmful to the human soul and hinder its Salvation. During the advent of democracy, the status of poet enjoyed by the decadent was also in jeopardy, because the deconsecration and disillusionment of the world also lead to the poet being depoetized. In view of the standardisation of the masses, the conformist and contagious reflection of the democratic society endangered the singularity, the individuality and the aristocratic character of the decadent. Faced with such a situation, he had a choice : he could retreat in his ivory tower, away from the bourgeois values of society, in order to preserve his singularity and uniqueness, or, like a damned and haloless poet, he could henceforth talk in prose about modernity, that of a world in a state of dereliction, within the compassionate brotherhood of all deprived people, in order to create a new harmony.

‘Simul sanctification' is a transformational program for sanctification derived from Karl Barth's radical appropriation of Luther's dictum simul iustus et peccator. Barth's simul establishes the Christological link of the Second Adam with every human being. From this emerges what I contend is a ‘Chalcedonian anthropology' built on a double-duality: the original Chalcedonian formulation gives rise to a second duality revealed within Christ's one human person—the duality of a true, iustus humanity and a corrupt, peccator humanity. In order to appreciate the benefits regarding Barth's Spirit-charged epistemological program for sanctification and conversion, it will be imperative to elucidate the comprehensive nature of Barth's actualism as a way of establishing Barth's view of humanity's dynamic and free iustitia in Christ. Central to assessing the threat of the peccatum determination will be an examination of Barth's theology of the cross, especially in regards to his single subject economy derived from the person of ‘Jesus Christ and him crucified.' Through Barth's assessment of the cross I exposit the similarities and the differences between Chalcedonian Christology and ‘Chalcedonian anthropology;' the latter duality is proven by resurrection revelation to be ultimately provisional in nature. From here I probe Barth's position regarding the annulment of the simul as well as its beginning. By investigating Barth's doctrine of creation I argue that Barth's simul is reflective of the original antithesis between God and nothingness, the darkness under which Christ first placed himself so that humans would know both his solidarity in the darkness and his victory over it. Christians continue to dwell in the overlap of the simul's two mutually exclusive determinations, but by looking through Barth's simul to our true, created and redeemed humanity in Christ we are equipped to interpret our lives and the world around us most hopefully.

Orientador: Alcides Hector Rodriguez Benoit / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-27T10:35:44Z (GMT). No. of bitstreams: 1 Melo_RicardoPereirade_D.pdf: 1024908 bytes, checksum: 5d89d206291fd20278b5b86fe1b1f73f (MD5) Previous issue date: 2015 / Resumo: Este presente trabalho pretende analisar a estrutura lógica e histórica de O Capital de Karl Marx e entender suas relações categoriais com o desenvolvimento dialético do conceito de circulação simples ou monetária presente no Livro 1 de O Capital e a sua continuação necessária do conceito de circulação creditícia presente no Livro 3 da mesma obra. A hipótese levantada por esse trabalho é que a circulação creditícia não pode ser desenvolvida de maneira isolada. A circulação creditícia é parte do desenvolvimento progressivo da circulação simples e, por isso, ligados dialeticamente pela exposição conceitual. Em O Capital, existe uma ordem expositiva das categorias usadas por Marx e, por isso, entender a circulação como um todo é necessário antes desenvolver as categorias mais simples presentes na circulação simples para avançar as categorias mais complexas da circulação creditícia / Abstract: The purpose of this study is to analyze the logical and historical structure of Capital by Karl Marx, understanding their categorical relations with the dialectical development of the concept of simple or monetary circulation in Book 1 of Capital and the necessary continuation of the concept of credit circulation in Book 3 of the same work. The main hypothesis is that the credit circulation cannot be developed in isolation. The credit movement is part of the progressive development of simple circulation and, therefore, dialectically connected by a conceptual exposition. In Capital, there is an expository order of categories used by Marx and, to understand the movement as a whole, is necessary to develop the simplest categories present in the simple movement to advance to the most complex categories of credit circulation / Doutorado / Filosofia / Doutor em Filosofia

