This thesis emphasizes the significance of readers’ emotional engagement with characters in the process of reading novels which, in turn, plays a critical role in the reflective moral transformation of the reader. It approaches the analysis of the relationship between emotions, literature and ethics from the perspective of the perceptual theory of emotions. My claim is that our imaginative engagements with narrative fictions, and particularly realist novels, by triggering a critical reflection process through the arousal of our emotions, might prove to be a morally transformative experience. Reflective moral transformation is defined as a deepening of one’s moral understanding that often involves a shift in one’s perspective that comes about as a result of a critical reflection of one’s existing moral beliefs. As such, it entails a willingness to scrutinize one’s moral beliefs and to improve one’s moral understanding. I put forward here a model that will satisfactorily explain how engagement with realist novels can serve to morally transform ourselves.

In this dissertation, I reconcile our knowledge of our own minds with philosophical naturalism. Philosophers traditionally hold that our knowledge of our own minds is especially direct and authoritative in comparison with other domains of knowledge. I introduce the subject in the first chapter. In the second and third chapters, I address the idea that we know our own minds directly. If self-knowledge is direct, it must not be grounded on anything more epistemically basic. This creates a puzzle for all epistemologists. For the naturalist, the puzzle is especially tricky. To say that self-knowledge has no epistemic ground threatens the naturalist's ability to understand it as psychologically real. I argue that the idea that self-knowledge is direct is not well motivated and that models of direct self-knowledge have fundamental problems. In the fourth and fifth chapters, I examine first-person authority. I distinguish between epistemic authority, or being in a better position than others to know, and non-epistemic authority, or being immune to challenge according to some conventional norm. I argue that we have only limited epistemic authority over our own minds. I then consider whether there may be an interesting non-epistemic authority attached to the first-person perspective. This would locate first-person authority in connection with our responsibility for our own minds. I argue that this sort of authority may exist, but is unlikely to threaten naturalism without further anti-naturalist commitments in the philosophy of mind. In the final two chapters, I explore the possibility that the underlying disagreements between naturalists and anti-naturalists are about the nature of belief. I consider what failures of self-knowledge might demonstrate about the nature of belief. I show how, with the proper understanding of belief, a theory of self-knowledge can assuage some of these worries. Having adopted a conception of belief that makes sense for philosophy and empirical psychology, I outline a positive theory of self-knowledge and suggest directions for future research.

Thesis advisor: André Brouillette / Thesis advisor: Colleen Griffith / Thesis (STL) — Boston College, 2023. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Peter Carruther's Interpretive Sensory-Access (ISA) theory of self-knowledge is an interesting account of the opaqueness of our own minds that draws upon a wide range of theories from cognitive science and philosophy. In the present paper, I argue that the theory's assumptions support the conclusion that the available perceptual evidence massively underdetermines all of an agent's second-order beliefs about her own beliefs. Such a result is far more negative than the ISA's well-known pessimism regarding self-knowledge. Furthermore, I also argue that, from the same assumptions, it is possible to build an argument to the effect that cognitive scientists trying to determine an agents' true behavior-causing attitude face similar underdetermination problems. Toward the end of the paper, I suggest that the theory's problems arise from a conflation of two different ways in which terms denoting propositional attitudes, such as 'belief', are used in its formulation. Distinguishing between the two usages of these terms, in turn, leads to a further distinction between two different senses in which we can talk about the 'opaqueness' of our own minds. / Master of Arts

