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Estudo crítico e tradução da Primeira Parte da Lógica ou A Arte de Pensar, que ficou conhecida como Lógica de Port-Royal (1683), para a língua portuguesa. O estudo volta-se para a análise dos capítulos I a VIII da Primeira Parte e visa a explicitar o caráter híbrido desse manual de lógica, estruturado com o formato dos manuais de lógica escolásticos, inspirados no Organon aristotélico, e marcado pela recepção e vigência de teses cartesianas fundamentais. Embora o legado de Aristóteles se manifeste mais do que em seu formato, a Lógica de Port-Royal deve ser lida como um manual de lógica moderna naquilo que condiciona a sua inteligibilidade: a introdução de requisitos epistêmicos na determinação do domínio da lógica. No processo de reforma da lógica iniciado no século XV, Port-Royal se inscreve não apenas na crítica da concepção de lógica como instrumento para a demonstração silogística da ciência (como já o tinham feito, por exemplo, os lógicos renascentistas), mas na defesa da lógica como reflexão prática epistemicamente orientada, caracterizada pela tomada do juízo como ação mental definidora do domínio lógico. A presença de exigências epistêmicas deriva, em Port-Royal, da leitura de Descartes e do debate deste com Antoine Arnauld. Teses fundamentais do cartesianismo são arregimentadas para o projeto lógico de Port-Royal: a prioridade do pensamento sobre a linguagem; o desprezo da linguagem e da imaginação; a tese de que o uso de palavras derivaria da função, a um só tempo cognitiva e lógica, do juízo como definidora da lógica e, condicionando todas essas, a tese fundadora do cartesianismo enunciada na proposição Penso, logo sou. É a leitura arnauldiana do cogito cartesiano, defende este estudo, que dá a ver como se pode pensar o cartesianismo em lógica. A análise dos primeiros oito capítulos é temática, e a perspectiva reformista da Lógica de Port-Royal é apresentada no estudo da transição dos capítulos III para o IV, e do V para o VI, bem como do VII para o VIII. No capítulo VIII, o estudo se detém sobre o peculiar tratamento port-royaliano dos termos complexos. Em seguida, volta-se ao que configura o pressuposto subjetivo dessa concepção de lógica e à expressão representativa desse pressuposto, apresentados nos capítulos I e II da Primeira Parte do manual, onde os requisitos epistêmicos de uma lógica de ideias são apresentados e onde o caráter representativo dessas ideias obtém sua vestimenta gramatical (sujeito, predicado e adjetivo), veiculando determinações lógicas (coisa, modo da coisa, coisa modificada). Por fim, o estudo busca, na correspondência que Arnauld manteve com Descartes, em 1648, a origem e o fundamento da concepção de cogito que estará em vigor em Port-Royal, de maneira explícita, a partir de 1662. / Critical study and translation of the First Part of Logic or the Art of Thinking, known as Port- Royal Logic (1683), for the portuguese language. The study is focused on the analysis of chapter I to VIII of the First Part and aims to clarify the hybrid character of this manual of logic, which has the structure of scholastic logic manuals, inspired by the Aristotelian Organon, and the reception and effectiveness of key Cartesian theses. Although the Aristote’s legacy is far more importante than the shaping of the manual structure, the logic of Port-Royal should be read as a manual of modern logic in what conditions its intelligibility: the introduction of epistemic requirements in determining the domain of logic. In the process of reformism in logic started in the fifteenth century, the Port-Royal Logic is inscribed not only in the critic of the conception of syllogistic logic as a tool for the demonstration of science (as, for example, the renaissance has done), but also with the defense of logic as a kind of practical reflection epistemically oriented, characterized by tacking the judgment as the mental action by excellence, which defines the logical domain. The presence of epistemic requirements is derived from the impact of Descarte’s philosophy on Port-Royal and from his debate with Antoine Arnauld. Fundamental thesis of Cartesianism are regimented to the port-royalian conception of logic, as the priority of thought over language, the contempt of language and its origin, imagination, and, conditioning all these, the founder of Cartesianism thesis as stated in the proposition I think, therefore I am. The study argues that interpretation of the Cartesian cogito by Antoine Arnauld, mostly, offers a way to think Cartesianism in logic. The analysis of the first eight chapters is thematic, and the reformist perspective in Port-Royal's Logic is presented to study the transition of the III chapter to the VIII. Then, back up to the defended position, that is the assumption that the conception of subjectivity, of knowledge and the representative expression of this assumption are presented in Chapters I and II of the First Part of the manual. In these chapters are established the requirements of an epistemic logic of ideas and of the representative character of these ideas, which get its grammatical outfit (subject, predicate and adjective), conveying logical determinations (a thing, a manner of a thing and a modified thing). Finally, the study seeks in the correspondence that Descartes maintained with Arnauld, in 1648, the origin and the foundation of the concept of cogito which will be in force in Port-Royal, explicitly, from 1662.

