This essay seeks to expand an understanding of the connection between the young Walter Benjamin’s essay “On Language as Such and on the Language of Man” and Theodor Adornos philosophy of music and philosophy as such. The essay attempts to trace how Adorno transforms Benjamin’s theory of the Divine Name into his musical theory of music as pure sound by demonstrating that the connections are visible throughout his major philosophical works as Negative Dialectics and Aesthetic Theory. The main question then becomes how he puts this into action into his philosophy of music by arguing that his book on Gustav Mahler is the main key for understanding the source of pure sound.

This dissertation investigates the roles of facial cues in consumer behavior. Specifically, the research examines the effect of facial structural resemblance, facial expressions, and other perceptual cues—in both individual and group settings—on consumer judgment and decision-making. Essay 1 examines the influence of facial resemblance on consumers* product purchase likelihood. This effect is moderated by consumers* mental construal, such that the effect of increased facial resemblance on product purchase likelihood occurs among consumers with high-level construals but not among those with low-level construals. Results of three experimental studies show that increased facial resemblance among team members enhances the perceived entitativity of the group, which in turn leads to more favorable intention of purchasing the product offered by the group. Essay 2 investigates the differential effects of recipients* group entitativity on two types of donation (time vs. money). Through three studies, the research demonstrates that high (versus low) group entitativity among the recipients increases donation of time but decreases donation of money. Such differential effects on donation of time versus money are driven by consumers* emotional or cognitive well-being associated with time or money donations. In essay 3, the effect of smile intensity on customer behavior is shown to be moderated by power and salience of ulterior motive. When employees* ulterior motive is not salient to customers, low-power customers evaluate the employee with intensified smiles more favorably compared to high-power customers. In contrast, when ulterior motive is made salient, high-power rather than low-power customers react more positively to smile intensity. Results show that the interactive effects between smile, power, and ulterior motive are driven by customers* warmth and competence perceptions. Collectively, this dissertation focuses on consumers* face-based judgments of individuals and teams, and investigates how such facial cues might influence consumers* attitude, purchase intention, and prosocial behavior.

Cette thèse a pour objectif de suggérer des lignes directrices pour observer les rencontres entre des arts, des matières et des techniques artistiques distincts et caractériser les passages possibles entre le sonore et le visuel. Dans un premier temps, nous étudierons les différences entre les arts et les manières de les organiser dans des systèmes classificatoires. Ensuite, nous nous tournerons vers l’étude de la notion de ressemblance entre les arts et de l’esthétique comparée et nous présenterons quelques liens et interactions entre les phénomènes musicaux et visuels. Les ressemblances seront exposées plus loin à travers leurs traits spécifiques, que nous appellerons « similitudes ». À partir de ces dernières, présentées sous les noms de sympathie, d’émulation, d’analogie et de convenientia, nous proposerons des façons d’observer des rencontres entre le sonore et le visuel. De la sympathie provient la notion de résonance, qui se fonde dans la liberté du récepteur d’établir des correspondances entre des paires d’œuvres d’art distinctes. Les reflets trouvent leur fondement dans les similitudes émulation et analogie, et s’adressent à des œuvres dont les créateurs ont tenté d’appliquer dans leur propre art des éléments provenant d’un autre art. Dans le troisième, consacré aux confluences, nous inclurons des œuvres qui contiennent dans leur structure propre des matières sonores et visuelles. À l’origine des confluences se trouve la convenientia, similitude qui traite de la coexistence des éléments hétérogènes. Picasso, Stravinsky, Ligeti, Rothko, Dutilleux et Klee sont parmi les artistes qui illustrent les résonances, reflets et confluences de cette recherche. / The main objective of this thesis is to suggest guidelines in observing meetings between arts, materials and separate art techniques and to characterize some of the possible passages and interactions between the sonorous and visual. First we talk about the differences between the arts and the ways to organize them into classification systems. Then we turn to the study of the concept of resemblance between the art forms, introduced in Comparative Aesthetics and present some links and intersections between the musical and visual phenomena. Their similarities will be exposed, later, through specific traits, which we call “similitudes”. From these latter, presented by the names: sympathy, emulation, analogy and convenientia, we propose ways of observing encounters between the sonorous and visual. From sympathy comes the notion of resonance, which is based on the liberty of the receiver to establish correspondences between pairs of distinct art works. The reflections address the art works whose artists sought to apply in their own art, elements coming from another art and find their bases in the similitudes of emulation and analogy. Finally, the confluences. In this third group are included the art works that contain, in their own structure, sonorous and visual materials. At the origin of the confluences is the convenientia, similitude that deals with the coexistence between heterogeneous elements. Picasso, Stravinsky, Ligeti, Rothko, Dutilleux and Klee are the artists whose works illustrate the resonances, reflections e confluences of our research. / Esta tese tem como principal objetivo sugerir diretrizes para se observar encontrosentre artes, matérias e técnicas artísticas distintas e caracterizar algumas das passagenspossíveis e interações entre o sonoro e o visual. Primeiramente, discorremos sobre asdiferenças entre as artes e as maneiras de organiza-las em sistemas classificatórios. Emseguida, nos voltamos ao estudo da noção de semelhança das mesmas, à Estética Comparadae apresentamos algumas elos e interseções entre os fenômenos musicais e visuais. Assemelhanças são expostas, mais à frente, através de traços específicos, aos quais chamamos de“similitudes”, de acordo com o entendimento de Michel Foucault. A partir dessas últimas,apresentadas pelos nomes de simpatia, emulação, analogia e convenientia, propomosmaneiras de se observar encontros entre o sonoro e o visual. Da simpatia provém a noçãoressonância, que se baseia na liberdade do receptor de estabelecer correspondências entrepares de obras de arte distintas e fertilizar mutuamente seus entendimentos. Os reflexos seendereçam às obras cujos artistas procuraram aplicar em sua própria arte elementos provindosde uma outra arte e encontram suas bases nas similitudes de emulação e analogia. Finalmente,as confluências. Neste terceiro grupo incluem-se obras que contém em sua própria estruturamatérias sonoras e visuais. Na origem das confluências está a convenientia, similitude quetrata da coexistência entre elementos heterogêneos. Pablo Picasso, Igor Stravinsky, GyörgyLigeti, Mark Rothko, Henri Dutilleux, Paul Klee, Alban Berg e Serguei Eisenstein são osartistas cujas obras ilustraram as ressonâncias, reflexos e confluências de nossa pesquisa.

