Ce travail, première monographie consacrée à Roger Munier et à l'ensemble de son œuvre, se propose de penser conjointement poésie et philosophie autour de la question des processus de désubjec

L'esthétique analytique telle qu'elle s'est développée en France au courant des années 1990 est certes en rupture avec les principes généraux de la philosophie continentale, mais elle se différencie également de la tradition anglo-saxonne par des renouvellements théoriques qui permettent de penser les termes d'un tournant épistémologique. Notre recherche vise à repérer et analyser les paramètres thématiques et méthodologiques qui participent de ce tournant épistémologique et contribuent à caractériser l'esthétique analytique française. Notre hypothèse implique le réinvestissement des thématiques de l'ontologie de l'oeuvre d'art et du plaisir esthétique, et cible des applications méthodologiques spécifiques, suivant les principes de la reconduction conceptuelle et de l'interdisciplinarité. La mise en contexte théorique, qui dégage les enjeux épistémologiques et stylistiques de la philosophie analytique, permet d'observer les implications du décloisonnement de la discipline sur l'esthétique analytique française. Une des ouvertures méthodologiques générées par ce décloisonnement est l'approche de la reconstruction rationnelle entendue comme une démarche à la fois historique et analytique. Celle-ci sera déterminante pour établir les motivations critique et méta-esthétique prévalant aux engagements théoriques de notre corpus, composé des textes de Gérard Genette, Roger Pouivet, Jean-Marie Schaeffer et Rainer Rochlitz. La question de l'ontologie de l'oeuvre d'art, qui constitue notre première étude de cas, est abordée à partir des contributions de Gérard Genette et de Roger Pouivet. Nous y distinguons d'une part les filiations conceptuelles entre ces auteurs et les esthéticiens anglo-saxons et, d'autre part, la manière dont leurs approches ontologiques modérées contribuent à leur spécificité théorique. Notre seconde étude de cas cible la problématique du plaisir esthétique et sa portée conflictuelle dans l'esthétique française de type analytique. L'analyse des positions respectives de Jean-Marie Schaeffer et de Rainer Rochlitz met en évidence une rupture de paradigme soutenue par des approches interdisciplinaires différenciées. Dans l'ensemble, notre corpus participe de la démarche argumentative, autoréflexive et critique de l'esthétique analytique tout en innovant certains de ses paramètres épistémologiques. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Esthétique, Philosophie analytique, Épistémologie, Ontologie de l'oeuvre, Plaisir esthétique.

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This study examines the interaction between portraits by the exponent of French colourist painting Nicolas de Largillierre (1656–1745) and elite spectatorship in the early eighteenth century as enactment of the idea of painting as an art of pleasing the eye. As developed in the theory of art of Roger de Piles (1635–1709), the idea of painting as an art of pleasing the eye coexisted with the classicist view, which in turn emphasised the potential of painting to communicate discursive meanings and hence to engage the mind. The idea of painting as an art of pleasing the eye was associated with a taste that valued the pictorial effects of painting and related to the ideal of honnêteté, which expanded on the art of pleasing in polite society by means of external appearances as a sign of social distinction. The aim of the study is to explore how portraits by Nicolas de Largillierre address the spectator and how such paintings might have come to have meaning for spectators in the early eighteenth century. To do this, the study takes a performative approach and defines meaning as a product of the interplay of pictorial effects and spectatorial response, progressing from the initial encounter throughout the sustained exploration of the paintings. Building on close analyses of selected paintings and readings of texts that bear on issues of pictorial imitation, spectatorship and social interaction, the study brings into focus the interplay of cognitive and sensory activities, including verbal articulation and bodily movement, which come into play in the production of meanings through the act of spectatorial experience. The study also emphasises the interplay of the mimetic and the material aspects of the paintings as an important bearer of meanings and identifies several interrelated sites of tension in which the pictorial effectiveness of the portraits resides. The study concludes by suggesting that to infer such meanings, the spectator should be prepared to respond to the address of the paintings actively, by engaging the mind, the senses and the body. Such an interpretation of the interaction between portrait paintings and spectators proposes a complex view of the ways in which artistic and spectatorial practices in the early eighteenth century might have interacted to create meanings while reproducing at the same time social and aesthetic conventions and ideals, such as the art of pleasing the eye. / <p>Fulltexten går inte att ladda ned eller att skriva ut pga upphovsrättslliga skäl. Går endast att läsa på skärmen.</p>

