xii, 101 p. / The Reek Sunday Pilgrimage at Croagh Patrick in County Mayo, Ireland is a syncretic event that incorporates official Catholic religious narratives of Saint Patrick, folk narratives of the site's Celtic pagan significance, local histories of the Great Irish Famine of the 19th century and personal narratives with a physical engagement with the landscape to create a spiritual experience. The pilgrimage serves as a performative event that allows participants to formulate and perform alternative spiritualities and identities, blurring the distinctions between pilgrim and tourist, sacred and profane. An emerging tradition at Croagh Patrick illustrates this by emphasizing the historical and national significance of the famine villages along the ancient pilgrimage path, the <italic>Tochar Phadraig,</italic> embracing these sites, and pilgrimage to them, as sacred. / Committee in charge: Lisa Gilman, Chairperson; Dianne Dugaw, Member; Phil Scher, Member

Ce mémoire vise à l´étude du processus de créolisation à partir de deux oeuvres représentatives de la littérature antillaise contemporaine: les romans Texaco, de l ´écrivain martiniquais Patrick Chamoiseau (1992) et La belle créole, de l´écrivain guadéloupéenne Maryse Condé (2001). On entreprend une étude où, à partir des concepts de créolisation (approche théorique) et figure (approche méthodologique), on examine des stratégies discursives par lesquelles le processus de créolisation a lieu dans les deux romans. Du point de vue théorique, on recourt au concept de créolisation, dégagé de textes tels que Éloge de la créolité (1989) et Écrire en pays dominé (1997), de Patrick Chamoiseau, ainsi que d´Introduction à une poétique du divers (1995), d´Édouard Glissant. Du point de vue méthodologique, ce mémoire relève des définitions de figure et imaginaire collectif de l´essaysite québécois Gérard Bouchard, surtout à partir des essais Genèse des nations et cultures du Nouveau Monde : Essai d´histoire comparée (2001) et Raison et contradiction: le mythe au secours de la pensée (2003). À travers la lecture des deux romans, on vérifie l'efficacité de chacune des trois figures – le débrouillard; l ´étranger; l´artiste/intellectuel – au moyen de lectures centrées sur une hypothèse: le processus de créolisation, sous le signe de la tension et du choc, origine d'équilibres instables, provisoires, qui surmontent (d'une façon aussi provisoire) les contradictions propres au contexte de chaque roman. Prendre la figure comme catégorie d´analyse permet ici d´apréhender la complexité de certains aspects de l´imaginaire collectif antillais. / A presente dissertação visa ao estudo da crioulização, entendida como processo, em dois romances representativos da literatura antilhana contemporânea: Texaco (1992), do escritor martinicano Patrick Chamoiseau; e La belle créole (2001), da escritora Maryse Conde, de Guadalupe. O presente estudo examina, com base nos conceitos de crioulização (abordagem teórica) e figura (abordagem metodológica), as estratégias discursivas pelas quais se dá o processo de crioulização nos dois romances. Do ponto de vista teórico, esta dissertação recorre ao conceito de crioulização, extraído de textos fundadores tais como Éloge de la créolité (1989) e Écrire en pays dominé (1997), de Patrick Chamoiseau, bem como Introduction à une poétique du Divers (1995), de Édouard Glissant. Do ponto de vista metodológico, esta dissertação é tributária das definições de figura e imaginário coletivo, formuladas pelo ensaísta quebequense Gérard Bouchard principalmente nas obras Genèse des nations et cultures du Nouveau Monde : Essai d´histoire comparée (2001) e Raison et contradiction: le mythe au secours de la pensée (2003). A partir da leitura dos dois romances, verifica-se a eficácia de cada uma das três figuras estudadas – débrouillard; étranger; artiste/intellectuel – mediante leituras centradas em uma hipótese de trabalho: o processo de crioulização, sob o signo da tensão e do choque, enseja equilíbrios instáveis, provisórios, que superam (provisoriamente) as contradições peculiares ao contexto de cada obra literária. Tomar aqui a figura como categoria de análise permite apreender a complexidade de alguns aspectos do imaginário coletivo antilhano.

