Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-06T14:42:12Z No. of bitstreams: 1 alexandroferreiradesouza.pdf: 1352551 bytes, checksum: 70ddea9bc2db317a7e6ad53838992402 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T03:44:27Z (GMT) No. of bitstreams: 1 alexandroferreiradesouza.pdf: 1352551 bytes, checksum: 70ddea9bc2db317a7e6ad53838992402 (MD5) / Made available in DSpace on 2016-04-24T03:44:27Z (GMT). No. of bitstreams: 1 alexandroferreiradesouza.pdf: 1352551 bytes, checksum: 70ddea9bc2db317a7e6ad53838992402 (MD5) Previous issue date: 2013-03-01 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / A tese procura fazer uma investigação mais aprofundada da questão da autonomia e validade da perspectiva religiosa na obra de Rudolf Otto, mais especificamente em suas obras As visões naturalista e religiosa do mundo, de 1904; A filosofia da religião baseada em Kant e Fries, de 1909; e O sagrado, de 1917. Através do Leitmotiv da autonomia e validade da religião é possível defender uma unidade na argumentação do autor, unidade essa que, iniciando-se com a identificação de uma tentativa de negação da perspectiva propriamente religiosa por parte dos métodos científico-naturalistas de fins do século XIX e início do século XX, e que passando por uma tentativa de fundamentação no idealismo transcendental de Jakob Friedrich Fries, encontra a sua formulação final na obra de 1917 e na proposição da ideia-complexo do sagrado, formada por elementos racionais e irracionais estritamente apriorísticos. Uma tentativa de consideração unitária destes três escritos pode ainda oferecer soluções para problemas na argumentação de Otto sempre apontados pela crítica, tais como a sua equivocada leitura do pensamento de Kant, os alegados conflitos entre os vários interesses do autor e a acusação de ser um defensor do irracionalismo. / This thesis intends to make a deeper investigation of the question of religion's autonomy and validity in the Rudolf Otto's interpretation of religion, more specifically in his works Naturalism and Religion, The Philosophy of Religion Based on Kant and Fries and his opus magnum The Idea of the Holy. Through the Leitmotiv of religion's autonomy and validity is possible to find a unity in the author's argumentation; a unity that starting as an identification of an attempt of negation of religious outlook by the naturalistic conceptions which appeared in late 19th and early 20th centuries and that undergoes by a search for grounding in Jakob Friedrich Fries's transcendental idealism, found a final formulation in his proposition of a complex-idea of the Holy, formed by rational and non-rational elements strictly aprioristics. An attempt at a unitary approach to there works can still offer solutions for problems in Otto's argumentation always pointed out by his critics, such as his erroneous interpretation of Kant's thought, the alleged conflicts between the author’s several interests; and the famous accusation of being a defender of an irrationalism.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-03-21T19:51:15Z No. of bitstreams: 1 alexandroferreiradesouza.pdf: 438800 bytes, checksum: 8c706a7d37775f0f92044a46ee1ba79c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-22T12:41:08Z (GMT) No. of bitstreams: 1 alexandroferreiradesouza.pdf: 438800 bytes, checksum: 8c706a7d37775f0f92044a46ee1ba79c (MD5) / Made available in DSpace on 2017-03-22T12:41:08Z (GMT). No. of bitstreams: 1 alexandroferreiradesouza.pdf: 438800 bytes, checksum: 8c706a7d37775f0f92044a46ee1ba79c (MD5) Previous issue date: 2009-03-02 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação tem por objetivo a análise de temas na obra A paixão segundo G.H., de Clarice Lispector, que podem ser descritos como análogos aos temas de uma vivência religiosa em consonância com a perspectiva de religião apresentada pelo filósofo e teólogo alemão Rudolf Otto em sua obra O sagrado. Ao apresentar em linhas gerais e estabelecer o pensamento de Otto como referencial teórico-conceitual, pretende-se iluminar e descrever a experiência da personagem-título do romance como uma experiência religiosa marcada por aquela característica realçada pelo pensador alemão na sua obra em questão: a vivência do divino como experiência dos sentimentos antagônicos do terror e do fascínio. Partindo do conceito de numinoso apresentado e definido por Otto, em O sagrado, como o aspecto irracional da religião vivenciado de forma sentimental, intenta-se discutir as dificuldades da apreensão e comunicação da vivência do numinoso e o aspecto totalmente outro da experiência relatada por G.H. / This study has as aim the theme analysis in the work A paixão segundo G.H., of Clarice Lispector, that can be described as akin to a perspective of the religion showed by the philosopher and theologian Rudolf Otto in his work The idea of the Holy. To show in general lines and to establish Otto’s thought as reference, intending to illuminate and to describe the experience of the character G.H. as a religious experience appointed by that characteristic enhanced by the german thinker in his work: the divine living as the feeling experience antagonistic to the terror and the fascination. Departing from the concept of numinous showed and defined by Otto, in The idea of the Holy, as the unreasonable aspect lived in a sentimental way, intending to discuss the difficulties of the communication's of living of the numinous and the Wholly Other aspect of the experience related by G.H.

