A philosophical and philological commentary on Cicero, first book of the Tusculan Disputations.

The purpose of the present paper was to explore a new approach to the notions of time, temporality, and space within modernist literature, the distinction of the natural, conceptual, and fictional time as well as the alterations of time due to the deictic centre. The investigation of the above-mentioned issues was based on the modernist novel To the Lighthouse by Virginia Woolf. The main method chosen for the study was content analysis. The research of time and space shift in the given novel is grounded on several overlapping critical theories: Practical Criticism, which comprises Formalist and New Critical ideas, Psychoanalysis, and the Theory of Narratology. The research demonstrated that Virginia Woolf attempted to structure her novel outside the conventional clock of time treatment because it was too inflexible to be suitable for a writer who believed that time represented in fiction should reflect the way time influences and is influenced by human lives. The given novel is a conspicuous example of an innovative concept of time and space presented by the author who gave preference to the abstract inner time rather than to that of the outer world and who come closer than any other writer to expressing time as it actually is experienced in human mind. The present study extended the existing knowledge of the psychological background, the transitivity and variability of time issues, and of the specific features the modern narrative in the novel. Further studies of the... [to full text] / Šio darbo tikslas buvo ištirti visiškai naują požiūrį į laiko, laikinumo ir erdvės sampratą modernistinėje literatūroje bei analizuoti gamtinio, konceptualiojo, ir literatūrinio laiko kaitą dėl deiktinio centro ypatybių. Analizei buvo pasirinktas Virdžinijos Vulf moderinistinis romanas „Į švyturį“, kuriame atsispindi modernistinis požiūris į žmogų ir jį supančią tikrovę. Kurdama savo veikėjų paveikslus, rašytoja įtaigiai atskleidė ir parodė, kad žmogaus gyvenimą pirmiausia lemia ne išorinė aplinka, bet mintyse, pasąmonėje vykstantys virsmai, kutrių fizinę išraišką parodo konkretūs veiksmai ir poelgiai. Modernizmo žmogus parodomas kaip praradęs tradicines pasaulio suvokimo atramas, likęs akistatoje su savo intymiausias patyrimais, išgyvenantis savo būtį kaip izoliuotą, atskirtą nuo viso pasaulio, pasimetusią tarp fantazijos ir realybės. Savo tyrimu siekiau įrodyti, kad Virdžinijos Vulf veikėjai analizuojamame romane save iškelia kaip esminį būties centrą ir didžiausią vertybę, nepavaldžią laiko ir erdvės matmenims, bet tuo pačiu metu susiduria su savo sudėtingu ribotu vidiniu pasauliu – suskilusiu, nuolat kintančiu, klaidinančiu, susidedančiu iš subjektyvių greit kintančių patirties fragmentų. Romane autorė atskleidė ir modernistinio naratyvo ypatumus - jos rašymo stilių galima laiktyi savita kalbine revoliucija, kuri padėjo atskleisti giliausius veikėjų sąmonės klodus pritaikant sąmonės srauto techniką bei vidinius monologus. Šiame kūrinyje nebėra nuoseklaus... [toliau žr. visą tekstą]

