Thesis advisor: Boyd Taylor Coolman / Thesis advisor: Dominic F. Doyle / Thesis (STL) — Boston College, 2015. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Texte remanié de: Diss.--Freie Universität--Berlin, 1999. / Bibliogr. p. 247-280.

Habilitationschrift--Theologische Fakultät--Freiburg im Breisgau, 1977. / Bibliogr. p. XIX-XXXI. Index.

Thesis advisor: Jean-Luc Solère / This dissertation pursues a philosophical analysis of the epistemic claims of the discipline of theology--a intellectual discipline whose unique identity was being crafted in the high and late Middle Ages. In particular, this study focuses on how the theologian can both rely on "faith" and "authority" while also claiming to acquire a kind of knowledge that the simple believer does not have. The prologue to Sentences Commentary of the Augustinian, Gregory of Rimini, is the focal point of the dissertation, since the "prologue" is the typical place for theologians to philosophically reflect on the nature of their discipline. However, Rimini will be considered carefully in light of his fourteenth-century context. The study will look specifically at those thinkers Rimini directly engages with: namely, Aquinas, Duns Scotus, Peter Aureoli, William of Ockham and Adam Wodeham. But, in light of Rimini's status as an Augustinian hermit, the study will also be attentive to the tradition of Augustinian theologians that precede Rimini; most notably, this is Giles of Rome, star pupil of Aquinas and the intellectual father of the Augustinian Order. / Thesis (PhD) — Boston College, 2012. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

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The aim of the thesis is to summarize the historical evolution of tourism in Italy. First two chapters describe the development of chosen types of tourism in Italy. Third chapter is focused on factors of progress and trends of tourism and analyzes Italian specifics. The last chapter demonstrates the development of tourism in Rimini area. As analysis method are used Life cycle analysis and Porter's Five forces analysis.

Les concepts de districts industriels et de clusters sont nés du constat que, dans des régions peu métropolisées, des entreprises opérant dans un même secteur d’activité pouvaient développer des dynamiques de collaboration particulières, dues notamment à leur proximité spatiale.Théorisés pour l’industrie, ces concepts ont été transférés au tourisme, puis repris par les décideurs institutionnels comme modèles de développement touristique local. Les études en tourisme sur le sujet sont assez récentes et nous avons souhaité contribuer à la réflexion. Nous avons tout d’abord réalisé une revue de littérature, pour identifier de quelle manière ces modèles ont été adaptés aux spécificités du tourisme. Étant donné que les touristes sont absents de la plupart des analyses, qui se concentrent sur les acteurs de l’offre, nous avons renversé la clé de lecture,en centrant notre travail sur les touristes, leurs pratiques et leurs relations aux lieux. L’objectif de cette recherche est de comprendre comment, en habitant temporairement les lieux, les touristes deviennent des acteurs, à part entière, du système productif local et comment leurs pratiques influencent la gouvernance et la configuration spatiale du territoire. Un travail de terrain a donc été mené en Italie, à Rimini et sur la Riviera romagnole. Le choix d’une analyse diachronique, nous a amenée à exploiter des archives,travail que nous avons complété par des entretiens réalisés auprès de touristes et de professionnels. Il s’agit en définitive d’une analyse sur le temps long, de comment en habitant des lieux, les touristes participent à la création localisée de dynamiques économiques,sociales et spatiales. / The concepts of industrial districts and clusters stem from the insight that companies operating in the same line of business in non-metropolised regions may develop special collaboration dynamics, due in particular to spatial proximity.Theorised within the field of industry, these concepts have been transferred on tourism and are now being used by institutional decision-makers as development models for local tourism. The studies of their application to tourism are recent and we wanted to provide further insight. We first went through literature to identify how the models have been adapted to match tourism,specifically. We noted that the tourists were absent from most analyses, which concentrated on the suppliers. Wetherefore deliberately took another standpoint and targeted the tourists, their habits and their relation to the location. Our purpose was to understand how tourists,who live but temporarily on the site, become integral lplayers in the local productive system and how their behaviour influences the governance and spatial configuration of the territory. We did extensive fieldwork in Italy, in Rimini and on the Romagna Riviera. We opted for a diachronic analysis and completed our archive findings with interviews, questioning both tourists and professionals. Thus, this study builds on long-time analysis of how, through their stay, tourists contribute to local economic, social and spatial dynamics.