De 1913 à 1947, entre la première prestation de ses choeurs jusqu’au décès de sa fondatrice, Marguerite Le Meignen, la Schola Cantorum de Nantes connaît une activité ininterrompue malgré deux guerres mondiales et un contexte politique agité. Le groupement naît dans une ville prospère avant la Première Guerre mondiale où la vie musicale est fort diversifiée, le théâtre lyrique occupant cependant la première place. Grâce à Marguerite Le Meignen, une femme à la très forte personnalité, une société de concerts voit le jour. Très solidement organisée, sachant communiquer avec brio, elle propose des programmes variés tant l’hiver que l’été. Le lien avec la Schola Cantorum de Paris fondée par Vincent d’Indy, affirmé avec conviction au début de l’apparition de la Schola de Nantes, se relâche très rapidement pour laisser place à une réalisation originale. La place hégémonique de Marguerite Le Meignen qui domine la vie musicale nantaise pendant trente-quatre ans, empêche la pluralité, même si elle finit par être en concurrence avec d’autres groupements symphoniques dont le principal, l’Association des Concerts Symphoniques du Conservatoire de Nantes préfigure l’actuel Orchestre National des Pays de la Loire. / From 1913 to 1947, since the first choirs performance to the death of her founder, Marguerite Le Meignen, Nantes Schola Cantorum experienced an uninterrupted activity, despite two world wars and a disturbed political context. The group is born in Nantes, a flourishing town before WWI where musical life is greatly diversified, despite the predominance of lyric theater. Thanks to Marguerite Le Meignen, a very strong personality, a concert company comes. With a great sense of organization, knowing how to communicate with brio, she suggests various programs both winter and summer. The link with Paris Schola Cantorum founded by Vincent d’Indy, assured with conviction at the creation of Nantes Schola, soon vanished very quickly. Marguerite Le Meignen’s hegemonic place, dominating Nantes musical life during thirty-four years, prevented plurality, evenif she ends up competing with other symphonic bands, particulary the famoust « Association des Concerts Symphoniques du Conservatoire de Nantes » who prefigures the actuel « Orchestre National des Pays de la Loire ».

Rembrandt's use of light in his self-portraits has received an abundance of scholarly attention throughout the centuries--and for good reason. His light delights the eye and captivates the mind with its textural quality and dramatic presence. At a time of scientific inquiry and religious reformation that was reshaping the way individuals understood themselves and their relationship to God, Rembrandt's light may carry more intellectual significance than has previously been thought. Looking at Rembrandt's oeuvre of self-portraits chronologically, it is apparent that something happened in his life or in his understanding that caused him to change how he used light. A distinct and consistent shift can be observed in the location and intensity of light to the crown of the forehead. This change indicates that light held particular significance for Rembrandt and that its connection to the head was a signifier with intentional meaning. This meaning could have developed as a result of Rembrandt's exposure to and interest in the contemporary theological and philosophical debates of the seventeenth-century Netherlands, particularly those relating to the physical and eternal nature of the soul stemming from the writings of René Descartes. The relative religious and intellectual freedom of the Dutch Republic provided a safe place for Descartes to publish and defend his metaphysical ideas relating to the nature of the soul and know-ability of God through personal intellectual inquiry. The widespread disturbance to established thought caused by his ideas and methods sped their dissemination into the early seventeenth-century discourse. Rembrandt's associations with the educated elite, particularly Constantijn Huygens and Jan Six, increases the probability that he knew of this new philosophy and had the opportunity to consider its relevance to his own quest for self-knowledge. With his particular emphasis on self-exploration and expression, demonstrated through his prolific oeuvre of self-portraits, and his inclination toward emotive, complex, and interdenominational religious works, it follows that Rembrandt would be eager to embrace Descartes' metaphysics and demonstrate his awareness through his self-portraits. Light on the forehead becomes a metaphor for enlightenment and is the key to reading Rembrandt's late self-portraits through the lens of Cartesian influence.

Operatic Mysticisms: Mountains, Deserts, Waterscapes examines the ways we encounter environments as readers/viewers of operas, literature, film, and sound recordings, and how each medium requires different detail-gathering techniques. Respective to the previously mentioned mediums, Sun & Sea (2017), Mount Analogue (1952), El Mar La Mar (2017), and Energy Field (2010) are analyzed by engaging with environmental media studies and invention. Reflecting the nature of each landscape—summits of mountains, aporias of deserts, and mysteries of waterscapes—an elemental approach is taken in investigating how these spaces may be noticed, internalized, recorded, and traversed by both the artist and viewer. With an emphasis on limitations of mediums, language, and equipment, this thesis argues that artists/readers/viewers in turn inhabit these rendered environments—while a looped response (termed as operatic mysticism) threads ekphrasis and imagination before and during the production, in the art proper, and in our minds during and well-after consumption.

