Title: Metaphor and Contemporary Art Author: Mgr. et MgA. Markéta Magidová Department: Department of Aesthetics Supervisor: Mgr. Ondřej Dadejík, Ph.D Abstract In my dissertation I present arguments for the validity of the aesthetic conception of art (a conception based on the notion of aesthetic experience) also in relation to the development of art movements in the last half century. I do so on the basis of an interpretation of the aesthetic dimension of art through art theory as an extended concept of metaphor. I argue that it is the living metaphor that functions in works of (not only) contemporary art as their aesthetic model. I elaborate this idea through the interconnection of three convergent and currently influential concepts: Paul Ricoeur's hermeneutic theory of living metaphor, Martin Seel's aesthetics of appearing, and Alva Noë's theory of art as a strange tool. I lay out the key conditions and characteristics of the process of the emergence of metaphorical meaning and then relate these to the characteristics of artistic appearance. In the perspective of art as living metaphor, the myths and misunderstandings between aesthetics and artistic practice caused by the transformation of artistic production, especially with the advent of the neo-avant-gardes, persisting to the present day, can be...

[pt] O presente trabalho tem a metáfora como seu objeto e busca investigar os problemas que esta figura de linguagem suscita à filosofia. Desde então, será tomado como escopo e instrumentos de análise as obras de dois filósofos contemporâneos, Paul Ricoeur e Jacques Derrida, por suas contribuições relevantes ao estudo deste tema. De início, será apresentado como a hermenêutica propõe pensar a metáfora para além da estilização retórica e os limites que a separam do discurso filosófico, em seguida será mostrado como a clara delimitação destes limites é posta sob suspeita pela desconstrução. Portanto, ao seguir juntamente por essas duas propostas, o trabalho se desenvolve ao analisar seus pressupostos, pontos de intersecção e diferença. / [en] The present work has the metaphor as its objects and aims to investigate the problems that this figure of speech brings to philosophy. Since then, it will be taken as scope and analysis s instruments the works of two contemporary philosophers, Paul Ricoeur and Jacques Derrida, for their relevant contributions to the study of this matter. At the beginning, it will be presented how hermeneutics propose to think metaphor beyond rhetorical stylization and the limits that set her apart from philosophy s discourse, then it will be shown how the clear determination of these limits are put under suspicious by deconstruction. Therefore, by following jointly these two proposals, the work is developed by the analysis of their presuppositions, intersections points and differences.

[pt] A presente tese objetiva fazer uma leitura de interface entre a Filosofia, a Teologia, com destaque para a Teologia Bíblica, a partir das reflexões hermenêuticas de Paul Ricoeur, um dos filósofos mais importantes do século XX, que com simplicidade se declarava aprendiz de teólogo e, particularmente, um ouvinte da Palavra, contida nas Sagradas Escrituras da tradição judaico-cristã. Acentuar-se-ão as conexões entre a hermenêutica filosófica e a hermenêutica teológica com suas especificidades, para, enfim, atingir o coração da proposta: a Hermenêutica Bíblica de Paul Ricoeur. Será articulada a diversidade dos discursos bíblicos nos quais se manifesta uma plurivocidade que ousa nomear Deus, sem nunca perder de vista uma complexa polissemia e o caráter inefável, portanto, indizível de Deus. Através de suas reflexões hermenêuticas, Ricoeur contribui enormemente com e para a Teologia Bíblica, evitando acentuar os discursos especulativos, dando prioridade a uma Teologia da Palavra fundamentada nas narrativas bíblicas que preservam o nome divino no registro escrito e tornam possível a experiência da fé mediada pelos textos bíblicos. Além disso, Ricoeur também colabora significativamente para a tradução bíblica, ao tratar dos critérios para o traduzível e o não traduzível literalmente. Fundamentais são as suas contribuições para a compreensão da problemática do mal e sua relação com o pecado e a culpa. Ainda abriu diversas perspectivas para a compreensão teológica da linguagem religiosa e para distanciar-se de qualquer espécie de fundamentalismo cristão. Finalmente, são de suma importância seus comentários sobre passagens bíblicas essenciais, com destaque para a criação, o pecado original, o nome de Deus, as parábolas, a regra de ouro, dentre outras. / [en] This thesis aims to read the interface between Philosophy, Theology and the Bible based on the hermeneutical reflections of Paul Ricoeur, one of the most important philosophers of the 20th century, who simply declared himself an apprentice theologian and, particularly, a listener of the Word, contained in the Holy Scriptures of the Judeo-Christian tradition. The connections between philosophical hermeneutics and theological hermeneutics with their specificities will be emphasized, to finally reach the heart of the proposal: Paul Ricoeur s Biblical Hermeneutics. The diversity of biblical discourses will be articulated in which a plurivocity is manifested that dares to name God, without ever losing sight of a complex polysemy and the ineffable, therefore, unspeakable character of God. Through his hermeneutical reflections, Ricoeur contributes enormously to and with Biblical Theology, avoiding accentuating speculative discourses, giving priority to a Theology of the Word based on biblical narratives that preserve the divine name in the written record and make possible the experience of faith mediated by biblical texts. Furthermore, Ricoeur also contributes significantly to biblical translation, by dealing with the criteria for what is literally translatable and what is not translatable. Fundamental are his contributions to the understanding of the problem of evil and its relationship with sin and guilt. It also opened up different perspectives for the theological understanding of religious language and for distancing oneself from any kind of Christian fundamentalism. Finally, his comments on essential biblical passages are of utmost importance, with emphasis on creation, original sin, the name of God, parables, the golden rule, among others.

