[pt] Esta tese é uma reflexão sobre a possibilidade de um discurso sobre a religiosidade a partir da morte de Deus. Procurei escavar interpretações a respeito da sentença Deus está morto!, presente nos aforismos 125 e 343, de A gaia ciência, de Friedrich Nietzsche (1844-1900) e confrontei-as com as ressonâncias desta proclamação na obra do filósofo francês Gabriel Marcel (1889-1973). Sobre os sentidos interpretativos da assertiva nietzschiana, apresento três aspectos fundamentais do Deus assassinado, nomeadamente: (a) o Deus metafísico; (b) o Deus moral; (c) o Deus cristão. Os textos de Marcel analisados na tese apontam a acolhida e a ressignificação do vaticínio nietzschiano. Nessa acolhida, as noções de drama, situação, universal concreto, transcendência e intersubjetividade mereceram especial cuidado investigativo. Esta última, calcada na relação eu-tu, constitui-se como verdadeira condição de possibilidade de abertura ao outro enquanto mistério. A partir deste confronto, procurei oferecer uma síntese própria que não é nem nietzschianismo, nem marcelianismo. Uma vez que não se segue como necessário de nossa situação histórica, marcada pelo deicídio, a ilegitimidade da religião, perseverei em repensá-la, ainda que sob aspectos e configurações não usuais. Disto seguiu-se uma reinterpretação de aspectos vários, situados entre metafísica e religiosidade, bem como entre moralidade e religiosidade, o que levou a reflexão sobre alguns desdobramentos éticos e sócio-políticos aí envolvidos. / [en] The present work sets forth a discussion on the possibility of a religious speech following the death of God. It was in my interest to dig for interpretations concerning Friederich Nietzsche s (1844-1900) statement found in The Gay Science s 125th and 343th aforisms - God is dead! - and to compare them to its echoes in Gabriel Marcel s (1889-1973) works. Upon the interpretative meanings to Nietzsche s statement, I present three fundamental aspects to the murdered God, namely: (a) the metaphysical God, (b) the moral God and (c) the christian God. The Marcelian texts analyzed here point out both the reception and ressignifications of Nietzsche s prediction. In this reception, the notions of drama, situation, concrete universe, transcendence and intersubjectivity deserved a very careful analysis. The latter, based on the I-thou relationship, became a real condition for an opening towards the others as some sort of mystery. From this confrontation, I tried to offer my own synthesis that is neither akin to Nietzscheism or Marcelism. Since the ilegitimacy of religion is not a necessary fact on our days, branded by the experience of this deicide, I strived to rethink it, albeit by non usual aspects and configurations. From that followed a reinterpretation of several aspects, situated between metaphysics and religiosity, as well as between morality and religiosity, which lead to the reflexion on some of the ethical and social-political developments that lie within the discussion.

L’errance est thématiquement présente dans le théâtre irlandais du début du XXe siècle. Le personnage errant est tout d’abord un moyen pour le dramaturge d’explorer et de dénoncer la perte ressentie par le peuple irlandais. Les vagabonds mis en scène expriment également le questionnement métaphysique de l’homme sur terre. Dans la Seconde moitié du siècle, l’errance infiltre la structure de la pièce, qu’il s’agisse de pièces irlandaises ou anglaises. Elle demeure, à travers le siècle, un thème de prédilection pour explorer les traumatismes, qu’ils soient économiques, politiques ou éthiques. La crise de valeurs du XXe siècle trouve écho sur des scènes théâtrales qui n’ont de cesse de questionner les certitudes, et qui mettent au jour la « déroute » du sens. L’ampleur et l’évolution de l’errance, à la fois thématique et structurelle, à travers des œuvres dramatiques étalées sur tout le XXe siècle, permettent de confirmer l’existence d’une dramaturgie de l’errance. Forte d’un siècle de remise en cause des certitudes, celle-ci se dessine à travers de nombreux exemples tirés des scènes anglaises et irlandaises du XXe siècle. / Thematically speaking, wandering and erring are particularly noticeable in early XXth century Irish drama. Playwrights stage vagrants, tramps, and Tinkers as a means to explore the loss felt by a large part of the Irish population throughout history. These characters also express metaphysical questions which will be echoed in the second half of the century. From being rather important themes, wandering and errancy gradually invade the very structure of the plays, be they Irish or British. Wandering has remained a major way of exploring trauma-related situations, be they economical, political or ethical. As the stage keeps questioning certainties, directions and sense are played with. The thematical and structural roles of wandering onstage highlight the widespread existence of a skeptical dramaturgy debunking trust and conviction.