Ce mémoire vise à l´étude du processus de créolisation à partir de deux oeuvres représentatives de la littérature antillaise contemporaine: les romans Texaco, de l ´écrivain martiniquais Patrick Chamoiseau (1992) et La belle créole, de l´écrivain guadéloupéenne Maryse Condé (2001). On entreprend une étude où, à partir des concepts de créolisation (approche théorique) et figure (approche méthodologique), on examine des stratégies discursives par lesquelles le processus de créolisation a lieu dans les deux romans. Du point de vue théorique, on recourt au concept de créolisation, dégagé de textes tels que Éloge de la créolité (1989) et Écrire en pays dominé (1997), de Patrick Chamoiseau, ainsi que d´Introduction à une poétique du divers (1995), d´Édouard Glissant. Du point de vue méthodologique, ce mémoire relève des définitions de figure et imaginaire collectif de l´essaysite québécois Gérard Bouchard, surtout à partir des essais Genèse des nations et cultures du Nouveau Monde : Essai d´histoire comparée (2001) et Raison et contradiction: le mythe au secours de la pensée (2003). À travers la lecture des deux romans, on vérifie l'efficacité de chacune des trois figures – le débrouillard; l ´étranger; l´artiste/intellectuel – au moyen de lectures centrées sur une hypothèse: le processus de créolisation, sous le signe de la tension et du choc, origine d'équilibres instables, provisoires, qui surmontent (d'une façon aussi provisoire) les contradictions propres au contexte de chaque roman. Prendre la figure comme catégorie d´analyse permet ici d´apréhender la complexité de certains aspects de l´imaginaire collectif antillais. / A presente dissertação visa ao estudo da crioulização, entendida como processo, em dois romances representativos da literatura antilhana contemporânea: Texaco (1992), do escritor martinicano Patrick Chamoiseau; e La belle créole (2001), da escritora Maryse Conde, de Guadalupe. O presente estudo examina, com base nos conceitos de crioulização (abordagem teórica) e figura (abordagem metodológica), as estratégias discursivas pelas quais se dá o processo de crioulização nos dois romances. Do ponto de vista teórico, esta dissertação recorre ao conceito de crioulização, extraído de textos fundadores tais como Éloge de la créolité (1989) e Écrire en pays dominé (1997), de Patrick Chamoiseau, bem como Introduction à une poétique du Divers (1995), de Édouard Glissant. Do ponto de vista metodológico, esta dissertação é tributária das definições de figura e imaginário coletivo, formuladas pelo ensaísta quebequense Gérard Bouchard principalmente nas obras Genèse des nations et cultures du Nouveau Monde : Essai d´histoire comparée (2001) e Raison et contradiction: le mythe au secours de la pensée (2003). A partir da leitura dos dois romances, verifica-se a eficácia de cada uma das três figuras estudadas – débrouillard; étranger; artiste/intellectuel – mediante leituras centradas em uma hipótese de trabalho: o processo de crioulização, sob o signo da tensão e do choque, enseja equilíbrios instáveis, provisórios, que superam (provisoriamente) as contradições peculiares ao contexto de cada obra literária. Tomar aqui a figura como categoria de análise permite apreender a complexidade de alguns aspectos do imaginário coletivo antilhano.

Made available in DSpace on 2014-07-29T15:14:26Z (GMT). No. of bitstreams: 1 Tese Dominique V C dos Santos.pdf: 1466642 bytes, checksum: df099eaed604630cb7807339d5b2b95a (MD5) Previous issue date: 2012-04-18 / Several books dedicated to the life and career of Saint Patrick seem not to take narrative problems into consideration or at least not to focus on them. The main subject in this particular field is the real or historical Patrick, in contrast to the fictional. The authors of these works try to overcome the gap between referent and representation, transcending then in order to find a hidden meaning in the past. Part of the so-called Patrician problem is related to this need of being forced to choose between real and representation. Patrick s history is analyzed differently in this research; we are more interested in understanding the representations than to transcend them. By reading some of the most important documents related to Patrick, we found three different images about him: 1) the auto-image of the Ego Patricius peccator rusticissimus, present in the Confessio and Epistola, both from the fifth century, the earliest texts to be written in Ireland we have; 2) Patrick, the apostle of all Irish people, from Muirchú s master piece Vita Sancti Patricii, written in the seventh century, associated with propaganda and political disputes between monastic houses in Ireland; 3) Patrick, the first man to visit the Purgatorium, from the Tractatus de Purgatorio Sancti Patricii Apostoli Hibernensis, written by H. of Saltrey in the twelfth century. Real and representation are two sides of the same coin. Thus, without any clear-cut distinction in this sense and not looking for a pure past, a different approach of the documents is given. Instead of thinking about the authors of these references as liars and fiction-makers, we try to comprehend the portrait of Patrick they elaborated. These representations along with those from Confessio and Epistola are crucial for the process of building the image of Patrick as a Saint. / Os livros dedicados a vida e obra de São Patrício parecem não levar em consideração os problemas relacionados a narrativa, ou pelo menos não se concentram neste tipo de questão. O principal tópico de estudo neste campo em particular é o Patrício real ou histórico em contraste com o ficcional. Os autores destas obras tentam superar o intervalo entre referente e representação transcendendo-o, de modo a encontrar um significado oculto no passado. Parte do assim chamado Patrician problem diz respeito a esta obrigação de escolher entre real e representação. A história de Patrício é analisada de forma diferente nesta Tese, estamos mais interessados em compreender as representações do que transcendê-las. Lendo alguns dos documentos mais importantes relacionados a Patrício, encontramos três imagens distintas sobre ele: 1) a auto-imagem do Ego Patricius peccator rusticissimus, presente na Confessio e Epistola, ambas do século V, os primeiros textos escritos na Irlanda que temos; 2) Patrício, o apóstolo de todos os irlandeses, da obra prima de Muirchú Moccu Machteni Vita Sancti Patricii, escrita no século VII, associada com a propaganda e as disputas políticas entre as casas monásticas na Irlanda; 3) Patrício, o primeiro homem a visitar o Purgatorium, do Tractatus de Purgatorio Sancti Patricii Apostoli Hibernensis, escrito por H. de Saltrey no século XII. Real e representação são dois lados da mesma moeda. Assim, sem qualquer distinção mais incisiva neste sentido e sem procurar por um passado puro, interpretamos os documentos de forma distinta. Ao invés de pensar sobre os autores destas referências como mentirosos e produtores de ficção, tentamos compreender a imagem de Patrício que eles elaboraram. Estas representações, junto com aquelas oriundas da Confessio e Epistola, são decisivas para o processo de construção da imagem de Patrício como um Santo.