Este trabalho propõe uma reflexão sobre o teatro contemporâneo em embate com as transformações sociais pelas quais estamos passando. Neste momento de incertezas e inversão de valores, o teatro incorpora as discussões e temáticas ligadas à experiência sensível dos seres humanos, ao mesmo tempo em que inova sua linguagem, recorrendo a dispositivos tecnológicos que propiciam diferentes modos de interação com o público. Propostas sem atores em cena aportam o questionamento sobre que elementos, afinal, definem o teatro, enquanto que o compartilhamento de experiências busca expandir o entendimento da inserção do real em cena. A partir da aproximação a aspectos que observamos recorrentes na cena atual, abordamos dois espetáculos em cada uma das três partes que constituem a pesquisa. Recorremos ao conceito da teatralidade como ferramenta imbatível para a exposição de uma prática teórica construída no momento mesmo dos acontecimentos que se pretende analisar. Pretendemos, desse modo, responder às exigências da área de Teoria e Prática do teatro, que privilegia pesquisas que fundem o fazer e o refletir teatral. / The thesis proposes a reflection on contemporary theatre\'s confrontation with current social transformations. In this moment of uncertainty and inversion of values, theatre incorporates discussions on sensitive themes while innovating its language, using technological devices that provide different modes of interaction with the public. The absence of actors on stage raises questions about what ultimately defines the theatre, while the sharing of personal experiences by actors, expands the understanding of the insertion of the real into the scene. We seek to approach reoccurring aspects of the current scene, analyzing two shows in each of the three parts of this research. We turn to the concept of theatricality as a unique tool to explore a very contemporary practice. In this way, it seeks to respond to the demands of theatre Practice and Theory field, which favors researches that combine practice and reflection.

Este trabalho propõe uma reflexão sobre o teatro contemporâneo em embate com as transformações sociais pelas quais estamos passando. Neste momento de incertezas e inversão de valores, o teatro incorpora as discussões e temáticas ligadas à experiência sensível dos seres humanos, ao mesmo tempo em que inova sua linguagem, recorrendo a dispositivos tecnológicos que propiciam diferentes modos de interação com o público. Propostas sem atores em cena aportam o questionamento sobre que elementos, afinal, definem o teatro, enquanto que o compartilhamento de experiências busca expandir o entendimento da inserção do real em cena. A partir da aproximação a aspectos que observamos recorrentes na cena atual, abordamos dois espetáculos em cada uma das três partes que constituem a pesquisa. Recorremos ao conceito da teatralidade como ferramenta imbatível para a exposição de uma prática teórica construída no momento mesmo dos acontecimentos que se pretende analisar. Pretendemos, desse modo, responder às exigências da área de Teoria e Prática do teatro, que privilegia pesquisas que fundem o fazer e o refletir teatral. / The thesis proposes a reflection on contemporary theatre\'s confrontation with current social transformations. In this moment of uncertainty and inversion of values, theatre incorporates discussions on sensitive themes while innovating its language, using technological devices that provide different modes of interaction with the public. The absence of actors on stage raises questions about what ultimately defines the theatre, while the sharing of personal experiences by actors, expands the understanding of the insertion of the real into the scene. We seek to approach reoccurring aspects of the current scene, analyzing two shows in each of the three parts of this research. We turn to the concept of theatricality as a unique tool to explore a very contemporary practice. In this way, it seeks to respond to the demands of theatre Practice and Theory field, which favors researches that combine practice and reflection.