Så säger en av romangestalterna i Sven Delblancs Samuelsvit ochger därmed uttryck – ett av många – åt något som skulle kunna benämnas ’vanmaktens makt’. Vanmaktens makt har också blivit titeln på denna undersökning av sekulariseringstematiken i Delblancs Samuelsvit och Änkan. – Hur framställs och bearbetas sekulariseringen i dessa texter? – Vilka bilder ger de av sekulariseringsprocessen och dess följder,av ett sekulariserat samhälle och en sekulariserad människa? Dessa frågor, bland andra, diskuterar Helene Blomqvist i denna studie.Delblancs fem romaner bearbetar två livsfrågor som tycks bli på ett särskilt sätt aktualiserade genom sekulariseringen: frågan omontologin och frågan om etiken. Det handlar å ena sidan om ett teoretiskt spörsmål – om hur man kan uppfatta tillvarons grundläggande beskaffenhet – och å andra sidan om ett praktiskt – hurman bäst skall leva sitt liv i denna värld. Såväl Samuelsviten som Änkan gör upp räkningen med en gammal monistisk allsmäktig-Gud-ontologi. Teodicéproblemet visar sig vara trons stötesten: föreställningenom en allsmäktig och allgod gud kan inte fås att rimma med allt det destruktiva i tillvaron, ondskans framfart,eget och andras lidande. Romanerna gestaltar alla ett sökande efter en mer hållbar ontologisk och etisk grund. Hur skulle ett sådant alternativ kunna se ut? Detta är frågor som är helt centrala för Delblancs romaner och således också för denna undersökning. / <p>Distrubution: Genom författaren</p>

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

The thesis deals with the question of interpretation of narrative works of fiction in regard to what the text refers to (what is usually termed reference). On the work of three differently focused authors (Frege, Ortega y Gasset, Shklovsky) it studies reference pushed aside as a thing unimportant or even impossible in art. Structuralism, developing mainly in France after 1960, supplants these questions with exploring the literalness of literary works and their inner relations, allowing narratology to arise. Subsequently, Paul Ricoeur aims for the synthesis of structuralism and hermeneutics. Approaching literary work as discourse, he distinguishes the "what" and "what about" of works, following Frege's distinction between sense and reference (meaning), while reference of a work is not descriptive. In Time and Narrative he uses the term refiguration instead of reference and emphasizes the temporal aspect of literary work and its reception. The thesis is closed with a brief interpretation of Budapest, a novel by Chico Buarque (2003).