The thesis traces the evolving attitudes towards rhetoric in the highly-rhetorised English-language prose of the late sixteenth century by focusing on a term that was itself subject to significant change: 'wit'. To wit's pre-existing denotations of intellectual acumen, capacity for reason and good judgement was added a novel meaning, related to the capacity for producing lively speech. As a term encompassing widely divergent meanings, many Elizabethan and early Stuart works explored 'wit' as a central theme or treated the term as significant to explorations of the human mind, its capacity for rhetoric, and the social and moral dimensions of this relationship. The research centres on how 'wit' is seen and how it corresponds to rhetorical wittiness as produced in practice, and questions the implications of this for understanding the social and moral dimensions of the authorial wit. By focusing on the early vernacular manuals of rhetoric by author such as Thomas Wilson and Roger Ascham, on Lyly's and Greene's euphuist prose, and on Thomas Lodge's and Sir Philip Sidney's prose defences of poetry, the first half of the thesis explores the term's conceptual ambiguity. Potentially both reformative and deceptive, this ambiguity becomes a useful tool for the author looking to construct a profitable persona as a Wit, or a brilliant-yet-unruly master of rhetoric. The second half of the research notes how 'wit' tends to outlive its usefulness as a multivalent term in later writings when these seek to move away from the social commodification of an author's rhetoric. Examining Sidney's theological and political aims in The New Arcadia, Thomas Nashe's carnivalesque questioning of the idea of profit, and Francis Bacon's systematic interpretation of Nature, the research suggests that rhetoric and 'wit' maintain both their significance and their ambiguity into the seventeenth century. A meta-rhetorical signpost, 'wit' comes to reflect through its use and disuse both the issues at hand and the inherent self-reflexivity of any attempt to deal directly with rhetoric.

Made available in DSpace on 2016-08-17T14:52:50Z (GMT). No. of bitstreams: 1 Shigeaki_Leite_de_Lima.pdf: 998716 bytes, checksum: aa9cf7f7aaa0920ff57f5d185ef67b46 (MD5) Previous issue date: 2008-08-01 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Power transformers play an important role in the power energy supply, demanding the continuous monitoring of process that could lead to operation faults, specifically in the equipment electric insulation. Methods considered in the standards IEC, IEEE and NBR7274 for dissolved gas analysis (DGA) do not provide good levels of accuracy, because there are scenarios with oil samples that lead to contradictory evaluations. The extension theory is a method based on the idea that contradiction can be transformed into compatible problems. In this work, this theory is applied for solving incompatibilities found in the application of the standard NBR7274 for incipient detection faults (the modified Roger s Method). In order to validate the approach, several test cases from recent literature have been implemented and included. The approach has shown good comparative performance in the fault identification process. / Os transformadores de potência cumprem um papel decisivo na continuidade do fornecimento de energia elétrica, obrigando um monitoramento contínuo dos processos que possam provocar falhas de operação, que particularmente ocorrem no isolamento do equipamento. Os métodos previstos na IEC, IEEE e NBR7274 para análise do gás dissolvido (AGD), não alcançam nível pleno de acerto, pois existem situações nas amostras de óleo que geram resultados contraditórios e incompatíveis. A Teoria da Extensão é um método baseado na idéia de que contradições podem ser transformadas em problemas compatíveis. Neste trabalho tal metodologia é aplicada para resolver incompatibilidades encontradas no diagnóstico feito com a NBR7274 (método de Rogers modificado) para detecção de falhas incipientes. O método consiste em modelar a NBR e analisar os resultados quanto ao grau de acerto obtido. Foram feitos testes com vários estudos de caso disponíveis na literatura técnica, mostrando-se bem promissor na identificação das falhas.