Made available in DSpace on 2014-07-29T16:17:34Z (GMT). No. of bitstreams: 1 Dissertacao Dominique Vieira Coelho dos Santos.pdf: 925623 bytes, checksum: 8574ef40fe569a96d4de871284d41969 (MD5) Previous issue date: 2008-02-26 / This research intends to analyze representations concerning christianization of celtic Ireland by Saint Patrick. We have as sources two Latin documents wrote in the 5th century Ireland (Confesio and Epistola ad milites Corotici). Different publications that deal with this subject often describe Patrick as cristianizer of Ireland or responsible for organizing a preexisting Christianity. We present another approach considering only the two letters written by Patrick trying to observe how it represented the Irishmen, himself and the christianization of Ireland. The plot we ve constructed understands the representation concept as a polissemic form, that if thought in middle voice, whithout concentrating on the polarization between a realistic or textualistic form of to lead the narrative, may mean a different form of working with the Patrician workmanships, introducing, thus, in its narrative nucleus, an aprroach that is different from the proposals of realistic character suggested by the Irish historiography. There is Patrick, there is Ireland and there are representations. / Esta dissertação tem por objetivo analisar as representações da cristianização da Irlanda Celta elaboradas por São Patrício. Temos como fontes dois documentos escritos em Latim na Irlanda do século V (Confesio e Epistola ad milites Corotici). Diversas publicações que tratam deste tema descrevem Patrício sempre como o cristianizador da Irlanda ou organizador de um cristianismo pré-existente. Apresentamos uma outra abordagem, levando em consideração apenas as duas cartas escritas por Patrício e nelas tentaremos observar como ele representou os irlandeses, a si mesmo e a cristianização da Irlanda. O enredo que construímos compreende o conceito de representação como uma forma polissêmica, que se for pensada em voz média, não se fixando na polarização entre uma forma realista ou textualista de conduzir a narrativa, pode significar uma maneira diferente de se relacionar com as obras de Patrício, apresentando, assim, em seu núcleo narrativo, uma abordagem distinta das propostas de caráter realista sugeridas pela historiografia irlandesa. Há Patrício, há Irlanda e há representações.