Thesis advisor: Richard Kearney / By the 20th century the Confessions had become a “classic” of western civilization, yet it seems to elude any easy explanation and categorization. While scholars of Late Antiquity puzzled over the nature, structure, and meaning of the work, a parallel reception was occurring by some of the most original thinkers across both traditions of Contemporary philosophy, including Ludwig Wittgenstein, Martin Heidegger, Hannah Arendt, Hans Jonas, Karl Jaspers, Hans-Georg Gadamer, Paul Ricoeur, Jean-Francois Lyotard, Jacques Derrida, Jean-Luc Marion, Jean Louis Chrétien and Stanley Cavell. This study will focus on four of these thinkers, Wittgenstein, Gadamer, Ricoeur and Marion, and the ways that the Confessions has influenced their attempts to address fundamental questions on subjects ranging from time and memory to history and hermeneutics, evil and the will, the self and personal identity, language and narrative, conversion, skepticism and materialism, God and onto- theology, and ultimately the very practice of philosophy itself, its autobiographical and especially its confessional character. In turn, this study also asks whether the engagements of these highly original contemporary philosophers can uncover new dimensions of this highly original work that has been read and interpreted throughout a centuries-long history of reception. The hermeneutic wager is that the past illumines the present philosophical terrain, but also that present insights allow us to read a classic text of the past with new understanding. This study will benefit from the interconnected nature of the problems that these writers confront, in their “family resemblance” of shared affinities and marked differences. Chapter One, “Scholarly Engagements: A Problematic Classic,” introduces some of the key interpretive problems which arose in the course of a century of scholarly engagements, including occasion, veracity, composition, and sources of Saint Augustine’s Confessions. Chapter Two “The Early Wittgenstein: Tractatus, Testimony and Confession” discusses the confessional philosophy of Ludwig Wittgenstein, and the deep affinities he shared with Saint Augustine in his life and his first major work, the Tractatus Logico-Philosophicus (1922), despite its reception and use as a foundational for Logical Empiricism and its spirited offspring. Chapter Three: “The Later Wittgenstein: Philosophical Investigations as Philosophical Confession” discusses the influence of Saint Augustine on Wittgenstein’s second major work, the Philosophical Investigations (1953), which uses a quotation from the Confessions as a point of departure for his own philosophical confession of errors and temptations. Chapter Four “Saint Augustine and Gadamer: Hermeneutic Anticipations and Affinities” discusses the hermeneutical insights of Saint Augustine, through the ways he encountered or struggled with texts in the Confessions, as well as through his idea of the “inner word” which would be for Gadamer the foundation of a philosophical hermeneutics. Chapter Five, “Ricoeur: Sin, Time, Memory, and Narrative” discusses Ricoeur’s engagement with Saint Augustine on the question of evil as well as his appropriation of the Augustinian aporia of time from the Confessions as pivotal for his narrative turn. Chapter Six, “Jean-Luc Marion’s Confessions” lays out Marion’s phenomenological unfolding of the Confessions beyond and before metaphysics, offering his reading of six dimensions of the inaccessibility of the self explored by Saint Augustine in the Confessions. This study will conclude by highlighting the themes that have suggested themselves across the many readings of this classic text. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

N.P. van Wyk Louw redefined the context-bound Afrikaans literature and criticism in the thirties to establish a new ‘national’ creative and critical discourse in Afrikaans. The central premise of this study is the correlation between Louw’s conceptualisation of a ‘national’ literature and Paul Ricoeur’s interpretation of utopia. In the essay collections Berigte te velde and Lojale verset (1939) Louw offers a new and confrontational grasp on the established Afrikaans literature and criticism (social and literary) within the context of Afrikaans nationalism. Louw formulates his directives for literature and society in a system of oppositional concepts. The central dualism in as well as the intellectual and structural foundation of his innovative ideas is the conceptualisation of a ‘national’ and ‘colonial’ literature. In accordance with Ricoeur’s oppositional analysis of utopia and ideology (1978a, 1981b, 1986), Louw’s distinction between a ‘national’ and ‘colonial’ literature is investigated in this study as a binary opposition based on the dualism utopia/ideology. The exploration of the ‘national’ literature as utopia and the ‘colonial’ as ideology includes the role of subordinate oppositions, among which are individual/nation and individual/national identity, in the sustaining of this polar structure. The unavoidable conflict between and exclusion of opposing elements are demonstrated by an analysis of the breaks in the reconciliation which Louw tries to effect between the ‘national’ and ‘colonial’ literatures. With reference to Ricoeur and Thompson (1984) the function of power as the common factor in utopia/ideology and the ‘national’/’colonial’ literature is investigated, and the realisation of an element of power in Louw’s critical discourse is explored. Key words: N.P. van Wyk Louw, Paul Ricoeur, binary opposition, Afrikaner nationalism, national literature, utopia, ideology, identity, power