In May 2017 Sweden’s first cultural heritage bill was approved by Sveriges riksdag, Sweden’s national legislature. Before being approved of, the bill had received a great amount of attention in the public debate from different parties like the media, the civil society and the political parties. The cultural heritage bill is unique since it is the first time in Swedish history that cultural heritage policy has been presented through a separate bill by the government, instead of being part of a bigger cultural bill. This study will examine the bill closer with the help of the British philosopher Roger Scruton’s concept oikophobia. Examination is relevant because of the public debate surrounding the bill and because of the fact that oikophobia concerns inheritance and home. The aim of this study is more precisely to examine Sweden’s first cultural heritage bill through a qualitative text analysis in order to see if the bill is to be considered oikophobic. To accomplish the study, oikophobia as a concept is operationalized to be used as an analysis tool when analysing the empirical material in form of the cultural heritage bill. The results of the study show that the cultural heritage bill is to be considered oikophobic. It is considered oikophobic mainly because of its relativizing attitude towards the own cultural heritage and the own nation.

Orientador: Elide Rugai Bastos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-07T19:52:36Z (GMT). No. of bitstreams: 1 Nucci_Priscila_D.pdf: 2776666 bytes, checksum: c0d1d7d3db0174ac3557e2a3e9c3ea4b (MD5) Previous issue date: 2006 / Resumo: Neste trabalho analisaram-se as formas como o sociólogo francês Roger Bastide (1898-1974) articulou os termos raça/ religião em sua obra e, a partir disso, elaborou reflexões peculiares sobre o preconceito e as relações raciais no Brasil. Para isso, a análise centrou-se em recortes específicos de sua obra, nos quais se pôde perseguir a formulação que deu aos debates da aculturação/ interpenetração cultural, das religiões de origem africana no país, e das ¿relações raciais¿. O candomblé de rito nagô apresentou-se, em seus textos, como caso suigeneris de integração e parece se constituir em chave para o entendimento das razões pelas quais o autor elaborou determinado tipo de imagem e análises acerca da população afro-descendente em dado contexto. Outras chaves seriam: a polêmica em torno das reportagens da Paris Match e de O Cruzeiro, referentes a rituais secretos do candomblé e os usos possíveis que o autor fez do surrealismo e da história nas narrativas de O candomblé da Bahia e em As religiões africanas no Brasil. Todas estas frentes auxiliam a matizar e redimensionar as funções e intenções de alguns dos principais textos de Roger Bastide, para o tempo em que foram escritos / Abstract: In this thesis we analysed how the French sociologist Roger Bastide (1898- 1974) articulated the terms race/religion in this thought, and how, from this uses he elaborated a very peculiar reflections about prejudice and ¿race relations¿ in Brazil. Our analysis focused in specifics aspects of Bastide¿s texts, in which we can search his formulation to the debate of acculturation, cultural interpenetration, afrobrazilian religions and race relations. The candomblé from the nagô rite is showed in his texts as a sui generis case of integration and seems to be the key for understanding the reasons through which the author elaborated a certain kind of image and analysis about the afrodescendent population in this context. The others keys are: the polemic around the reportages published in Paris Match and O Cruzeiro ¿ about the secret rituals of the candomblé and the possible uses that the author did for the surrealism and the history in O Candomblé da Bahia and As Religiões Africanas no Brasil. All those directions contributes to a complex analysis and suggests new functions and intentions for some of most importants texts of Roger Bastide, considering the time in which the were written / Doutorado / Pensamento Social Brasileiro / Doutor em Sociologia