A teoria da sociedade de Niklas Luhmann, construída como teoria de sistemas sociais, encontra freqüentes críticas voltadas contra seu pretendido distanciamento moral e político no diagnóstico da sociedade contemporânea. Pesa sobre a teoria de sistemas sociais a generalização de um juízo prematuro conforme o qual ela se reduziria a uma sociologia conservadora de tendência tecnocrata, uma herdeira radicalizada do positivismo. Contudo, e contrariamente a essa percepção geral, a teoria de sistemas sociais parece ter um potencial crítico ainda inexplorado em toda a sua extensão, e que pode ser ativado por uma leitura que permita expandir o alcance da teoria. Essa expansão pode ser promovida quando a teoria de sistemas sociais é mobilizada para fundamentar uma teoria da comunicação de matriz materialista (capítulo 1), capaz de permitir que sua categoria fundamental a autopoiese seja compreendida em estreita relação com a apresentação do capital por Karl Marx (capítulo 2) e confrontada com uma teoria do capitalismo (capítulo e 3). Na seqüência, a teoria de sistemas sociais é empregada para dar conta das múltiplas dimensões da desigualdade social (capítulo 4) e da dinâmica dos conflitos e das contradições da sociedade atual (capítulo 5). Esta tese propõe um primeiro passo na direção de uma recepção crítica da obra teórica de Niklas Luhmann. Trata-se de testar os limites e as possibilidades da teoria de sistemas sociais. / Niklas Luhmanns theory of society, built as theory of social systems, is usually met with criticisms pointed against its intended moral and political distance in diagnosing contemporary society. Weights upon the social systems theory the generalization of a premature judgement according to which, this theory would be reduced to a conservative sociology with technocratic tendencies, a radicalised heir to positivism. However, and against this usual perception, the theory of social systems seems to have a critical potential not yet developed in its full extension and which may be activated by an interpretation capable of expanding its range. This extension can be carried out when we handle social systems theory in order to ground a materialistic theory of communication (chapter 1), enabling a close connection between its main conceptual category autopoiesis and Karl Marxs presentation of the capital (chapter 2), as well as a confrontation with a theory of capitalism (chapter 3). Afterwards, social systems theory is used to explaining the manifoldness of social inequality (chapter 4) and the dynamics of contemporary conflicts and societal contradictions (chapter 5). This thesis proposes a first step in the direction of a critical reception of Niklas Luhmanns theoretical work. It is a matter of testing limits and possibilities of social systems theory

The main objective of this thesis is to formulate a practical aesthetic framework from Giorgio Agamben’s writings, and to use his concepts as an interpretative tool in relation to certain aspects of poetry in contemporary art. The specific category of printed poetry by artists is studied from a meta perspective, looking primarily at the gesture performed by writing poetry as an artist. A selective history of poetry in art looks at Marcel Broodthaers and the Bernadette Corporation, including the ways in which they can clarify the aesthetics of Agamben, followed by a shorter interpretations of three contemporary artist-poets – Karl Larsson, Karl Holmqvist and Hanne Lippard. These works can be defined as a hybrid third with Agamben, not art, but making the absence of art present. Works that are neither poetry nor art but with the availability and potential for both. An aesthetic terminology from Agamben is an aesthetics of privation and potential, of absence and inoperability, as well as an aesthetics of negation and resistance. A framework for looking at the tension between activity and passivity, and the resistance present there. The concept of potentiality also proves to be a fruitful opening for the interpretation of art leaning toward negation or withdrawal. / Populärvetenskaplig sammanfattning Uppsatsen undersöker en samling filosofiska begrepp kopplade till konst, hämtade från några av den italienska filosofen Giorgio Agambens böcker. Dessa kan läsas som en estetisk modell, och användas för att tolka konst som tangerar aspekter av inaktivitet och frånvaro, eller befinner sig mellan konst och andra uttrycksformer. Poesi skriven av konstnärer läses här ur ett metaperspektiv, med hjälp av Agambens filosofiska ramverk. Poesins kvalitet eller effekt är inte det huvudsakliga intresset, utan den gest som skrivandet av poesin förkroppsligar. En historisk kontext presenteras genom konstnären Marcel Broodthaers och konstnärsgruppen Bernadette Corporation. De filosofiska begreppen prövas sedan på tre samtida artist-poets, konstnärer som skriver poesi. Agamben ger verktyg för tolkning av konst som dra sig undan definition och representation. Uppsatsen påvisar hur poesi, när den produceras av konstnärer, kan tolkas som ett motstånd mot konstmarknaden.

De 1913 à 1916, le psychiatre suisse C. G. Jung (1875-1961) vit des visions intenses qu’il décide de noter au brouillon dans les Cahiers noirs, puis au propre dans un codex moyenâgeux, calligraphié et peint, appelé Liber novus (1915-1930). Jung n’en achève jamais l’écriture et ne le publie pas mais témoigne à plusieurs reprises de son importance dans l’élaboration de ses connaissances sur la psyché. Il est publié en 2009 en allemand et anglais, et en 2011 en français sous le titre Le Livre Rouge. Notre travail consiste en l’analyse épistémologique de l’expérience de Jung, de la création du Livre Rouge et de son utilisation dans sa carrière, à travers le prisme d’outils épistémologiques variés dont les thèses de Paul Karl Feyerabend (1924-1994), tenant de l’anarchisme épistémologique. Nous tentons ainsi d’expliquer et de comprendre une science qui se crée. / From 1913 to 1916, the Swiss psychiatrist C. G. Jung (1875-1961) lived intense visions that he decided to note in drafts in the Black Books, then in a medieval codex, calligraphied and painted, called Liber novus (1915-1930). Jung never finished its writing and did not publish it but he testified at several times its importance in the development of his knowledge about the psyche. The book is published in 2009 in German and English and in 2011 in French under the title The Red Book. Our work consists of the epistemological analysis ot Jung’s experience of The Red Book’s creation and its use in his career, through the various epistemological tools, including the theories of Paul Karl Feyerabend (1924-1994), creator of the epistemological anarchism. We try to explain and understand a science that is being create.

