A presente pesquisa tem como objetivo investigar minha produção em pintura encáustica, com foco no processo de feitura. Inicialmente procuro abarcar os aspectos visíveis do trabalho, como as especificidades dessa técnica de pintura com cera de abelhas e sua utilização ao longo da história, com sucessivos períodos de esquecimento e redescoberta, desde a Grécia Antiga. Apresento um levantamento de suportes, ferramentas necessárias e receitas do medium, assim como das particularidades formais e construtivas de minha produção pictórica, como planos, camadas e brancos. O espaço é o ponto central manifesto no trabalho, que se desenvolve a partir do binômio espaço construído, espaço absoluto. São representados ambientes arquitetônicos, lugares ligados ao sistema das artes como museus e galerias, mas também montanhas e horizontes, esvaziados. Ao longo do processo de construção das pinturas de dimensões generosas, o espaço se manifesta não apenas na representação, como através do estado mental. São observados os meandros do espaço interno, que se mantém no presente ou divaga, enquanto o corpo vai erigindo o espaço pictórico. A Teoria dos Incorporais no Estoicismo Antigo de Émile Bréhier, dá suporte à exploração às camadas subjacentes desse processo, que abrange questões relativas ao vazio, ao lugar, ao tempo e a um aspecto de imanência, perceptível pelo exprimível. O corpo de trabalho, portanto, repousa parte no tangível, parte no sensível, que vão se alternando, se suturando ao longo do percurso. Por fim, a pintura não é apenas a matéria que se encerra nas duas dimensões do suporte, mas as possibilidades decorrentes da experiência contemplativa do fazer. / This present study aims to investigate my encaustic painting production, focusing on the making process. At first I try to encompass the visible aspects of the work, as the specificities of this technique of painting with beeswax, its use throughout history, with successive periods of neglect and rediscovery, since Ancient Greece. I introduce an inventory of substrates, tools and recipes as well as the formal and constructive features of my pictorial production, such as plans, and whites. Space is the central issue manifested in the work, which evolves from the binomial constructed space, absolute space. These are represented as architectural environments, especially places linked to the arts system, like museums and art galleries, but also mountains and horizons necessarily emptied. Throughout the construction process of the over sized paintings, space manifests itself not only through representation, as mental state. The intricacies of the mind space, which remains in the present or wanders, are observed while the body builds pictorial space. Émile Bréhier's The Theory of the Incorporeal in Ancient Stoicism, conceptually supports the underlying layers of this process, which covers issues relating to emptiness, place, time and the one aspect of immanence, perceptible by the expressible. Therefore, the body of work lies partially in the tangible, partially in the sensitive, which alternates as a suture along the route. Finally, the painting is not only the two dimensional substance, but the possibilities arising from the contemplative experience of workmanship.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-04-27T13:17:53Z No. of bitstreams: 2 Dissertação - Rodrigo Santos Monteiro Oliveira - 2014.pdf: 1601856 bytes, checksum: a96584998a5b5b98a78aafad14e7b67b (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-04-28T12:15:18Z (GMT) No. of bitstreams: 2 Dissertação - Rodrigo Santos Monteiro Oliveira - 2014.pdf: 1601856 bytes, checksum: a96584998a5b5b98a78aafad14e7b67b (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-04-28T12:15:18Z (GMT). No. of bitstreams: 2 Dissertação - Rodrigo Santos Monteiro Oliveira - 2014.pdf: 1601856 bytes, checksum: a96584998a5b5b98a78aafad14e7b67b (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Marco Manílio, writer of the first century of our era, structure, from his work Astronômicas, the universe. Your manual, that showing concepts and themes that we currently divide between astrology and astronomy, bring us an organizacional comprehension of the heavenly bodies, beyond an explanation about the relationship between them. This relations not only cover the portion that we understand as Heaven, but also influence in the elaboration and action of the earthly life, or, in other words, stars and humans are interconnected by an infinite relation web. In that case, we understand this work from some key points: 1- the structure of Manílio’s work, his public and the knowledge gained; 2- the comprehension about stoic philosophy (or, an approximation of what it was), in seeking to understand the choice of your utilization and, 3- the understanding of the Manílio’s time, the Empire of Otávio Augusto. This division was made in order to make this dissertation intelligible for those who have the intention of studying this period – already too much discussed – from a new look. The manilian astrology, confirmed by the utilisation of the Stoicism, explains this roman world of the first century with an intention of establish a conquest harmony for those who crossed a period of destabilization marked by constants Civil Wars. / Marco Manílio, escritor do I século d.C., estrutura, a partir de sua obra intitulada Astronômicas, o universo. Seu manual, que aborda conceitos e temas que atualmente dividimos entre astrologia e astronomia, nos traz uma compreensão organizacional dos corpos celestes, além de uma explanação acerca das relações existentes entre eles. Tais relações não abrangem somente a porção que compreendemos como Céu, mas também influenciam na elaboração e ação da vida terrena, ou seja, astros e homens estão interligados por uma teia de relações infinitas. Sendo assim, visamos entender a obra maniliana a partir de alguns pontos-chave: 1- a estrutura da obra, seu público e o conhecimento apreendido; 2- a compreensão da filosofia estóica (ou uma tentativa de aproximação do que isto seria), na busca de entendermos o porquê de sua utilização e; 3- o entendimento do período no qual Manílio estava inserido, o Principado de Otávio Augusto. Esta divisão foi feita a fim de tornar o trabalho inteligível àqueles que possuem a intenção de estudar um período – já tão discutido – a partir de um novo olhar. A astrologia maniliana, confirmada pela utilização do Estoicismo, explica este mundo romano do século I com uma intenção de estabelecer uma harmonia quista por aqueles que atravessavam um período de desestabilidade marcado pelas constantes Guerras Civis.