<p>Abstract</p><p>Exploring two main lines of inquiry, this dissertation investigates the style and aesthetic of the music of Joseph Joachim (1831-1907) and its references to composers such as Brahms, Liszt, Schumann, and Beethoven. First, rather than simply accepting the image of Joachim as the great nineteenth-century violinist and collaborator of Johannes Brahms who advocated the "canonization of the music of Bach, Beethoven, and Brahms," I ask who Joachim was in light of his own compositions and literary circle. Especially significant was his "soul mate" Gisela von Arnim (daughter of Bettine von Arnim), from the second generation of two major literary "institutions" - the Grimm brothers and Arnim/Brentano, the Des Knaben Wunderhorn-collectors. Joachim and Gisela's literary role-play throws light on her function as his inspiration and muse. Second, each chapter investigates Joachim's works as "psychological music," the term he himself applied. Given that psychology was not yet an established academic discipline in the 1850s, Joachim's use of "psychological" is all the more intriguing. </p><p>Sources including archival letters, manuscripts, and Joachim's published correspondence, as well as his compositions from (or begun) in the 1850s, reveal that "psychological music" was both a compositional approach and an aesthetic. Extensively using ciphers, anagrams, song quotations, literary titles and allusions, and occasionally melodramatic elements, Joachim's compositional aesthetic conflicted with his "absolute" aesthetic as a violinist in the later 19th century. </p><p>Joachim's relatively strict use of form, his idiosyncratic use of "motivic transformation," and his expressive studies of literary/historical characters in his overtures separated him from Liszt. Furthermore, while Joachim navigated harmony in ways criticized by Louis Spohr and contemporary critics as "ear-tearing harshness" (1852), the composer maintained an almost consistently symmetrical ("four-square") syntax. Joachim's "psychological" aesthetic was typified by idiosyncratic, individual stylistic features like "trapped motives," captured by (sometimes obsessive) repetition, and he applied ciphers much more conspicuously than did Schumann. In the end, Joachim's "psychological music" displays three overarching features: first, extramusical programs from autobiographical and/or literary contexts; second, the implicit or explicit dedication of the works to Gisela von Arnim; and third, supporting correspondence marking the work as an "outlet" for Joachim's self-perceived, psychological inner turmoil.</p> / Dissertation

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references (leaves 69-71).

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references (leaves [69]-71).

Thesis (Th. M.)--Dallas Theological Seminary, 2004. / Includes bibliographical references (leaves 69-71).

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-25T14:06:55Z No. of bitstreams: 1 Ivana Carneiro.pdf: 1420208 bytes, checksum: f61fd88fe1a564247a2f69af49a61587 (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-05-17T12:59:21Z (GMT) No. of bitstreams: 1 Ivana Carneiro.pdf: 1420208 bytes, checksum: f61fd88fe1a564247a2f69af49a61587 (MD5) / Made available in DSpace on 2013-05-17T12:59:21Z (GMT). No. of bitstreams: 1 Ivana Carneiro.pdf: 1420208 bytes, checksum: f61fd88fe1a564247a2f69af49a61587 (MD5) Previous issue date: 2009 / O texto remete-se à discussão acerca do sentido e significado da educação convencional contraposto à concepção krishnamurtiana de Educação Correta que, neste contexto, analisamos sob a perspectiva da Educação Integral, a qual propõe pensar o ente humano como totalidade, isto é, pathos, ratio, psyche, libertas e as possibilidades daí engendráveis. Propõe-se, deste modo, refletir sobre a educação para que esta possa continuamente repensar-se, reestruturar-se e dialogar com suas carências e necessidades, constituindo-se em um elo de ligação entre a existência e a construção do sujeito enquanto ente humano integral que carece de (trans)formação do seu ser além de informações técnicas profissionais. Utilizamos como pano de fundo as perspectivas propostas pela pós-modernidade, considerando as influências que tal contexto ocasiona para a formação do indivíduo enquanto ente relacional com a existência,com a alteridade e, em especial, consigo mesmo, com seus conflitos, desejos e humanidades. / Salvador

(in English): Only one of many Ancient Roman novels that were written during antiquity has survived to this day. Apuleius' Metamorphoses could have easily been lost too as it was overlooked by the Carolingian renaissance and at one point existed only in a single copy. Luckily it was found and rediscovered for the Italian Renaissance by one of the so called bookhunters in the 14th century. After that it did not cease to inspire many works of art from literature to paintings. The story of Cupid and Psyche that comes from this book was used to decorate many representational rooms from the early Renaissance on, until at least the 19th century. It seems to have been especially popular at the court of Rudolf II and it represents one of the typical mythological themes with a strong erotic potential. We can trace its roots to Italy where the novel was brought back to the literary scene. The most important visual sources, that played at least an equally important role in the dissemination of the motive through Europe as literature, also come from Italy. Especially Rome and Raphael's frescos in villa the Farnesina influenced generations of Italian as well as foreign artists. Bartholomeus Spranger, Joseph Heintz and other future court artists of Rudolf II were no exception. The antique city and antique novel...