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: The study postulates that drawing functions as a valuable vehicle that facilitates reciprocity between the drafter and her life-world. This relationship of exchange can bring about transformation of the self. The study is a qualitative study that aims to establish an understanding of how drawing functions as a vehicle facilitating reciprocity between the drafter and her life-world. In order to effectively research the transformative potential of reciprocity between artist, drawing, and life-world, theoretically and practically, the study is divided into two main parts. Firstly, it constitutes a theoretical section, which forms the foundation for further exploration in the second part of the study. Secondly, the study focuses on the practical manifestation of the theories as manifest in my drawings and in selected drawings of Diane Victor, whose work primarily functions as ‘a third person perspective’ in relation to my own work. The study is rooted in a psycho-analytical framework, focusing on Self psychology and Intersubjective Psychoanalysis of personality psychologists such as Jung, Miller, Goldberg and McAdams, amongst others, as well as the writings of philosophers, art historians and drawing theorists such as Jacques Derrida, Catherine de Zegher, and Suzi Gablik. Valuable links are forged between the transformative potential of drawing, the psychological and the spiritual. Parallels are drawn between notions derived from self-psychology and theology, based on the premise that human beings constitute body (physical aspect), soul (mind and emotion) and spirit, three components that are hardly divisible and that work together in drawing, effecting the transformation of the self. I argue that a failure to acknowledge the significance of the interactivity between these facets limits and inhibits the transformative potential of the drawing process. Through interactivity between the self and her life-world through drawing, moments of ‘recognition’ and ‘knowing’ occur - concerning hidden ‘truths’ of the self, which could affect personal transformation. In this study, life-world comprises inner and outer world, a visible and invisible world. The visible world focuses on the interaction of the self with nature and culture, and the invisible world focuses on the interaction of the self with a psychic world, which includes the workings of the conscious and unconscious mind in drawing and their connection with a spiritual dimension. The spiritual aspect in drawing is researched through the notions of transformative “presence” and the “transcendent function” of drawing. The study explores the psychological and spiritual value of drawings as transformative selfobjects to address the general neglect of the spiritual. I affirm that there exists a mutually conducive potential and influence that the interplay between the spiritual and the psychological in the drawing process bring about. As a “selfobject”, a drawing attains its own ‘silent visual language’ replacing or assisting the role of the therapist, becoming pivotal in a transformative ‘interpersonal dialogue’. Lastly, Jung (Miller, 2004:4) claims that the unification of the conscious and unconscious eventually results in “a living birth that leads to a new level of being, a new situation” (Miller, 2004:4). / AFRIKAANSE OPSOMMING: Die studie veronderstel dat teken funksioneer as 'n waardevolle voertuig wat wisselwerking fasiliteer tussen die tekenaar en haar omwêreld, ‘n wisselwerking wat kan lei tot transformasie van die self. Die studie is 'n kwalitatiewe studie wat daarop gemik is om 'n begrip te kweek van hoe teken funksioneer as voertuig wat wisselwerking fasiliteer tussen die self en haar omwêreld. Ten einde die transformatiewe potensiaal van sodanige wisselwerking deur middel van teken effektief te bestudeer op ʼn teoretiese asook ʼn praktiese vlak, word die studie verdeel in twee hoofdele. Eerstens bied die studie 'n teoretiese gedeelte wat die grondslag vorm vir verdere ondersoek in die tweede deel. Tweedens fokus die studie op die praktiese manifestasie en toeligting van die teorieë in my tekeninge en in geselekteerde tekeninge van Diane Victor, wie se werk hoofsaaklik funksioneer as ‘ʼn derde persoon perspektief’ in verhouding tot my eie werk. Die studie is gewortel in 'n psigo-analitiese raamwerk, met die fokus op Selfsielkunde en Intersubjektiewe Psigo-analise van persoonlikheidsielkundiges soos Jung, Miller, Goldberg en McAdams, onder andere, sowel as die geskrifte van filosowe, kunsgeskiedkundiges en tekenteoretici soos Jacques Derrida, Catherine de Zegher en Suzi Gablik. Die studie het dus ten doel om betekenisvolle bande te smee tussen die transformerende potensiaal van teken, die sielkundige asook geestelike werking wat dit teweegbring. Parallelle word getrek tussen begrippe in selfsielkunde en teologie, gebaseer op die veronderstelling dat die mens bestaan uit liggaam (fisiese aspek), siel (verstand en emosies) en gees. Hierdie onderskeie aspekte (liggaam, siel en gees), is moeilik deelbaar en werk onlosmaaklik saam in die tekenproses ten einde die transformasie van die self te bevorder en te bewerkstellig. Ek argumenteer dat indien ‘n mens versuim om die betekenis en waarde van die interaktiwiteit tussen hierdie fasette te herken, word die transformatiewe potensiaal van die tekenproses misken. Teken kan derhalwe beskou word as ʼn effektiewe voertuig wat wisselwerkende prosesse