Made available in DSpace on 2016-04-26T14:58:08Z (GMT). No. of bitstreams: 1 Vera Lucia Cardim de Cerqueira.pdf: 1394476 bytes, checksum: 2b8280bfc334932711c7b5c1ca70fb2b (MD5) Previous issue date: 2010-06-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study intends to analyze the contributions of Samuel Harman Lowrie and Dina Lévi-Strauss to the Department of Culture of São Paulo during the period of administration of Mário de Andrade, between the years 1935 and 1938. Both were directly or indirectly representative of the theoretical thoughts and trends which provided a synthesis of the influences for Brazilian Social Sciences along the years: the North-American and the European lineages. The North-American sociologist Samuel Harman Lowrie was hired by the Escola Livre de Sociologia e Política and by the São Paulo City Administration, and developed a study in the area of Sociology and its practical applications, whereas the French ethnologist Dina Lévi-Strauss, with the support and trust from Mário de Andrade, conduced actions in the area of Ethnography, aiming at the possibility of obtaining reconnaissance in her professional life. During a short period, these two scholars allowed the simultaneity of theoretical reflections and practical actions in the universe of public policies, since they believed that Brazil was a favorable place for the development of scientific research / Este trabalho analisa as contribuições de Samuel Harman Lowrie e Dina Lévi-Strauss ao Departamento de Cultura de São Paulo na gestão de Mário de Andrade, entre 1935 e 1938. Foram representantes na época, direta ou indiretamente, do pensamento e das linhas teóricas, que ao longo do tempo conferiram o retrato síntese das influências das Ciências Sociais no Brasil: a norte-americana e a européia. Ele, norte-americano contratado pela Escola Livre de Sociologia e Política e pelo município de São Paulo, desenvolve trabalho voltado para a Sociologia e sua aplicação prática. Ela, etnóloga francesa conduz, sob o estímulo e confiança de Mário de Andrade, ações no campo da Etnografia, tendo em vista a possibilidade de obter reconhecimento em sua trajetória profissional. Durante um curto período, estes dois intelectuais tornaram viável a simultaneidade entre a reflexão teórica e a execução prática no universo das políticas públicas, por acreditarem ser o Brasil campo fértil para o desenvolvimento de estudos científicos

What is political philosophy? Aristotle pursues that question by asking what the good is. If Nietzsche's postmodern diagnosis that modern philosophical rationalism has exhausted itself is true, it is unclear if an answer to that question is possible. Yet given the prevalence of extremist ideologies in 20th century politics, and the politically irresponsible support of philosophers for these ideologies, there is an urgent need for an answer. This thesis examines how, in these philosophical circumstances, Hannah Arendt, Leo Strauss, and Alasdair MacIntyre conclude that a key resource in the recovery of political philosophy, and in showing its contemporary relevance, lies in the recovery of Aristotle's political philosophy. This thesis contends that how and why Arendt, Strauss, and MacIntyre turn to Aristotle, and what they find in Aristotle, depends on their varying critiques of modernity. Convinced that the philosophical tradition is shattered irreversibly after the events of totalitarianism, Arendt argues for a retrieval of Aristotle and his understanding of politics from the fragments of that tradition. Strauss is impelled to turn to the political philosophy of Aristotle because of the crisis of radical historicism, to recover classical rationalism’s answer to what the good is. MacIntyre turns to Aristotle to find the moral justification for rejecting Stalinism that contemporary philosophical traditions fail to provide; he reconstructs an Aristotelian tradition that can answer the question of what the good is better than his contemporary rivals. Although these thinkers may appear disparate, this thesis argues that each addresses the question of what the good is by offering a vision of political philosophy as a way of life, which Aristotle helps form. This way of life probes the relationship between philosophy and politics as permanent problem for human existence. In recovering this tradition of thinking with Aristotle about the character of political philosophy, this thesis aims to contribute to the understanding of each of these thinkers, as well as to the practice of political philosophy in modern, post-Nietzschean times.

In this paper, I hope to do a small part to bridge the gap that has emerged in this scholarly debate between the historicist and Straussian views of Spartan society. To that end, this paper will analyze the Spartan Constitution according to the Straussian method. That is, I will engage in a close reading of the text, only referencing outside, secondary sources directly when necessary and appropriate. In other cases, their views will simply color this analysis and be referenced as supporting evidence in footnotes. Strauss chose to have only a superficial interaction with the existing scholarship at the time of publishing his essay, and I therefore believe it will be more beneficial to see what this approach would look like from the historicist perspective. When the same approach is taken, the heart of both camps’ arguments will be exposed, allowing them to be more easily compared. The paper will begin with a reading exploring the themes of Xenophon’s work according to a historicist perspective. After a brief aside explaining and motivating the Straussian esoteric argument to a greater extent, the paper will move on to a similar close-reading of the Spartan Constitution, following Strauss’ essay where appropriate and extending his arguments where necessary. Through this process, the paper aims to show that the perceived separation between the historicist and Straussian interpretations appears to be much greater than it, in reality, is.