[pt] Ao nascer nos encontramos em uma solidão primordial que é aliviada com o encontro do corpo materno. Ao mesmo tempo precisamos também de alguém que assegure o bem-estar e a sobrevivência do nosso próprio corpo, enquanto dispomos de tempo para crescer e amadurecer. A primeira forma de comunicação que permite esse encontro tão fundamental para a dupla mãe-bebê ocorre de modo visceral através das experiências corpo a corpo. Desse modo, o corpo constitui não só nossa primeira forma de expressão, como também o meio através do qual entramos em contato com o mundo externo e com o nosso próprio mundo interno, repleto de necessidades e desejos. A mãe, inicialmente, tem a função de tornar as estimulações corporais toleráveis, para que o bebê possa ter um desenvolvimento saudável, sem nenhuma interrupção prejudicial à sua continuidade de existência. Portanto, este trabalho visa demonstrar o papel preponderante do corpo na constituição daquilo que nos tornamos, na medida em que a quantidade e a qualidade das trocas e experiências sensoriais deixam marcas significativas que serão levadas ao longo da vida. São enfatizadas principalmente as experiências que ocorrem entre o corpo da mãe e o corpo do bebê, já que, no início, não existe separação entre o eu e o não-eu, e a trajetória para se conquistar a percepção dessa distinção é imprescindível para nos tornarmos sujeitos. As referências básicas que dão consistência ao eixo teórico deste trabalho são o conceito do eu corporal de Freud; a importância dada por Winnicott ao vínculo mãe-bebê, como assegurador da saúde mental; o conceito do eu-pele desenvolvido por Anzieu; a importância da tomada de consciência gradativa da separação física da mãe e os efeitos apontados por Tustin quando esta separação ocorre de forma traumática. / [en] As we are born we find ourselves in primordial loneliness which it is relieved with the meeting of the mother´s body. At the same time we also need someone to ensure the well-being and the survival of our own body, while there is time for us to grow and to mature. The first kind of communication that allows this meeting so fundamental for the couple mother-baby occurs in a visceral way through the experience body to body. This way, the body is not only our first form of expression, but also the way by which we get in touch with the outside world and our own inner world, full of needs and desires. The mother initially, has the duty of making the body stimulation tolerable for the baby to have a healthy development, without any interruption detrimental to their continued existence. Therefore, this study demonstrates the role of the body in the constitution of what we become, as far as the quantity and quality of exchanges and sensory experiences leave significant marks that will be taken lifelong. Experiences that occur between the mother´s body and the baby s body are mainly emphasized, since in the beginning, there is no separation between self and non-self, and the path to achieve the perception of this distinction is essential for us to become a person. The basic references that makes the theoretical basis of this study consistent are the Freud´s concept of body-ego; the importance Winnicott gives to the link mother-baby, as a granter of the mental health; the concept of self-skin developed by Anzieu; the importance of the gradual awareness of the physical separation from the mother and the effects mentioned by Tustin when this separation occurs in a traumatic way.

The work is focused on forms of influence of systemic therapy and psychotherapy on human´s psyche. Theoretical party classifies individuals with mental disease, concerns with psychotherapy, and problems of systemic therapy, psyche in general and psyche of individuals with mental disease and therapy used on people with mental disease. Practical part investigates the influence of systemic therapy and psychotherapy on psyche of people with mental disease and instruments used for systemic therapy of individuals with mental disease. Results of this research show positive influence of systemic therapy and psychotherapy on individual with mental disease.