A tese da equivalência afirma que as condicionais indicativas e a condicional material possuem condições de verdade equivalentes, i.e., elas são falsas quando possuem a antecedente verdadeira e a consequente falsa, mas são verdadeiras nas demais circunstâncias. Essa tese tem algumas consequências contra-intuitivas. Por exemplo, ela implica que qualquer condicional com uma antecedente falsa é verdadeira. Isso é estranho, pois não é intuitivo pensar que a condicional “Se a lua é feita de queijo, então 2 +2 = 4” é verdadeira somente porque a lua não é feita de queijo. Antes, pensamos que a constituição da lua não tem qualquer relação com as verdades da aritmética. Essa perplexidade é um dos paradoxos da condicional material. No primeiro e segundo capítulos apresento as duas tentativas mais influentes de defender a tese da equivalência face aos paradoxos, as propostas de Paul Grice e Frank Jackson. Argumento que elas são incapazes de eliminar os paradoxos, pois tentam explicar a sua origem em práticas linguísticas. No terceiro capítulo eu argumento que a real causa dos aspectos paradoxais da condicional material são intuições epistêmicas e metafísicas que devem ser recusadas, pois resultam de erros de raciocínio. / The equivalence thesis states that indicative conditionals and the material conditional have the same truth conditions i.e., they are false when they have a truth antecedent and a false consequent, but true in any other circumstances. This thesis has some counterintuitive consequences. For instance, it implies that any conditional with a false antecedent is true. This is odd, for it is not intuitive to think that the conditional “If the moon is made of cheese, then 2 + 2 = 4” is true solely in virtue of the moon not being made of cheese. We would rather think that the moon’s composition and arithmetic truths aren’t related to each other. This perplexity is one of the paradoxes of the material conditional. In the first and second chapters, I present the two most influential attempts of defending the equivalence thesis from the paradoxes: the proposals of Paul Grice and Frank Jackson. I argue that the attempts are nonetheless unable of dismissing the paradoxes, because they attempt to explain their origins as stemming from linguistic practices. In the third chapter, I argue that the real cause of the paradoxical aspects of the material conditional are epistemic and metaphysical intuitions that must be refused, for they result from flawed reasoning.

The diploma thesis deals with the analysis of particular detective and Gothic elements in Christopher Pike's adventurous series Remember Me. The main aim of the thesis is to analyse themes and motifs of Pike's work with respect to the Gothic tradition and the development of detective prose. The thesis is formally divided into theoretical and practical parts. The theoretical chapter is devoted to the genre of the detective and Gothic literature, as well as metaphysical detective story. The theoretical part is followed by the practical analysis of selected Pike's works. The practical analysis involves the characteristics of the main protagonists and the influence of horror and metaphysical detective elements on the search of individual identity.

尼采認為藝術的來源是自然中的兩種藝術衝動：戴奧尼索斯式的與阿波羅式的衝動。戴奧尼索斯式藝術是在生命原始的衝動所造成的「過度」中，沈浸在迷醉與狂喜的出神忘我狀態，是充滿力量的宇宙生機的流現。阿波羅式的藝術則提供一種夢幻似的美麗外觀，以幻象的形式遮掩生命本質的恐怖。而希臘悲劇可以作為藝術精神的最完美呈現的理由，就在於它結合了這兩種衝動。悲劇結合了藝術衝動的兩種積極力量，也就是變形(transfiguration)和超越(overcoming)；而悲劇的作用則在於提供尼采所謂的「形而上的安慰」。藝術不只是以美的形象掩蓋住生命令人畏懼的真實面貌，它更透過變形的作用來超越現實的恐怖，以美的形式展現自然豐沛的力量。因此，藝術指出了一種積極的面向：生命中的美學創造力使得人的生存儘管是充滿悲苦，但卻不是沒有價值而必須被否定的。生命的價值由藝術來支持，藝術的優劣也由它表現的生命力來評斷了。尼采在《悲劇的誕生》中呈出的藝術觀具有以下幾個特點： 　　(1)尼采放棄以主／客觀作為評判藝術品好壞的標準。他重新定義主觀是一種主體自我與自然融合的表現，這種主體才能分受自然源源不絕的創造生機，因而能表現出普遍性。 　　(2)藝術與生命的緊密連結使尼采反對以認知的態度看待藝術。蘇格拉底式的認知態度即是因為對生命的無知而產生不恰當的了解，也僵化藝術的創作力。 　　(3)自然孕育了創造與破壞兩種力量，為了吸納創造力，藝術同時也把醜放入它的表現內容裡，豐富了藝術的內涵。尼采並不像當時大部分美學家，把對藝術的討論局限在對美感的分析，但他也並未因此就認為藝術缺少美的形式還可以是藝術。 　　(4)以美的態度面對人生，說明生存的價值。這種態度不是把生命當成一種對象來欣賞，而是投注其中的創造精神；這是以創作者為中心的美學態度。生命價值就是建基在人對生存的苦痛不斷的超越，藝術一方面作為生命合理化的理由，同時自然的豐富創造力也使得藝術更形深刻。