本研究擬從宗教現象學的角度探討先秦儒家的宗教性。本研究以維根斯坦的「家族相似性」作為描述「宗教」的理據，運用海德格的「形式指引」（“formal indication”）與呂格爾的「象徵主義」（symbolism）作為探討「宗教性」時的現象學方法，並以尼尼安‧斯馬特（Ninian Smart）的「宗教向度論」作為展開論證的參考架構。本研究透過討儒家之道、經典與傳統的內涵，而將《詩》、《書》、《易》、《論語》、《孟子》、《荀子》等典籍當作研究範圍與主要分析文本。 　　本研究指出：《詩》、《書》、《易》裡所反映的殷周初民思想為先秦儒家之宗教性的根源，於其中我們可窺見其宗教性的敘事與神話、經驗與情感向度、儀式與實踐以及社會與制度等向度。孔子則承繼了《詩》《書》《易》的宗教內涵，而予以哲理形塑與倫理轉化。孔子之後，作為代表著先秦儒家的內聖與外王之內部的分化發展的孟子與荀子，他們皆自詡為道統的接班人與宣揚者，並分別使得先秦儒家之宗教性的情感經驗向度得以深化、儀式制度向度得以開展。 / This study aims at investigating the religiosity of classical Confucianism from the perspective of phenomenology of religion. It takes Wittgenstein’s concept of “family resemblance” as the methodological guide for characterizing “religion” in general, and Martin Heidegger’s concept of “formal indication” as well as Paul Ricœur’s symbolism as the phenomenological tools in describing “religiosity” in particular. It also adopts Ninian Smart’s theory of dimensions of religion as the framework for unfolding its argument. Meanwhile, by way of discussing the Confucian ideas of “dao,” “classics” and “tradition,” this study delimits its intellectual journey and choses the Classic of Poetry, the Book of Documents, the Book of Changes, the Confucius’ Analects, the Mencius and the Xunzi as the main texts for its inquiry. This study indicates that the thoughts contained in the Classic of Poetry, the Book of Documents and the Book of Changes are the roots of the religiosity of classical Confucianism. They reflect the narrative and mythic, experiential and emotional, social and institutional dimensions of that religiosity. Then this study shows that it is later philosophically reshaped and ethically transformed by Confucius. Finally, this study argues that Mencius and Xunzi, who regard themselves as the apologists and propagandists of orthodox Confucianism, have explored the experiential and emotional dimension and developed the social and institutional dimension of classical Confucianism’s religiosity respectively.

214 Abstract Conceptualization of Mores in Seventeenth-Century French Tragedy This thesis is devoted to the study of interpretations of how tragic characters should be portrayed ("mores", "ethos", "mœurs") in French seventeenth-century theories on Tragedy. The theoretical writings of Jean Chapelain, La Mesnardière, Pierre Corneille, d'Aubignac, René Le Bossu, Rapin, Saint-Évremond, Jean Racine and André Dacier are examined in detail. Their findings are compared with the Latin and Italian commentaries on how the Aristotelian notion "character" ("éthé", "éthos") ought to be perceived and understood and what its impact is on dramatic action. The main focus is paid to the detailed analysis of very divergent and often incompatible interpretations of the four Aristotelian conditions outlined briefly in Chapter XV of Poetics and on how the French theorists and dramatists responded to Aristotle's requirements. The first condition requires dramatic character to be "good of its kind" ("chrestos", "ethos" "chreston", "ethe chresta"). The detailed study of contemporary criticism draws us to a conclusion that there are schematically two approaches on how the French theorists conceptualized this very elusive criterion. Whereas Chapelain in his Préface à l'Adone explicitely rejects the moral meaning of "chrestos" and thus...