M.Phil. (Philosophy) / The author's choice of a theme is practical. It is a cultural-philosophical analysis·of the views of GLAZER and MOYNUlAN on ethnicity. 1 The result is studied and viewed in relation to philosophical anthropology and the ·genetic method of explanation of culture of CA VAN PEURSEN and by means of his cultural-historfcal three-tier development of the mythological, successively followed by the ontological and the functional. The author then suggests the. principle of sovereignty, within the limited sphere of competence of social structures within the same cultural ·entity to overcome the dialectic struggle for supremacy between social structures (i.e.: nation and state or church and state, etc). Linking this the writer offers a structural analysis of state versus nation (volk) and also rejects a dualistic (soul versus body) concept of man, preferring the model of man as a single integrated existential being. The author finds the views of GLAZER and MOYNIHAN are that ethnic identification is a natural and inevitable fact of human existence. It has its positive aspects (providing identity ... support ... security) and its negative aspects (encouraging isolation ... ethnocentrism ... conflict ... etc). By rejecting humanistic individualism and integration as ideological (therefore ontological) and ethnicity as practical · (therefore functional), and urging governments to recognise ethnicity within the framework of plural democracy, they by implication become the proponents of ethnicity, and culture with them becomes cultural determinism. By so doing they also derived and subscribed to some inevitable pre-empirical and therefore theoretical-philosophical concepts re group identity and the relation betwe€n soul and body and culture versus physical environment. Within each of the cultural-historical development phases posed by VAN PEURSEN the author finds that group identity as the essence of ethnicity is after all, as proposed by GLAZER and MOYNIHAN not so new, and that ethnicity during the course of history was always coined to the supremacy of an identity carrying social structure (i.e. the state in Greek culture; the church in Roman Catholicism; race in national-socialism; the individual in humanistic liberalism; and the state in dialectic materialism; etc). It is in the functional, practical realm that ethnicity has gained ground during the latter part of this century. The rediscovery of group identity signals the bancruptcy of ontological individualism and the appearance of pragmatism, existensialism and the dramatic growth of cultural anthropology and new-conservatism. The author sees existensial man as a unitary being and by so doing disacknowledges an inner spiritual world of the soul against the outer world of nature and body. This one-ness of man makes culture his first nature and not his second, as suggested by GLAZER and MOYNIHAN. Mans cultural identity is expressed in a variety of social structures and by utilysing the principle of sovereignty within each structural sphere of competence, the author wishes to avoid ethnicity or group identity being captured by one structure (i.e. race in national socialism and volk/nation in ethnocentrism) and thereby becoming an operationalism.

Seit der Antike inspiriert und fasziniert die Thematik Schönheit und Tod. Obwohl die Schönheit auf den ersten Blick wenig mit dem Tod zu tun haben scheint, ist das Verhältnis eng, welches hier an Hand Das Parfum und Der Tod in Venedig veranschaulicht wurde. Diese kontrastive Literaturstudie näherte sich der Thematik aus der Sicht Schopenhauers, Nietzsches und Freuds und konzentrierte sich auf verschiedene Perspektiven der Schönheit und des Todes. Parallelen und Unterschiede wurden aufgezeichnet und das Verhältnis zwischen Schönheit und Tod analysiert. Die Protagonisten beider Werke sind zwar äusserlich unterschiedlich, aber beide sind zurückhaltende, einsame Künstlergenies mit starkem Todestrieb, die sich ausserdem als Opfer betrachten; Grenouille sieht sich als Opfer der ganzen Menschheit und Aschenbach als Opfer der Disziplin und der Kunst. Das Schöne wirkt lockend auf sie und weckt Gefühle der Liebe in ihnen. Zwar handelt es sich um Liebe von sehr unterschiedlicher Natur; unterdrückte homosexuelle Gefühle bei Aschenbach und eine nie erlebte Mutterliebe und Anerkennung von Mitmenschen bei Grenouille, aber das grundliegende Bedürfnis beider ist gleich und verlangt nach Kompensation. Als Künstler versuchen sie ihr künstlerisches Schaffen zu nutzen um ins Gleichgewicht zu kommen und sich der Liebe zu nähern. Die Lust, bzw. die Liebe, die durch das Schöne ausgelöst wird, kann jedoch nicht durch ästhetisches Schaffen kompensiert werden, mit der Folge, dass der Todestrieb siegt. Das Schöne als Inspirationsquelle und die daraufhinfolgende ästhetische Tätigkeit erschafft also nicht das erwünschte schopenhauerische, freudianische Gleichgewicht von Freiraum und Harmonie, sondern das nietzscheanisch dionysische Fest und den darauffolgenden Tod. Beide scheitern in ihrem Streben nach dem Schönen. Das Schöne ist nur ein Schein, welcher ihre Sinne betrügt und sie an wirkliche Liebe glauben lässt. Sie ist der Auslöser von Gefühlen, die durch ästhetisches Schaffen nur kurzweilig befriedigt werden können. Der einzige Ausweg zur vollkommenen Erlösung ist der Tod, von dem beide, bewusst bzw. unbewusst, als von einem Zustand des Nichts träumen. Für Aschenbach handelt es sich vermutlich um eine Erlösung von den Pflichten seines Künstlerlebens oder von einer unerfüllten Liebe, während Grenouille von seiner Enttäuschung, als Identitätsloser nicht geliebt werden zu können, erlöst werden will. Die Komplexität und Vielseitigkeit der Thematik die hier veranschaulicht wurde, zeigt wie auch diese Studie neue Fragen aufwirft. Das Spannungsfeld zwischen Schönheit, Liebe und Tod übt ständig seine Faszination aus.