This thesis seeks to realign Richard Crashaw’s aesthetic orientation with a broadly conceptualized genre of seventeenth-century devotional, or meditative, poetry. This realignment clarifies Crashaw’s worth as a poet within the Renaissance canon and helps to dismantle historicist and New Historicist readings that characterize him as a literary anomaly. The methodology consists of an expanded definition of meditative poetry, based primarily on Louis Martz’s original interpretation, followed by a series of close readings executed to show continuity between Crashaw and his contemporaries, not discordance. The thesis concludes by expanding the genre of seventeenth-century devotional poetry to include Edward Taylor, who despite his Puritanism, also exemplifies many of the same generic attributes as Crashaw.

This study is an attempt to explicate Gottfried Wilhelm von Leibniz&rsquo / s search for a way out of the labyrinth of the continuum in his early years of philosophizing. The main motive of the study is the belief that it would be worthwhile to see how Leibniz initially goes into the labyrinth and comes across with the riddles contained in it. Accordingly, this thesis is intended to discuss what the problem of the composition of the continuum is for the young Leibniz, which concepts and metaphysical problems are associated with the labyrinth, and what particular difficulties challenge Leibniz in his struggle. More importantly, the study seeks to delineate how Leibniz responds to these difficulties, what kinds of solutions he suggests, and how and why he changes his mind and offers different accounts concerning the composition of the continuum in his early writings. In this search for a way out of the labyrinth, some of the early writings of Leibniz written between 1666 and 1675 were studied with a particular emphasis on those directly related with the labyrinth of the continuum. During the study, the differences and transitions between geometrical, physical, and metaphysical accounts concerning the problem of the composition of the continuum were examined with a special focus on the bridging role of &lsquo / motion&rsquo / and the notion of &lsquo / conatus.&rsquo

A tese da equivalência afirma que as condicionais indicativas e a condicional material possuem condições de verdade equivalentes, i.e., elas são falsas quando possuem a antecedente verdadeira e a consequente falsa, mas são verdadeiras nas demais circunstâncias. Essa tese tem algumas consequências contra-intuitivas. Por exemplo, ela implica que qualquer condicional com uma antecedente falsa é verdadeira. Isso é estranho, pois não é intuitivo pensar que a condicional “Se a lua é feita de queijo, então 2 +2 = 4” é verdadeira somente porque a lua não é feita de queijo. Antes, pensamos que a constituição da lua não tem qualquer relação com as verdades da aritmética. Essa perplexidade é um dos paradoxos da condicional material. No primeiro e segundo capítulos apresento as duas tentativas mais influentes de defender a tese da equivalência face aos paradoxos, as propostas de Paul Grice e Frank Jackson. Argumento que elas são incapazes de eliminar os paradoxos, pois tentam explicar a sua origem em práticas linguísticas. No terceiro capítulo eu argumento que a real causa dos aspectos paradoxais da condicional material são intuições epistêmicas e metafísicas que devem ser recusadas, pois resultam de erros de raciocínio. / The equivalence thesis states that indicative conditionals and the material conditional have the same truth conditions i.e., they are false when they have a truth antecedent and a false consequent, but true in any other circumstances. This thesis has some counterintuitive consequences. For instance, it implies that any conditional with a false antecedent is true. This is odd, for it is not intuitive to think that the conditional “If the moon is made of cheese, then 2 + 2 = 4” is true solely in virtue of the moon not being made of cheese. We would rather think that the moon’s composition and arithmetic truths aren’t related to each other. This perplexity is one of the paradoxes of the material conditional. In the first and second chapters, I present the two most influential attempts of defending the equivalence thesis from the paradoxes: the proposals of Paul Grice and Frank Jackson. I argue that the attempts are nonetheless unable of dismissing the paradoxes, because they attempt to explain their origins as stemming from linguistic practices. In the third chapter, I argue that the real cause of the paradoxical aspects of the material conditional are epistemic and metaphysical intuitions that must be refused, for they result from flawed reasoning.