tussen die self en haar leefwêreld fasiliteer, waartydens daar oomblike van ‘erkenning’ en ‘weet’ voorkom met betrekking tot verborge ‘waarhede’ van die self wat persoonlike transformasie kan beïnvloed. In hierdie studie word daar na omwêreld verwys as 'n interne asook ʼn eksterne wêreld, 'n sigbare en onsigbare wêreld. Wisselwerking dui op die interaksie van die self met die natuur asook kultuur as die sigbare. Wisselwerking dui ook op interaksie van die self met 'n psigiese, onsigbare wêreld. Hierdie psigiese wêreld van die self omvat die bewuste en onderbewussyn deur middel van teken, asook die verband met' n geestelike dimensie. Die geestelike aspek in teken word bestudeer deur die konsepte van transformatiewe "teenwoordigheid" en die "transedentale funksie" van teken. Die studie ondersoek die sielkundige en geestelike waarde van tekeninge wat as transformatiewe ‘selfobjekte’ die potensiaal besit om die algemene verwaarlosing van die geestelike aan te spreek. Ek bevestig dat daar 'n wedersydse bevorderlike wisselwerking en invloed bestaan tussen die geestelike en die psigologiese wat deur wederkerige prosesse binne die tekenproses gefasiliteer word. As 'n ‘selfobjek’ kommunikeer tekeninge deur hul eie ‘stille visuele taal’ en toon die potentiaal om die rol van ʼn terapeut te vervang, of alternatiewelik, te ondersteun, deur middel van visuele ‘interpersoonlike dialoog’. Laastens, beweer Jung dat die eenwording van die bewuste en onbewuste eventueel kulmineer in "ʼn lewende geboorte wat lei tot 'n nuwe vlak van bestaan, 'n nuwe situasie" (Miller, 2004:4).

published_or_final_version / Philosophy / Master / Master of Philosophy

Student Number : 8701228T - PhD thesis - School of Literature and Language Studies - Faculty of Humanities / The argument that unfolds throughout this thesis represents the development of my own understanding of the Renaissance conception and application of alchemical theories and philosophies, especially as it applies to my appreciation of the works of two of the crucial figures of the period – Shakespeare and Ben Jonson. These men were far more than entertainers. They were committed to their art as an essential component in the shaping and maintenance of the societal conscience. As dramatist-philosophers, they not only treated issues of topical interest and debate around the individual in relation to individual, and the individual in relation to the larger worlds of nature and politics, but also provided learned and insightful comment on the possible nature and function of the individual soul/mind in relation to itself. My deepening sensitivity to and comprehension of early modern alchemical philosophies and practices as apt analogies for psychological development led me to believe that Jonson and Shakespeare, separately though similarly, externalized, or dramatized, the inner trajectory of self-knowledge. This thesis, then, represents my own exploratory expedition into Renaissance epistemological thought as embodied in various alchemical texts. The correlations between alchemy and early modern psychologies become more apparent with each chapter. In the opening chapters, the historical and intellectual context for an hypothesis of a Renaissance psychology is set out. Chapter Three focuses on Renaissance conceptions of self-knowledge. The classical dictum of nosce teipsum is explored in relation to a range of contemporary alchemical arguments about the nature of philosophy and knowledge. In Chapter Four, I present a proposal of a Renaissance ‘model’ of psychological development, which may be seen to be analogous to the alchemical process as widely understood and depicted in the literature of the time. The fifth chapter is a ‘bridge’ between the foregoing thesis and the expository analysis of Ben Jonson’s The Alchemist and Shakespeare’s The Tempest: it particularizes the foregoing argument and attempts to come to some apprehension of Jonson’s individual conception of self-knowledge and psychological development. The sixth chapter demonstrates this apprehension in relation to Jonson’s The Alchemist. Shakespeare’s The Tempest is thus seen as being in direct conversation with both Jonson’s The Alchemist, and with the philosophical and artistic trends of the period. In Chapter Seven, I explore the evidence that Shakespeare was drawing from a ‘common pool’ of intellectual material with Jonson. However, I also suggest that Shakespeare presents a differing, though in some ways complementary, view of self-knowledge. Both Shakespeare and Jonson, I propose, are drawing on alchemical language and imagery to present contrasting characterizations of human potential and evolution. In effect, the respective dramatic texts present two distinct conceptualizations of the ‘philosopher’s stone’, which, in turn, suggests two models of human perfectibility that seem to be poles apart. These two works, however, are undeniably related and mutually effective within the Renaissance crucible of alchemy.