A Genève, Ferdinand de Saussure a professé, en élaborant progressivement son exposé, trois cours de linguistique générale répartis entre 1907 et 1911. Après en avoir examiné les notions fondamentales en suivant, entre autres cotextes, des notes de lecture du maître, l’auteur revient sur les sources et l’élaboration du premier cours. Louis Caille et Albert Riedlinger sont parmi les élèves qui ont bénéficié de ce cours.L’auteur complète la transcription de la sténographie Caille, et effectue la transcription d’un manuscrit intermédiaire mis au jour par Daniele Gambarara en aout 2011, et peut ainsi comparer avec les cahiers Riedlinger déjà connus. La triple transcription - détaillée selon les indices des articles de la remarquable édition de Rudolf Engler – permet de préciser les conditions d’élaboration du texte du Cours I.Outre l’examen des manuscrits, du manuscrit Caille et de ses annotations marginales, des recherches supplémentaires sont faites, tant sur les conditions historiques - généalogiques et administratives concernant les élèves immatriculés (au cours), inscrits (à l’examen) ou examinés (à l’épreuve) -, qu’aux archives de l’université concernant cette période pour les vérifications indispensables. L’ensemble de ces informations permet de privilégier la conjecture selon laquelle Louis Caille tenait le rôle de secrétaire de séance pour ce cours neuf dont l’introduction modifiait par ailleurs plusieurs programmes de cette université.Il en résulte que, de facto, la seule source à proprement parler du Cours I est cette sténographie Caille, contrairement à ce que suggérait jusqu’ici la connaissance des textes considérés nécessairement dans l’ordre historique de leurs acquisitions ; les éléments de la synthèse des trois cours – le Cours de Linguistique Général (CLG), publié par Ch. Bally et A. Séchehaye – sont distingués les uns des autres, et son élaboration est analysable en détail. / In Geneva, Ferdinand de Saussure professed, by developing gradually his presentation, three lectures of general linguistics between 1907 and 1911. Having examined the fundamental notions by following, among others texts, reading notes of the teacher, the author focused on sources and elaboration of the first lecture. Louis Caille and Albert Riedlinger are among the students who benefited from this lecture.The author completes the transcription of the stenography by Caille, and makes the transcription of a new manuscript releaved by Daniele Gambarara in august 2011, and therefore can compare with the Riedlinger’s already known notetakings. The triple transcription - detailed according to the ranking of the articles of the remarkable Engler’s edition - allows to specify the conditions of elaboration of the text of Cours I.Besides the examination of manuscripts, of the Caille manuscript, and of its marginal notes, additional researches are made, as well on the historical conditions - genealogical and administrative concerning the registered and examined candidates -, that on the archives of the university concerning this period for the essential checks. All these informations allow to favor the hypothesis that Louis Caille acted as a transcriber for this new lecture whose introduction also modified several programs of this university.As a result, de facto, the only source strictly speaking of Cours I is this Caille stenography, contrary to what suggested until now the knowledge of texts considered inevitably in the historic order of their acquisitions; the elements of the synthesis of the three lectures – the Cours de Linguistique Générale (CLG), published by Ch. Bally and A. Séchehaye - are distinguished from each other, and its elaboration is analyzable accurately.