O estudo da poesia chamada didática mostra-se particularmente fecundo quando, dentre os variados poetas antigos, gregos e latinos, que a praticaram, escolhemos, como objeto particular de exame, um poeta como Manílio (c. I d.C.). Sua obra, os cinco cantos do poema latino Astronomica, apresenta razões de caráter poético e mesmo filosófico que nos autorizam a compará-la, por exemplo, à poesia de Lucrécio e Virgílio. Ainda que não desfrute de igual notoriedade, o poema de Manílio, como já apontaram seus poucos estudiosos, é exemplo de elocução poética, na linguagem notável pela variação técnica, e de ardorosa convicção moral, inspirada no estoicismo; também é, contudo, exemplo de um gênero poético hoje as mais das vezes relegado aos recortes das antologias, quando não ao simples esquecimento. Assim, o trabalho aqui proposto é a tradução integral do Astronomica, bem como um breve estudo introdutório acerca do poema, da tradição poética em que se insere e do gênero didático poesia, que nele muito bem se divisa. / The study of the so-called didactic poetry reveals to be particularly fruitful when, amongst the different ancient poets, greek or latin, who practiced it, we choose as our particular objet of investigation a poet like Manilius (c. 1 A.D.). His work, the five chants of the latin poem Astronomica, presents poetical and even philosophical reasons that allow us to compare it, for instance, with the poetry of Lucretius and Virgil. Even though it doesn\'t have the same notoriety, Manilius\'s poem, as few scholars have already remarked, is an example of poetic elocution, in a language remarkable for technical variation, and of an ardent moral conviction, inspired by stoicism; it is also, nevertheless, an example of a poetic genre nowadays often relegated to anthology clippings, when it is not simply forgotten. Taking these into account, the work presented here is the total translation of the Astronomica, and a brief introductory study about the poem, the poetic tradition in which it is inscribed and the didactic genre of poetry, which can easily be seen in it.