This doctoral dissertation is an intellectual biography which discusses the projects and utopian visions of Paul Otlet (1868-1944). Paul Otlet formulated the concept of ‘documentation’, a field incorporating both study and practice that evolved out of bibliography before developing into information science. He was also a sociologist, an internationalist and indefatigable promoter of his conception of ‘universalism’ or ‘mondialism’, and of the Mundaneum and the Cité Mondiale. The major source that is used to throw new light on Otlet as a utopian thinker is an impressive collection of thousands of unpublished schemas. By means of an historical analysis of his schemas and writings, this thesis aims to identify the fundamental universalistic character of his utopian vision of knowledge organization and international organization. Universalism was a phenomenon incorporating complex personal ideals and social objectives, assuming different meanings in the fields of science, culture and politics, and reflecting the historical circumstances and undertakings of the time. By exploring how Paul Otlet and others dealt with the issue, this dissertation aims to contribute to the history of the idea of ‘universalism’. / info:eu-repo/semantics/nonPublished

Understanding Kant’s account of desire is vital to the project of evaluating his views about moral psychology, as well as his account of freedom qua autonomy. In Anthropology from a Pragmatic Point of View, Kant claims that “Desire (appetitio) is the self-determination of a subject's power through the representation of something in the future as an effect of this representation” (7:251). My goal is to clarify which of the subject’s specific capacities Kant means by the “subject's power,” and what role this capacity plays in desire. I argue that the subject's power cannot be her capacity to act. Rather, the subject's power is best understood as her capacity to generate the psychological states that cause action. I call these motivational states 'activation signals'. Desire consists in the self-determination of the subject’s capacity to generate activation signals by her representation of the object of desire together with an accompanying incentive.

La relation esthétique aux œuvres lues est traduite ici par une approche biopoétique de la diversité culturelle, qui nous autorise à la transcrire en termes d’écologie entendue comme ce qui a trait aux relations, aux interactions mais aussi aux ruptures et aux brisures du lien. Il s’agit d’abord de revenir sur la notion de patrimoine en proposant différents usages de la littérature par un sujet lecteur prenant ses distances vis-à-vis des mondanités institutionnelles. La ritualisation de la relation au texte d’autrui bannit les pétrifications monumentales redevables à une logique cartographique destinée à compartimenter les productions littéraires. À partir de là, on remarque que la resymbolisation de la trajectivité du lecteur au sein des balisages institutionnels infléchit les voies prescriptives d’une lecture clivée et permet d’envisager la lecture comme un geste scriptural à l’origine de nouvelles genèses littéraires. La bibliothèque intérieure situe les diversités interprétatives sous le signe d’un humanisme écologique qui décline à présent l’œuvre lue en texte-paysage, texte-habitat et texte-écosystème dans lequel se diffractent des individualités redonnant vie aux livres endormis. La notion de plasticité vivante enfin nous permet de poursuivre une approche écologisée de la littérature francophone en tant que médiateur culturel, ouvrant à de nouvelles perspectives de mise en récit du monde. La reconfiguration des œuvres littéraires se réalise sous le signe d'une écoplastie digne de transfigurer les interférences culturelles à l'oeuvre dans l'activité littéraire: la mobilité et l'organicité membranique de ces transactions redéfinissent l'hospitalité envers autrui. / This dissertation considers the aesthetic relation between the reader and literary texts from a biopoetic viewpoint, thus translating cultural diversity into ecological terms that are linked to the dynamics of relations and interactions, of ruptures and fractures. Therefore it is first necessary to reconsider the notion of patrimony by taking into account the different ways in which the reading subject takes his distance toward social institutions. Ritualizing the relation to the texts of others excludes the monumentalizing petrification due to a cartographical logic aiming to compartmentalize literary production. We notice furthermore that the resymbolization of the reader’s trajectory within institutional boundaries bends the disassembling reading that is dictated and considers reading rather as a scriptural gesture initiating a new literary genesis. The interior library associates the multiplication of interpretations to an ecologic humanism that transforms the read literary work into a text-landscape, a text-habitat, a text-ecosystem, in which individualities are diffracted, thus giving live to dormant texts. The notion of living plasticity leads us finally to an ecologized approach of francophone literature as a cultural mediator implying new perspectives for narrating the world. Reconfigurating literary texts is realized through ecoplasticy and its capabilities to transfigure cultural interferences present in literary activity: the mobility and membranic organicity of these transactions redefine the hospitality shown toward others.