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-10-17T17:40:58Z No. of bitstreams: 1 Jefferson da Silva.pdf: 1640396 bytes, checksum: f70b3b2b3a161938b4fc51975869cec9 (MD5) / Made available in DSpace on 2016-10-17T17:40:58Z (GMT). No. of bitstreams: 1 Jefferson da Silva.pdf: 1640396 bytes, checksum: f70b3b2b3a161938b4fc51975869cec9 (MD5) Previous issue date: 2016-08-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This present work intends to reflect the issues of disappropriation and reappropriation of consciousness from Ricoeur’s work Freud and Philosophy: An Essay on Interpretation. Questioning the cogito's position as first truth and then entering the criticism by Freud's theories, from the interpretation of Ricoeur, it seeks to reflect the issue of disappropriation of the subject as a source of reflection, its consequences and the possibilities of its reappropriation. Broaching such issues from the philosophical methodology and hermeneutics of suspicion, this research is justified by the attempt to think the subject of reflection and the philosophy from Ricoeur’s interpretation after suspicion posed by Freud's theories. Ricoeur, contrasting reflection as immediate intuition, reflects about the reality of the unconscious in order to show that the subject is not what ‘it think it is’. Once broached the issue of unconscious reality, the subject is “disappropriated” of his immediate consciousness meaning that, even before the reflection, there is the position of desire, a certain archeology. However, Ricoeur points out that, in addition to an “arché”, it is also possible to see that the subject has a “telos”, a teleology. Thus, the subject after the Freudian suspicion appears geared for both the position of desire, the archeology, as to an end, the teleology, with one dispossession both for the past and for the future. It is carefully examined on this double disappropriation that the subject is revealed disproportionate, having no coincidence himself with himself, since it is limited both in understanding its origin and in understanding its end. It is precisely reflecting about the disproportion that one realizes that the subject cannot reappropriate himself, turning to its own ego, in order to not be deceived by the distortions arising from the unconscious, but it is necessary to move towards the works and monuments of culture that say of himself. It is through the mediation of objective structures that the subject even being disproportionate can go reappropriating himself. Therefore, the symbols of culture, because of their objectivity, become a mean for the subject to go reappropriating himself and becoming conscious. They engender in a unit which is disproportionate in the subject. So that interpreting the symbols the subject can go reappropriating himself and changing his action in the world. Analyzing the tragedy of ‘Oedipus the King’ and the way reflected about the subject throughout this research, it could be presented more clearly that it is possible to think of reappropriation even after the disappropriation. At the end of the research, it can be affirmed that the subject, even after disappropriated as the source of reflection and revealing himself disproportionate, can reappropriate himself and go becoming conscious / A presente pesquisa tem como escopo refletir as questões da desapropriação e reapropriação da consciência a partir da obra de Ricoeur Da Interpretação: ensaio sobre Freud. Questionando a posição do cogito como primeira verdade e em seguida adentrando nas críticas feitas pelas teorias freudianas, a partir da interpretação de Ricoeur, busca-se refletir a questão da desapropriação do sujeito como origem da reflexão, seus desdobramentos e as possibilidades de sua reapropriação. Abordando tais questões a partir da metodologia filosófica e da hermenêutica da suspeita, esta pesquisa se justifica pela tentativa de pensar o sujeito da reflexão e a filosofia a partir da interpretação ricoeuriana após a desconfiança posta pelas teorias freudianas. Ricoeur, contrapondo a reflexão como intuição imediata, reflete a respeito da realidade do inconsciente com o objetivo de mostrar que sujeito não é aquilo que pensa ser. Uma vez abordada a questão da realidade do inconsciente, o sujeito é desapropriado de sua consciência imediata significando que, antes mesmo da reflexão, o que existe é a posição do desejo, uma certa arqueologia. Porém, Ricoeur destaca que, além de uma arché, também é possível perceber que o sujeito possui um telos, uma teleologia. Deste modo, o sujeito depois da suspeita freudiana aparece voltado tanto para a posição do desejo, a arqueologia, como para um fim, a teleologia, ocorrendo um desapossamento tanto para o passado quanto para o futuro. É aprofundando nessa dupla desapropriação que o sujeito se revela desproporcional, não possuindo coincidência de si consigo mesmo, pois é limitado tanto na compreensão de sua origem quanto na compreensão do seu fim. É justamente refletindo a respeito da desproporção que se percebe que o sujeito não pode reapropriar-se de si mesmo, voltando-se para o próprio ego, a fim não se iludir com as distorções advindas do inconsciente, mas é necessário que se lance em direção às obras e monumentos da cultura que dizem dele mesmo. É pela mediação de estruturas objetivas que o sujeito mesmo sendo desproporcional pode ir reapropriando de si mesmo. Por isso, os símbolos da cultura, por sua objetividade, tornam-se um meio para o sujeito ir-se reapropriando de si mesmo e ir-se tornando consciente. Eles engendram em uma unidade o que no sujeito é desproporcional. Por isso o sujeito interpretando os símbolos pode ir-se reapropriando de si mesmo e mudando sua ação no mundo. Analisando a tragédia de Édipo-Rei e o percurso refletido a respeito do sujeito ao longo desta pesquisa, pôde-se apresentar de forma mais nítida que é possível pensar na reapropriação mesmo depois da desapropriação. Ao final da pesquisa, pode-se afirmar que o sujeito, mesmo depois de desapropriado como origem da reflexão e se revelando desproporcional, pode reapropriar-se de si mesmo e ir-se tornando consciente