Cette étude porte sur le fait littéraire afro-antillais de l’ère coloniale (1920-1960). Il s’agit d’examiner les stratégies des agents à partir des cas de René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant et Mongo Beti et de percevoir comment ils se définissent leur identité littéraire et sociale. Pour ce faire, notre démarche s’articule en deux temps : (1) examiner les conditions de possibilité d’un champ littéraire afro-antillais à Paris (colonisation française et ses effets, configuration d’un champ littéraire pré-institutionnalisé, etc.) ; (2) analyser les processus de consolidation du champ, ainsi que les luttes internes qui opposent deux tendances émergentes représentées d’abord par Senghor et Césaire, ensuite par Beti et Glissant, dont les prises de position littéraires mettent en œuvre des « modèles empiriques » ; ceux-ci régulent et unifient leurs rapports au monde et à l’Afrique. This study relates to afro-carribean literature in colonial period (1920-1960). We want to examine the strategies of agents like René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant and Mongo Beti ; and we want to understand how they invente literary and social identity. Our approach is structured in two steps: we shall analyse (1) the conditions for an afro-carribean literary field to appear in Paris (french colonialism and its consequences, configuration of literay field...) ; (2) the consolidation of this field and the internal struggles between two tendances represented by Senghor and Césaire, by Glissant and Beti whose literary practice shows the “empirical model” that regularizes and consolidates their relation with the world and Africa.

La doctrine leibnizienne de la science repose-t-elle sur une théorie de la connaissance? Après avoir montré, dans des travaux préalables, qu’une telle dépendance ne se rencontre pas dans l’œuvre de la maturité, nous nous intéressons ici aux premiers écrits de Leibniz. La Nova Methodus discendae docendaeque Jurisprudentiae (1667) dresse, suivant l’exemple de Bacon, un inventaire raisonné des disciplines que doit réunir la nouvelle encyclopédie. Comme dans les projets leibniziens ultérieurs, cet inventaire est précédé de la distinction entre types de savoir en fonction des critères logiques selon lesquels les propositions se répartissent entre histoires, observations et théorèmes. Nous nous attachons en particulier à la définition de ceux-ci comme propositions « démontrables ex terminis ». Cette norme de la science étant posée, quels fondements in re Leibniz entend-t-il donner au savoir démonstratif ? Prenant pour fil conducteur sa polémique avec l’humaniste Marius Nizolius, nous étudions sa tentative pour fonder la validité des propositions de vérité éternelle sur des universaux subsistant indépendamment de l’existence des individus. Ce n’est cependant que dans les premiers écrits parisiens (1672-1673) que se dégage sa réponse définitive à ce problème : apparue d’abord comme un autre nom de la signification qu’« exprime » une définition, la notion d’idée y prend consistance en tant qu’archétype subsistant en Dieu. Les principaux traits de la théorie leibnizienne de la science sont ainsi fixés, indépendamment de toute « doctrine de l’entendement ». / Does Leibniz’s doctrine of demonstrative knowledge rest upon a theory of cognition? Having shown in previous articles that such was not the case in his mature works, we now turn to his early writings. The Nova Methodus discendae docendaeque Jurisprudentiae (1667) contains a reasoned inventory of the disciplines that should constitute the new encyclopaedia. As in later projects, Leibniz precedes this inventory with a classification of the types of knowledge based on the logical criteria according to which propositions are divided in histories, observations and theorems. Particular attention is given to the definition of the latter as propositions « demonstrable ex terminis ».This norm of scientific necessity once defined, what real (in re) foundation does Leibniz give to demonstrative knowledge? Following the various threads offered by his polemic against the Italian humanist Marius Nizolius, we study Leibniz’s attempt to ground the validity of propositions of eternal truth on universals subsisting independently of the existence of individuals. But one has to wait until the first Paris writings (1672-1673) to see the emergence of his mature answer to that problem: first conceived after the model of the significatio which a definition « expresses », the notion of idea reaches its latter ontological status as an archetype subsisting in God’s mind. The principal features of Leibniz’s theory of demonstrative knowledge are thus in place, prior to and independently of what he will later call his « doctrine of the understanding ».

The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.

Cette étude porte sur le fait littéraire afro-antillais de l’ère coloniale (1920-1960). Il s’agit d’examiner les stratégies des agents à partir des cas de René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant et Mongo Beti et de percevoir comment ils se définissent leur identité littéraire et sociale.<p>Pour ce faire, notre démarche s’articule en deux temps :(1) examiner les conditions de possibilité d’un champ littéraire afro-antillais à Paris (colonisation française et ses effets, configuration d’un champ littéraire pré-institutionnalisé, etc.) ;(2) analyser les processus de consolidation du champ, ainsi que les luttes internes qui opposent deux tendances émergentes représentées d’abord par Senghor et Césaire, ensuite par Beti et Glissant, dont les prises de position littéraires mettent en œuvre des « modèles empiriques » ;ceux-ci régulent et unifient leurs rapports au monde et à l’Afrique.<p><p>This study relates to afro-carribean literature in colonial period (1920-1960). We want to examine the strategies of agents like René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant and Mongo Beti ;and we want to understand how they invente literary and social identity.<p>Our approach is structured in two steps: we shall analyse (1) the conditions for an afro-carribean literary field to appear in Paris (french colonialism and its consequences, configuration of literay field.) ;(2) the consolidation of this field and the internal struggles between two tendances represented by Senghor and Césaire, by Glissant and Beti whose literary practice shows the “empirical model” that regularizes and consolidates their relation with the world and Africa. / Doctorat en philosophie et lettres, Orientation langue et littérature / info:eu-repo/semantics/nonPublished