« Lisez l’histoire et le tableau » : telle est l’invitation formulée par Poussin à l’adresse d’un de ses commanditaires, etqui d’une certaine manière consacre d’emblée le bien-fondé d’une approche iconologique de ses oeuvres. Et l’artisted’affirmer ailleurs que « la nouveauté dans la peinture ne consiste pas surtout dans un sujet non encore vu, mais dans labonne et nouvelle disposition et expression, et [qu’] ainsi de commun et vieux, le sujet devient singulier et neuf ».S’agissant cependant de la part cruciale de l’inspiration de ce peintre savant que représente la transposition des auteursclassiques, nous avons constaté que ses modalités n’avaient guère retenu l’attention de la critique. Nous avons donctenté de saisir, pour reprendre les mots de Poussin, ce qui fait la nouveauté et la singularité de la manière dont il traite sesapports littéraires. Il est ainsi apparu que le parti qu’il en tire, bien moins illustratif que d’ordre herméneutique, exige uneparticipation active du spectateur, en l’occurrence invité à déceler dans ses tableaux les rapports secrets qui s’y trouvent suggérés entre plusieurs passages d’une même oeuvre, voire entre le texte ancien apparemment figuré et tel autre, le cas échéant d’un auteur cette fois moderne. Une telle conception de sa pratique culmine dans le recours à un dispositif tout aussi ignoré de la critique, alors qu’il apparaît on ne peut plus caractéristique de l’art de Poussin : l’équivoque visuelle. Nous y percevons en dernier recours l’héritage du tableau à énigme cher aux collèges jésuites, et par là l’une des nombreuses marques que contient son oeuvre de la culture propre aux membres de la Compagnie. / « Read the story and the painting »: this invitation, sent by Poussin to one of his patrons, grounds the iconological approach of his works. The artist asserted elsewhere that « newness in painting does not consist mostly in a yet unrepresented subject, but in a proper and new dispositio and elocutio, thus turning the common and the old into the singular and new ». Still, little sustained critical attention has been paid to the actual ways in which Poussin made use and transposed the Ancient authors from which this erudite painter drew a large of share of his inspiration. We have therefore tried to recover what, according to Poussin himself, constitutes the newness, the singularity of his way of transposing the literary material. It appears that, rather than producing an illustration, Poussin’s word relied on a hermeneutic mode of engagement, calling upon the viewer to decipher in the paintings the secret relationships drawn between a plurality of a literary work’s loci, or between the Ancient source text ostensibly figured in the painting and another, eventually modern one. Such a conception of his practice is epitomized in Poussin’s characteristic use of a critically neglected device : the visual equivoque. We mayrecognize in its use the trace of a genre, that of the enigma painting, dear to the culture of Jesuit colleges, and anothermark of their influence on Poussin’s oeuvre.

My dissertation focuses on the moral philosophy of Descartes, Pascal, and Spinoza in the context of the revival of Stoicism within the seventeenth century. There are many misinterpretations about early modern ethical theories due to a lack of proper awareness of Stoicism in the early modern period. My project rectifies this by highlighting understated Stoic themes in these early modern texts that offer new clarity to their morality. Although these three philosophers hold very different metaphysical commitments, each embraces a different aspect of Stoicism, letting it influence but not define his work. By addressing the Stoic themes on the morality of these three authors, I also hope to help better capture the intellectual climate of the time by bringing Stoic themes into the foreground. Stoicism is a Hellenistic philosophy that considered the passions a sickness of the intellect and the source of all human suffering; they believed the cure was virtue, which was obtained through replacing irrational passions with rational beliefs. Stoicism had a revival in the Renaissance ushering in a wave of Neostoic authors who play an important role in shaping the intellectual landscape of the following centuries. My first two chapters discuss Descartes, who wrote a “provisional morality” early in his public life, only (as I show) to ignore the subject of ethics until near his death. In my first chapter I argue that, though many present-day scholars misread Descartes’ first ethics as part of his final ethics, this earliest “provisional morality” mimics Neostoic Skeptics such as Montaigne and is provisional because his method of doubt is also provisional. In my second chapter I show that Descartes’ late, and more developed, moral theory attempts to synthesize a variety of ancient, and seemingly contradictory, ethical traditions: Stoicism, Epicureanism, and Aristotelianism. In many ways Descartes embraces Stoic morality, but as a mechanist he does not view passions as an intellectual sickness; rather they are a physiological event, an amoral instrument that can be used to help control one’s irrational desires. I further defend my thesis externally by showing that this is the reading supported by Descartes’ contemporaries including critics such as Leibniz and early Cartesians such as Antoine Le Grand and Pierre-Sylvain Régis My third chapter discusses Pascal, who embraces Stoicism differently. Pascal offers Stoicism as the first tier of a binary ethics: modeled after Augustine’s city of God and city of man, it is an alternative moral code for those who are ignorant of the good and true happiness. Finally, in my fourth chapter, I discuss two common misinterpretations of Spinoza’s ethics: one of them neglects the Stoic influence on his thought while the other embraces it too strongly, portraying him as an unadulterated Stoic. Although there are ways that he is more Stoic than Descartes and Pascal, such as in his panpsychism and monism, this does not extend to his morality. Rather than accepting either of the two readings, I highlight anti- Stoic themes that are also present. I conclude that if the discussion is contained to his morality, Spinoza is no more Stoic than the other Neostoics I discuss in previous chapters.