Nietzsche betrachtet menschliches Leben als eine Wanderung ins Unbekannte. Philosophisches Denken ist ihm zufolge ein niemals abgeschlossener Selbstfindungsprozess und eine bodenlose, abgrundtiefe Auseinandersetzung mit sich selbst. Auf den Verlauf des Zweifels an der Selbsterkenntnis und ihrer Neubegründung baut Nietzsches Leibphilosophie auf. Ethik ist für Nietzsche ein Weg der Selbsterkenntnis. Das ist kein Weg mit einem letzten, sicheren Ziel, sondern ein Wanderweg, auf dem der freie Geist "seine Freude an dem Wechsel und der Vergänglichkeit" hat. Der Wanderer ist ein Schaffender, der keine leblose Wahrheit, sondern Selbststeigerung und Selbstüberwindung sucht und versucht. Eine fehlende Sinngebung als Folge von Nihilismus betrachtet Nietzsche nicht nur als Gefahr, sondern auch als Chance, statt einer äußeren Autorität eine innere Authentizität zu gewinnen. / Nietzsche regards human life as a migration into unknown territory. Philosophical thinking is according to him a never-ending process towards self-knowledge and a soilless, abyss-deep argumentation with oneself. In the process of doubting the possiblity of self-knowledge and establishing a new foundation for it develops Nietzsches "body-philosophy". Ethics is for Nietzsche a way towards self-knowledge. This is not a way with a single, finite, and safe aim. Rather the free spirit enjoys its flexibility. The wanderer is an autonomous man who looks not for lifeless truth but only for "self-increase" and "self-overcoming". Nihilismus is for Nietzsche not a danger but a challenge. It is overcome not by a reliance on an external authority but on an internal authenticity.

Made available in DSpace on 2016-04-28T20:37:36Z (GMT). No. of bitstreams: 1 Maria Josephina Ferreira Martins.pdf: 2204182 bytes, checksum: fac2e52d0886cda9a0a4f8bb7b7477d7 (MD5) Previous issue date: 2011-05-19 / This research had the purpose to identify what is leadership from the viewpoint of the leader and how he defines his relationship with his followers; as well as understanding what examples of leadership they have had and how to define yours leadership styles. This study was characterized by a qualitative and quantitative research that has tools like a demographic questionnaire and a semi-directed interview, which were submitted by 30 participants. The contents were collected and submitted to the Collective Subject, Speech Method (LEFÈVRE; LEFÈVRE, 2005), and analysis was performed using the symbolic method of Research (Penna, 2004), under the theoretical principles of Jung s analytical psychology. The results showed that participants have engaged in a persona that meets modern concepts on the topic of leadership and the ideal of leader-led relationship expected in the current organizational context. Moreover, the results also showed the presence of the complex of power and massive projection of the archetype of the Father can conclude that there is a need to work with leaders in the deeper aspects of his personality, where they seek through self decode the images symbols and unconscious, and the recognition and integration of obscure aspects of the shadow to consciousness, so as not to let the persona stand out at the expense of self in order to use it in a healthy way / Esta pesquisa teve como propósito identificar o que é liderança do ponto de vista do líder e como este define a sua relação com os seus liderados; bem como compreender que exemplos de liderança tiveram e como definem o seu estilo de liderar. Este estudo foi caracterizado por uma pesquisa qualiquantitativa que possui como instrumentos um questionário sócio demográfico e uma entrevista semi-dirigida, aos quais foram submetidos 30 participantes. Os conteúdos coletados foram submetidos à Técnica do Sujeito do Discurso Coletivo (LEFÈVRE; LEFÈVRE, 2005), e a análise foi realizada através do método de investigação simbólica (PENNA, 2004), sob os pressupostos teóricos da Psicologia Analítica de C. G. Jung. Os resultados mostraram que os participantes possuem uma persona engajada em atender aos modernos conceitos sobre o tema liderança, bem como o ideal de relacionamento líder-liderado esperado no atual contexto organizacional. Além disso, os resultados também apresentaram a presença do complexo de poder e a projeção maciça do arquétipo do Pai. Pode-se concluir que há a necessidade de se trabalhar nos líderes aspectos mais profundos de sua personalidade, onde estes busquem através do autoconhecimento decodificar as imagens e símbolos inconscientes, bem como o reconhecimento e integração de aspectos obscuros da sombra à consciência, de forma a não deixar que a persona sobressaia em detrimento do self, visando usá-la de forma saudável