La présente étude analyse d'un côté et sous une perspective philosophique et anthropologique, la relation de l'artiste au réel. De l'autre, elle étudie la place ontologique et esthétique de l'acteur/du performer dans l'art documentaire contemporain. Puisque toute forme de documentation est soutenue par une définition du « réel » ainsi que par le problème de sa juste « saisie », il semble indispensable d’interroger la notion de « perception » et ceci sous ses aspects ethnographiques ainsi que physiologiques. Le positionnement contemporain qui se dessine apparaît donc comme « constructiviste », à savoir que ce que nous appelons le réel y est le fruit d’une relation dialogique et égalitaire entre l’homme et les objets du monde. Cette relation s’est libérée du concept cartésien des res cogitans et res extensa qui s’opposent de façon hiérarchique. Pour l’art documentaire contemporain, ce premier constat comporte deux conséquences : d’un côté, nous observons que la rencontre de l’artiste avec le réel est tâtonnant et emprunt de doutes et que ses esthétiques relèvent du fragmentaire et de l’hétérogène. De l’autre, l’art documentaire contemporain se voit obligé d’interroger la notion du « jeu » avec les documents, notamment les limites – esthétiques comme éthiques - de la fictionnalisation. Le constat de la fonction épistémologique prépondérante du jeu au sein de l’art documentaire contemporain, représente le cœur de la présente thèse. / The aim of the present thesis is on one hand, to explore the relationship between artists and reality from a philosophical and anthropological perspective and on the other hand, to describe the ontological and aesthetical position of the actor/performer in contemporary documentary art, particularly in theatre. Since any form of documentation of reality requires a definition of the real and the ways to deal with it, or to capture it, a definition of “perception” is essential, from a philosophical, ethnographical and physiological perspective. The contemporary point of view in this respect can be described as absolutely constructivist. Reality stands out as the product of a balanced communication between subject and object. Observer and observed reality are not in opposition to each other, in a hierarchical and dichotomous way as Descartes formulated it in his rationalist concept of res cogitans and res extensa, but they rather interact into a dialogue. For the contemporary documentary art this definition of reality offers two sides: on one hand, in an attitude that meets reality rather carefully and doubtfully, it results in an opened, fragmented and heterogeneous form of art. On the other hand, documentary art deals with the ethical and aesthetical problem of playing (with) the documentation. Each and every documentary artist shall constantly assess, whether and to what extend art is allowed to play with reality. However, the statement that playing with reality fulfills a unique, both epistemological and anthropological function, is definitely the subject of the present study. / Die folgende Studie untersucht einerseits, aus philosophischer und anthropologischer Perspektive, die Beziehung des Künstlers zur Realität. Andererseits beschreibt sie die ontologische und ästhetische Stellung des Schauspielers/Performers in der zeitgenössischen Dokumentarkunst. Da jede Form von Dokumentation der Wirklichkeit eine Definition des Realen und den Möglichkeiten diesem zu begegnen, beziehungsweise es zu erfassen, voraussetzt, scheint es unumgänglich den Begriff der « perception » (Wahrnehmung) auf philosophische, aber auch ethnographische und physiologische Definitionen abzuklopfen. Die zeitgenössische Perspektive, die sich dabei abzeichnet, scheint unumschränkt konstruktivistisch, d.h. dass sich Wirklichkeit als Produkt einer gleichberechtigten Kommunikation beschreiben 347 lässt, auch da wo der Mensch ein Objekt wahrnimmt. Beobachter und beobachtete Realität stehen sich nicht, wie es Descartes rationalistisches Konzept der res cogitans und res extensa formuliert, hierarchisch und dichotomisch gegenüber, sondern dialogisieren vielmehr. Für die zeitgenössische Dokumentarkunst ergibt sich daraus einerseits, dass sie Wirklichkeit eher vorsichtig und zweifelnd begegnet und ihr dementsprechend im Rahmen der Kunst offene, fragmentarische und heterogene Formen gibt. Andererseits setzt sie sich mit dem ethischen und ästhetischen Problems des Spiels von oder mit Dokumenten auseinander. Ob und inwieweit die Kunst mit der Realität spielen darf, muss von jedem Dokumentarkünstler neu beantwortet werden. Die Feststellung aber, dass Spielen mit Realität eine ganz eigene, epistemologische und anthropologische Funktion erfüllt, wird anhand der vorliegenden Studie anschaulich.