Many of Gilles Deleuze’s most celebrated arguments are developed in conversation with Plato, Aristotle, Chrysippus and Epicurus. This thesis argues that ancient Stoic conceptions of causality and language and Epicurean contributions to geometry and physics are especially important to Deleuze because they significantly undergird the concepts of “event” and “problem” that characterize Deleuze’s alternative image of thought and philosophy of nature. The role of Hellenistic influences on Deleuze has been underappreciated, probably because his references are often allusive and oblique. My dissertation reconstructs and supplements Deleuze’s interpretations of these ancient Greek philosophers. I offer critical analysis and discussion of the uses to which Deleuze is trying to put them, as well as evaluations of Deleuze’s readings in light of contemporary scholarship on Greek philosophy. Specifically, I defend Deleuze’s claim that the theory of events in The Logic of Sense is derived in large part from the ancient Stoics. Despite being supplemented by a healthy dose of twentieth-century structuralism, Deleuze’s reading of the Stoics is not indefensible, especially his interpretation of incorporeal lekta as events linked by relationships of compatibility and incompatibility independent of conceptual entailment or physical causality. I also offer an entirely new evaluation of Deleuze's polemic with Aristotle’s conception of difference. The correct understanding of Deleuze’s position has been obscured by his apparent conflation of the Aristotelian concepts of homonymy and analogy. What might otherwise seem to be a misreading of Aristotle should be read as part of an incompletely realized argument to the effect that Aristotle’s account of the core-dependent homonymy of being fails. Finally I explicate Deleuze's contention that Epicurean atomism is a “problematic Idea,” which is derived from a careful but almost entirely implicit reading of both Epicurus and Lucretius. Deleuze reads the Epicurean “swerve” as a mechanism for the self-determination of physical systems, which models the capacity of problematic ideas to provoke new lines of reasoning and alternative forms of thought. The influence of Epicureanism and Stoicism on Deleuze’s late work on meta-philosophy in What is Philosophy? accounts for the way it treats the images of nature and of thought as inextricably linked. Deleuze understands the ambition to give a joint account of nature and thought to be typical of Hellenistic philosophy. / Thesis / Doctor of Philosophy (PhD)

No description available.

Although written down almost two thousand years ago, the philosophical topics that are discussed in the Meditations of Marcus Aurelius are just as relevant to contemplate today as they were in his time. In the Meditations, Marcus reflects on many themes regarding the human condition and what his own individual task may be in a world full of wrongdoers, natural changes, and death. Thoughts about his own and other people’s mortality occur often throughout the work as if he always wants to keep the imminence of death present in his mind, but why is that so? In this essay, I investigate that question with the aim to better understand what role reflections on death has in his philosophy. What purpose does these contemplations on death serve? What is the meaning with reflecting on death for him? By analysing all extracts from the book concerning the theme of death, I found that Marcus primarily think about death for four different reasons: (1) to remind himself not to fear death, (2) to remind himself not to get distracted by things that, in the presence of death, appear trivial and unimportant by viewing life on earth from above, (3) to remind himself of what actually is important, namely moral virtue and maximizing the present moment, and (4) to remind himself that liberation is coming and that death soon will relieve him from his weary and exhausting life. I also place my analysis in relation to what other studies on Marcus Aurelius have found and compare my view with the likes of Pierre Hadot, William O. Stephens, and John Sellars.

In the following thesis, I argue that to contextualize Machiavelli’s republican thought in his Italian humanist heritage permits us to understand how Machiavelli reaches back not only to an Italian pre-humanist inheritance of liberty as freedom from servitude, but to a Stoic conception of agency which he inherits and shapes in that concept of liberty. While my analysis of Machiavelli and his humanist heritage is in fundamental agreement with that of Quentin Skinner in The Foundations of Modern Political Thought, it develops however the implications of two theses that Paul O. Kristeller outlines in his works on Italian humanism: the eclectic nature of humanist ideas and their rhetorical focus. From this I draw a slightly different picture of the humanist heritage and its polemics with Augustine, and from these an understanding about Stoic agency and how it is inherited and shaped in Machiavelli’s conception of the citizen and civic duties.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.