Este trabalho constitui um estudo a cerca da construção da identidade feminina tal como se apresenta nos quatro primeiros romances da autora portuguesa Lídia Jorge. Para tanto, foram selecionadas as seguintes obras: O Dia dos Prodígios (1980), O cais das merendas (1982), Notícia da Cidade Silvestre (1984) e A Costa dos murmúrios (1988). A análise dessas obras busca revelar a trajetória percorrida pelas personagens femininas nos romances, observando seus comportamentos, suas angústias, seus medos e suas paixões, para que se possa examinar como se processa a construção identitária da mulher que se insere na época ditatorial vivida por Portugal (como no primeiro romance) e daquelas que vivem no contexto pós-Revolução de 74 (como as mulheres dos outros três romances). Propõe-se identificar, neste estudo, de que maneira se desenvolve a busca do autoconhecimento das personagens, no sentido de, pelo menos, se investigar como se inicia o processo de construção da identidade da mulher portuguesa, que ficou esquecida no período que antecedeu e marcou a experiência de Abril de 1974 (destacada na obra O dia dos prodígios); como ocorre a busca pelo autoconhecimento no contexto de colonização cultural que Portugal vive nos tempos subsequentes ao 25 de Abril de 1974 (como se vê em O cais das merendas); como se processa a luta da mulher pela sobrevivência na Lisboa do final dos anos setenta (destacada em Notícia da cidade silvestre); e de que modo se desenvolve a ação entre os finais dos anos sessenta e princípio dos anos setenta, em pleno ambiente de Guerra Colonial (tal como é ficcionalizado no romance A Costa dos Murmúrios). Estas obras representam uma incursão pela vida das mulheres portuguesas da segunda metade do século XX. Esta investigação se desenvolve por meio da observação detalhada de personagens femininas que buscavam um lugar seu, um espaço próprio, tentando revelar e compreender o mundo. / This thesis is a study about how female identity has been built up in the first four novels written by the Portuguese woman writer Lídia Jorge. So, O Dia dos Prodígios (1980), O cais das merendas (1982), Notícia da Cidade Silvestre (1984) and A Costa dos murmúrios (1988) form the corpus of this study. Analysing such works searches to reveal the route covered by the female characters in such novels, having in view their behaviours, anguishes, fears and passions, in order that, by such means, one can examine the way of construction of identity of women during Salazar dictatorship, as it can be seen in the first novel, as opposed to the identity of those women living after 1974 April Revolution, as shown in the other novels of this corpus. Thus, this work aims at identifying the manner in which the search for self-knowledge happens and develops in each female character, in the sense that one can at least investigate the beginning of Portuguese woman´s identitary construction process (this woman remained forgotten and apart from Portuguese society before and shortly after Carnation Revolution, experience which has been detached in the first novel, O dia dos prodígios. Another aim of this study is to investigate womens search for self-knowledge in the context of cultural colonization experienced by Portugal in the years ahead of April 74 (as it is shown in the second work, O cais das merendas) and also the struggle for woman´s survival in the Lisbon after the seventies (shown in Notícia da cidade silvestre) and finally the way the action occurs in the period between the final years of the sixties and the first years of the seventies, when the Colonial War was taking place (as it is fictionalized in A costa dos murmúrios). Such works represent an incursion into the Portuguese women´s lives in the second half of the 20th century. This investigation is developed by means of a detailed observation of female characters who searched for a place for themselves in the world an also ried to reveal and understand the world around them.