Minha estratégia enquanto arte-educadora e pesquisadora foi a de relacionar, investigar e transpor os estudos dos Fatores do Movimento de Rudolf Laban para o ensino-aprendizagem do desenho para adultos, tendo como objetivo o exercício da expressão criadora e a aprendizagem da sintaxe da linguagem visual. Rudolf Laban (1879-1958) criou um sistema de anotação do movimento (Labanotação), assim como organizou um rico instrumental didático para a teorização e exploração das possibilidades expressivas do movimento (Eucinética) e suas possíveis organizações espaciais (Corêutica), sendo também responsável pela renovação da dança moderna conhecida como expressionista (1920-30). Os resultados alcançados apontam para uma mudança na atitude do aprendiz de desenho, de receptor para construtor e co-autor de seu conhecimento, propiciando uma melhor performance tanto de suas decisões compositivas, quanto no manuseio técnico expressivo dos instrumentos gráficos. / My approach as an art-educator and researcher has included relating, investigating and rendering Rudolf Laban´s Motion Factors into the process of teaching and learning how to draw for adults, with a view to exercising student´s creative expression and learning visual language syntax. Rudolf Laban (1879 1958) created a system of movement notation (Labanotation), and organized a rich set of educational tools aimed at theorizing and exploring the expressive potential of movement (Eukinetics) and the possibilities of its organization in space (Coreutics). He also helped to develop modern Expressionist dance (1920 30). The results suggest a shift in the art students approach to drawing, from a passive receiver to one of playing an active role in building his or her own knowledge, as well as an improvement in their performance regarding both their compositional choices and the technical and expressive use of graphic tools.

Nach der Entdeckung der Radioaktivität und der ersten radioaktiven Elemente durch Henry Becquerel, Marie und Pierre Curie begannen deutsche Wissenschaftler mit Untersuchungen, die zur Entdeckungen weiterer radioaktiven Elemente und der Wirkung und des Charakters der Radioaktivität führten. Dabei war in den ersten Jahren ein Freundeskreis um Justus Elster, Hans Geitel in Wolfenbüttel und Friedrich Giesel in Braunschweig, die ihre wissenschaftliche Arbeit meist neben ihren beruflichen Verpflichtungen durchführten, äußerst produktiv. Dieses interdisziplinäre Zentrum war bereits sehr erfolgreich bevor entsprechende Radiuminstitute in Wien, Paris und an anderen Orten gegründet worden waren. Neben ihrer Forschungen wurden viele andere Wissenschaftler mit radioaktiven Präparaten und wissenschaftlichen Geräten versorgt. / After discovery of radioactivity and radio-active elements by Henry Becquerel, Pierre and Marie Curie German scientists started with investigations, which resulted in the discovery of new radioactive elements and the character and the effects of radioactivity. Very productive have been a circle of friends with Justus Elster, Hans Geitel and Friedrich Giesel in Brunswick and Wolfenbüttel, who have mostly done the scientific work beside their professional duties. This interdisciplinary center was successful working before institutional governmental radium institutes in Vienna, Paris, and other places are founded. Besides their research, other researchers all over the world were delivered with radioactive preparations as well as instruments and glassware that they could start their research about radioactivity.