The Concerto for Trumpet and Orchestra and the Sonata for Trumpet and Piano by Karl Pilss were written in 1934 and 1935, respectively. They are examples for solo trumpet of the late German Romantic style of melody, harmony, form and structure. Musicians and audience often overlook composer Karl Pilss outside his native Vienna. His ties to the Trompeterchor der Stadt Wien and the National Socialist Party during the years preceding the Second World War have limited widespread acceptance of this composer. Pilss' output includes concertos for trumpet, horn, bass trombone, and piano, sonatas for trumpet, violin, and oboe, wind quintets and octets, piano pieces, choral works, and numerous large and small brass works. Pilss' teacher Franz Schmidt is more widely known. His four symphonies provide examples of post-Romanticism at the beginning of the twentieth century. His characteristic use of melody, harmony, form and structure is in the mold of Richard Strauss. Schmidt did not write any works for solo trumpet. However, his Symphony No. 4 begins and ends with extended passages for solo trumpet. Pilss inherited and adopted many of Schmidt's melodic, harmonic and formal traits. These can be clearly heard in his Concerto for Trumpet and Orchestra and the Sonata for Trumpet and Piano. This work discusses in detail the musical and compositional connection between Karl Pilss and his teacher, Franz Schmidt. Musical elements of melody, harmony, form and structure are used to illustrate the close connection between pupil and mentor. The use of the characteristic "Schmidt chord" in Pilss' works cements the link between the two composers. The Concerto for Trumpet and Orchestra and the Sonata for Trumpet and Piano deserve wider acceptance on the basis of their musical merit and as unique examples of the late German Romantic style for solo trumpet.

The purpose of this essay is to analyze views on the relationship between other religions and the Christian notion of salvation as they are presented in works by theologians Gavin D ́Costa, Kajsa Ahlstrand and Karl Rahner. To interpret their views, I use the fourfold model for theology of religions as it its presented by theologian Jakob Wirén. Because the purpose of this essay is to analyze the relation between soteriology and other religions I use the fourfold model solely to analyze the soteriological implications of their respective theology.  I have restricted my analysis to the three works Vägar – En öppen religionsdialog by Ahlstrand, The Meeting of the Religions and the Trinity by D ́Costa and Religiös Inklusivism by Rahner. These works represent different ways of framing theological content where Ahlstrands work tends to be descriptive while Rahners and D ́Costas tends to be normative in their approach to the subject.  The results of my analysis follow along the line as I conclude that Ahlstrands position within the fourfold model cannot quite be determined. However, I conclude that her views are not to be placed within the exclusivism spectrum even though her position cannot be specified further with regards to her text.  My analysis places both Rahner and D ́Costa within inclusivism but also shows that they represent to very different forms of inclusivism. Rahner sees other religions as righteous traditions where the one God may lead people to salvation earning these people the title anonymous christians. He however stretches that this implies that this people need to be made fully aware that they are in fact christians. D ́Costa on the other hand points out that the spirit acts freely outside the church where it may lead non-christians to salvation. He however stretches that the church must not try to domesticate the work of the spirit outside the church as it has no knowledge a priori on the full implications on where the activity of the spirit within other religions may lead to.  Therefore D ́Costa and Rahner are inclusivists in different ways where Rahner presents a traditional form of christian inclusivism while D ́Costa presents a modern form of inclusivism.  Keywords: Gavin D ́Costa, Kajsa Ahlstrand, Karl Rahner, theology of religions, soteriology.

Among the correspondence of Karl Leichter (TMM, Department of Music: M 159) there are 18 letters from Elmar Arro, written in Vienna from 1972 to 1982. Some of them are very short and practical - for years Arro planned to visit his home-land and in 1981 he finally succeeded, together with his wife he spent a few days in Riga and Tallinn. But several letters contain interesting and sometimes bitter reflections about the situation of East-European studies in the West, particularly in Germany.

Denna uppsats undersöker Ferdinand Tollins kritik mot Karl XIV Johan mellan 1840-1844. Samhällskritikern Tollin publicerade karikatyrer och artiklar som kritiserade den svenska kungamakten. Uppsatsen fokuserar därmed på Tollins kritik utifrån en analys av tre karikatyrer föreställande Karl XIV Johan, vilka kompletteras med läsning av de liberala tidningarna Nyaste Freja och Den konstitutionelle, där Tollin var verksam skribent. Uppsatsen lyfter också samband mellan karikatyrens framväxt och den framväxande liberalismen i Sverige.