[pt] O objetivo da dissertação é caracterizar o pensamento a partir da exigência de uma consideração da estética, isto é, do mundo sensível, no contexto de esgotamento da compreensão metafísica que a opunha ao supra-sensível. Em outras palavras, trata-se de formular a questão sobre o acesso do pensamento à realidade sem recorrer aos parâmetros transcendentes tradicionais que, embora garantissem orientação, também submetiam o mundo sensível a regras prévias estranhas a ele. No contexto do pensamento moderno, essa possibilidade ganhou corpo, talvez pela primeira vez, na reflexão de Kant sobre o belo. Nela, a experiência estética tornou-se livre dos interesses cognitivos ou morais que a submetiam a um regime conceitual ou racional. Isso significou a abertura para uma maneira desinteressada de pensar, a partir da qual não mais se pergunta a verdade sobre uma coisa, mas sim a verdade da coisa. Ou seja, ao invés de subsumir um particular a uma regra universal prévia, o pensamento desinteressado precisa achar a universalidade daquele particular na sua singularidade, precisa achar a verdade que mora na coisa, e não fora dela. Sob a égide dessa questão, buscou-se detalhar a interpretação do desinteresse, o que levou não só ao exame de sua presença no pensamento de Kant, mas também no de Schopenhauer e Nietzsche, além de referências a autores contemporâneos, explícitas e implícitas, especialmente Martin Heidegger, Walter Benjamin e Hannah Arendt. / [en] The objective in this dissertation is to characterize thought from the requirement of a consideration of aesthetic, that is, of the sensible world, in the context of exhaustion of the Metaphysical understanding that opposed it to the non-sensible. In other words, it intends to formulate the question of the access of thought to reality without resorting to traditional transcendental parameters that, while providing orientation, also subjugated the sensible world to previous rules alien to it. In the context of modern thought, this possibility took form, perhaps for the first time, in the reflections of Kant on beauty. In it, the aesthetic experience was freeed from the cognitives or moral interests that submitted it to conceptual or rational constraints. This meant opening the way for a disinterested approach to thinking, in which one does not ask the truth about a thing, but the truth of the thing. Instead of subordinating the particular to a previous universal rule, disinterested thought seeks to find the universality of that particular in its own singularity. It needs to find the truth that dwells within the thing, and does not stand outside of it. Against the background of this question, this dissertation details the interpretation of disinterestedness, that not only led to the examination of its position in the thought of Kant, but also in that of Schopenhauer and Nietzsche, in addition to the references, explicit and implicit, to contemporary authors, especially Martin Heidegger, Walter Benjamin and Hannah Arendt.

The PhD thesis studies the translations and the overall reception of John Donneʼs poetry in the Czech literary culture. Its introduction explains the choice of the topic, outlines the structure of the text and the main question to be answered: to what extent Donne has become a significant presence in the Czech cultural context and how his work has been transplanted through translations. The first chapter gives a brief overview of the historical changes in the appreciation of Donneʼs poetry and, drawing on a range of Donnean literature, attempts to define the main features of his poetics. The second chapter traces the gradual building of an awareness of Donneʼs poetry among Czech readers through translations, translation paratexts and references in the works of Czech literary scholars. It introduces the Czech translators of Donne and discusses their motives for translating his work where these could be ascertained. The first part of Chapter 3 describes the method used in analyzing the Czech translations. It introduces the model of translation criticism presented by Antoine Berman in his analysis of French Donnean translations (Pour une critique des traductions: John Donne, 1995) and comments on its application in the study of the Czech translations. The second part sums up the findings of two...