Die Tuttlinger Stadtkirche wurde 1817 vorläufig vollendet. Als ursprünglich klassizistischer Bau ist sie nach der Renovierung durch Heinrich Dolmetsch 1903 kaum noch zu erkennen. An ihrer südlichen Kanzelwand sind zwei Gemälde von Rudolf Yelin d. Ä. aus Stuttgart angebracht, denen bis heute ihre berechtigte Anerkennung versagt bleibt. Anlass für den Kirchbau war der große Tuttlinger Stadtbrand 1803. Das Innere enthielt – vermutlich, denn Quellen sind rar – neben den umlaufenden Säulen und Pilastern nur das Gestühl, eine Schwalbennestkanzel und seit 1865 ein großes Holzkruzifix. Der Bau wurde bereits kurz nach seiner Fertigstellung mit schwäbischen Spottnamen bedacht: „Fruchtschranne“, „Reithaus“. Ihre Schmucklosigkeit wurde im Laufe des 19. Jahrhunderts für die Stadtgesellschaft, die sich rasant von Ackerbürgern zu Kleinindustriellen wandelte, zusehends unerträglich. Daher gründete sich, um der Schlichtheit Herr zu werden, ein Kirchenverschönerungsverein, der Geld für die Ausmalung der Kanzelwand sammelte. 1892 sandte der damals noch junge Maler Rudolf Yelin, der gerade die Stuttgarter Stiftskirche ausgemalt hatte, im Auftrag des Kirchengemeinderates zwei Entwürfe für die Kanzelwand nach Tuttlingen: „Himmelfahrt“ und „Gethsemane“. Die beiden großen Gemälde sollten von Dekorationsmalerei des Reutlinger Malers Fritz Hummel umgeben werden. Diese Aufteilung war eine Auswirkung des mangelhaften Baumaterials: Nur der Turm war massiv gebaut, und man befürchtete Risse in der Wand. So entstanden die beiden Leinwandgemälde Yelins in seinem Stuttgarter Atelier am Eugenplatz und wurden später vor Ort in die Silikatmalerei Hummels eingepasst. Ihre rückwärtige Versteifung ist im Seitenlicht gut zu erkennen.

Rudolf Limpach (1920 - 1995) – Dipl. Museologe, Historiker; Mitbegründer und Leiter des Heimatmuseums Schloss Klippenstein Radeberg von Januar 1954 bis Juni 1991. Limpach war maßgeblicher Initiator, der die Idee umsetzte, ein Heimatmuseum für die Stadt Radeberg zu gründen. Er war engagierter Leiter des Heimatmuseums Schloss Klippenstein von 1954 bis 1991 und begeisterter Forscher der Radeberger Geschichte, der akribisch bereits vorhandene Chroniken und historische Werke, wie die Chronik Thieme-Knobloch, Heimatbücher und Niederschriften von Prof. Arldt und Prof. Schwabe, die Chronik Prasser aus Großröhrsdorf u.a. weiterführte und mit eigenen umfangreichen Forschungen, Nachweisen und Neuheiten zu einem umfassenden Gesamtwerk zusammenfasste, das heute für alle Nachfolgenden eine wahre Fundgrube an geschichtlichem Wissen darstellt. Voller Begeisterung für Radeberger Geschichte sowie Ur- und Frühgeschichte wurde er Mitbegründer und Leiter der Fachgruppe Heimatforschung im Kulturbund der DDR, Fachgruppe Archäologie, wofür er auch Schüler in einer AG Junge Historiker zu begeistern wusste. Neben seiner Tätigkeit als Museumsleiter war er auch Initiator zahlreicher kultureller Aktivitäten für die Stadtverwaltung Radeberg.

Thesis (MA) -- Stellenbosch University, 1971. / No abstract available

In Western Europe during the sixteenth and seventeenth centuries, collections were created as repositories of art, technology, ethnographic curiosities and natural wonders. Collecting first became a widespread practice among Italian humanists of the late Renaissance who, influenced by the work of Pliny, were driven by the desire to understand the world through the acquisition of universal knowledge. The physical configuration of such encyclopedic projects could be found in the museums created to organize and assimilate the explosion of knowledge experienced during this period.This thesis addresses the social significance of accumulating an encyclopedic collection in the form of a large, public art museum at the turn of the twentieth century, discusses the Rudolfine Kunstkammer contextualized in a broad history of collecting prior to and including the Renaissance and compares the Metropolitan Museum of Art to the Kunstkammer in terms of how similarly or differently the collections communicated a combination of political, social, economic and cultural power.

This diploma thesis explores the concept of theatricality as developed by the Swiss theatrologist Stefan Hulfeld. The thesis aims at a presentation of Hulfeld's research which is based on examination of historical documents, his particular focus being the theatricality of the 18. century in Solothurn (Switzerland). In this thesis, his theory is compared to other theatricality theories developed by Rudolf Münz and Andreas Kotte. The more general aim of the presented work is to devise a notion of theatricality which is based on historical- theatrological exploration of historical documents.