This creative project presents an overview of the architectural styles and history of the surviving commercial architecture of A.M. Strauss in Fort Wayne, Indiana. He was the best known architect working in Fort Wayne during the period covered by this creative project, and his work is an excellent example of how national architectural trends affected architecture in Fort Wayne. His commercial architecture represents his best known and most significant work. He did far too many buildings to cover in a single thesis, and so his residential and institutional architecture in Fort Wayne remains for another study, as do his many works outside of Fort Wayne. This project also brings together in one treatment as much photographic, historical and architectural documentation of these buildings as possible — documentation now scattered across east central and northeast Indiana. It traces Strauss's stylistic changes from Spanish Eclecticism through Art Deco and Art Moderne to Modernism. The surviving buildings represent each of these styles and shifts in historical context. / Department of Architecture

Zugl.: Tübingen, Univ., Diss.

Univ., Diss.--Iowa City.

Thesis (M.A.)--Catholic Theological Union at Chicago, 1999. / Vita. Appendix I.A brief history of the quest for the historical Jesus -- Appendix II. Historiography of the new quest and the third quest. Includes bibliographical references (leaves 170-176).

Originally presented as the author's thesis (doctoral)--Otto-Friedrich-Universität Bamberg, 2003. / Includes bibliographical references.

Este trabalho busca desvelar e sistematizar claramente os princípios straussianos de filosofia política clássica e, especificamente, os princípios straussiano-platônicos do melhor regime. Isto é, este trabalho busca desvelar o que Leo Strauss acredita ser o começo da filosofia política clássica, o que Leo Strauss acredita ser a “metodologia” clássica à filosofia política e, especificamente, as conclusões de Platão sobre o melhor regime. Os primeiros são princípios straussianos, porque advêm da interpretação de Leo Strauss sobre vários filósofos clássicos; os últimos são straussiano-platônicos, pois advêm de uma interpretação straussiana de Platão. Por fim, a análise de Leo Strauss sobre a crise da modernidade e sobre a historiografia da filosofia são apresentadas a fim de que possamos entender por que e como trilhar o caminho straussiano aos clássicos. / This work intends to state and arrange clearly the Straussian principles of classical political philosophy and, especially, the Straussian-Platonic principles of the best regime. That is, this work intends to state what Leo Strauss thought to be the beginnings of classical political philosophy, what Leo Strauss thought to be a classical “methodology” for political philosophy and, finally, Plato's conclusions about the best regime. The first two are Straussian principles because they ensued from Leo Strauss' interpretation of various classical political philosophers and the last ones are Straussian-Platonic because they ensued from a Straussian interpretation of Plato. That being said, Leo Strauss' analysis of the crisis of modernity and Leo Strauss' historiography of philosophy are presented as requirements for a better understanding of what consists the Straussian way back to the classics.

There exists between lyric poetry and music a bond that is at once tangible and grounded in practice, and yet that is indeterminate, a matter of perception as much as theory. From Graeco-Roman antiquity to the modern day, lyrical forms have brought together music and text in equal partnership: in archaic Greece, music and lyric poetry were inextricably (now irrecoverably) coupled; when lyric poetry flowered in the eighteenth century, composers harnessed text to music in order to create the new and fully integrated genre of Lieder; and in our contemporary age, the connection between word and music is perhaps most keenly felt in pop music and song 'lyrics'. In 2016, the conferral of the Nobel Prize for Literature on Bob Dylan brought to wider public attention the nature of lyric's poetical-musical bond: can Dylan be considered a poet if the meaning, syntax and expression of his words are dependent upon music? Is music supplementary to the words or are the two so harnessed that the music is in fact a facet of the poetic expression? The connection between music and poetry is perfectly clear in such integrated lyric forms as these, but a more indeterminate connection can also be felt in 'purely' musical or poetic works - or at least in the way that we perceive them - as our postRomantic, adjectival use of the word 'lyrical' shows. Describing music as lyrical often suggests that it carries an extra-musical significance, a deeply felt emotion, something akin to verbal expression, while a lyrical poem brings with it an emotive aurality and a certain musicality. Text and music of lyrical quality may, therefore, invoke the other for the purpose of expression and emotion so long as our understanding of lyric forms remains conditioned by the appreciation of an implied music-poetry relationship This thesis works within the overlap of music and poetry in order to explore the particular lyric voice of Catullus in the context of his twentieth-century musical reception. Whilst some of Catullus's poems may have been performed musically, what we know of poetry circulation, publication and recitation in first-century BCE Rome suggests that the corpus was essentially textual. Nevertheless, Catullus's poetry was set to music centuries later, not in reconstruction of an ancient model, but in new expression, suggesting not only that composers of the twentieth century found themes in Catullus's poetry that resonated in their own contemporary world but that they found a particular musicality, something in the poetry that lent itself to musical form. I argue that it is in these works of reception that we can most clearly identify the essence of Catullan lyricism. Moreover, by considering the process of reception, this thesis is able to take a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms.