This thesis examines the politics of foundations in modern political thought through a reading and immanent critique of Hobbes’s Leviathan. I argue that his thought exemplifies a specifically modern problem of foundations insofar as he must establish political and scientific foundations on the basis of precisely the impossibility of foundation. Hobbes’s account of political founding and the establishment of scientific foundations is first and foremost a response to a condition of finitude in which foundations are no longer given or available but nevertheless demanded. While it appears that Hobbes describes the finitude of ‘Man’ and natural bodies and derives his political theory from these, in fact for Hobbes these no longer provide given foundations for political thought, but must themselves be posited in acts of political and epistemological projection. Hobbes’s politics of foundations therefore demands that we fabricate political and scientific foundations for ourselves and act as if they are not incalculable postulations but calculable necessities. I call this the problem of projection, in which political knowledge is possible only because we make it and posit it ourselves. Through a reading of the role of the metaphor of making in Hobbes’s account of political origins and sovereignty, I argue that this reading of Hobbes’s politics of origins as the institution of foundations in the face of the impossibility of foundation exposes finitude as a groundlessness to which there is no necessary political response. It does not necessarily demand the production of foundations through the institution of sovereignty. Hobbes’s Leviathan therefore provides a site in which we might begin to ask more precise empirical and theoretical questions about the transformative possibilities in the modern politics of foundations. / Graduate

The diploma thesis tries to outline the daseinsanalysis as such, so that the readers can be better understood. I describe the basic terms that are necessary for daseinsanalysis and without which it would not be understandable to a wider audience. In the first chapters I deal with the history of daseinsanalysis, where the reader is also acquainted with the names associated with this discipline. Then I describe the development in Czech republic and its principles. As the daseinsanalysis is linked to psychology, I do not forget this aspect and the connection with psychotherapy. I devote my phenomenology to the chapter itself, as it is essential for the daseinanalysis to be deepened. I am writing about the principles, development and essence of this philosophical discipline. In the following chapters, I then deal with the interpretation of the time that has been and still is the essence and basic pillar of daseinsanalysis. I describe it from the point of view of Heidegger and also from the philosophical point of view. I also explain concepts such as temporality and succession for better orientation in time. In my work I also distinguish cyclic and linear time and familiarize them with it and its essence. The following chapters are devoted to Martin Heidegger himself. I try to interpret his attitudes, philosophy...

Dans la présente thèse nous formulons une réflexion sur la traduction des classiques du théâtre à travers les trois catégories traductologiques de l’herméneutique, de l’oralité et de la temporalité. A cet effet, nous envisageons la traduction comme le résultat d’un processus herméneutique concernant l’œuvre dans sa totalité. Au centre de ce processus, nous plaçons le sujet traduisant, dont la culture individuelle – à son tour reflet et déclinaison de la culture collective de l’espace-temps cible – constitue l’horizon d’interaction avec l’œuvre source. En découle la saisie d’un Sens total, au-delà du simple sens textuel, qui inclut une inscription dans la temporalité et l’identification d’une théâtralité, tout particulièrement vocale. Posant cette construction comme hypothèse de fond, nous recherchons les marques d’une telle interprétation de l’œuvre dans l’oralité de la traduction. Nous imaginons cette dernière comme la projection d’une voix performée et la concevons comme un tissu composite dans lequel les dimensions linguistique, rythmique et vocale participent à la construction d’un discours contemporain sur l’œuvre classique, le théâtre du passé, le théâtre du présent, sur la traduction elle-même et sa relation au temps. Un corpus de traductions italiennes contemporaines de Phèdre et Dom Juan destinées à la représentation scénique constitue la pierre de touche pour la vérification de notre hypothèse, tout en apportant un éclairage sur la réception des classiques du théâtre français en Italie. / In this thesis, we focus on theatre classics and on the interaction between hermeneutics, orality and temporality. To this aim, we think of translation as the result of a hermeneutical process which goes beyond the text and includes an interpretation of the play as a whole. In this framework, the translator plays a central role as they interact with the source text through the hermeneutical horizon of their individual and collective culture, extracting a Sense which extends to the perception of a specific temporality and theatricality. Our hypothesis is that this Sense can be found in the orality of the translative writing, which we consider to be the projection of voice in performance and which we define as a combination of language, rhythm and vocality, resulting in a contemporary discourse about the classic work, about theatre – both past and present – and about translation itself, as well as about its relationship to time. A corpus of Italian translations of Phèdre and Dom Juan for the stage helps verify our hypothesis, while offering an insight into the reception of French classical theatre in Italy.

La forêt n’est pas un espace naturel comme nous l’avons longtemps pensé. En utilisant l’ensemble des services que lui offre la forêt, l’homme influence la dynamique des espaces forestiers. L’objectif de cette thèse, s’inscrivant dans le champ de l’histoire de l’environnement, est d’analyser, dans le temps long, les interrelations entre paysages et sociétés riveraines, d’identifier les ruptures et continuités paysagères qui ont jalonné l’histoire forestière de l’Avesnois pour aboutir à ce que nous connaissons aujourd’hui. Cette recherche a été menée dans le cadre d’un contrat Cifre participant au Plan Forêt Régional - dont l’objectif est de doubler la superficie boisée sur l’ensemble du territoire d’ici une vingtaine d’années- et au Schéma Régional de Cohérence Ecologique Trames Vertes et Bleues. Ce dispositif en Sciences humaines et plus particulièrement en Histoire étant rare, il a fallu construire une démarche au carrefour de la démarche fondamentale et la démarche appliquée. Car non seulement il s’agissait d’analyser les modalités des actions humaines et leurs impacts sur les espaces forestiers mais il fallait plus particulièrement répondre à une demande des acteurs du monde forestier actuel conditionnant ainsi certaines problématiques scientifiques. Essentiel à la compréhension des interactions entre l’homme et son milieu, l’emboîtement des échelles spatio-temporelles constitue le cœur de cette recherche. La prise en considération de l’importance des emboîtements des échelles d’analyses, impliquant un croisement de sources de nature variée, ont conduit à une réflexion sur les outils et les méthodes à employer pour répondre aux questionnements initiaux. Tout en composant avec les limites des sources qu’il étudie, l’historien offre un recul sur les processus spatio-temporels qui ont fabriqué le paysage forestier d’aujourd’hui. Cette distanciation est nécessaire pour mener à bien les politiques environnementales actuelles : préserver un paysage, sa biodiversité doit nécessairement interroger le temps. / The forest is not a space natural as we thought of it for a long time. By using all the services which offers him the forest, the man influences the dynamics of the forest spaces. Our objective is to analyse, in the long time, the relations between landscapes and societies, to reveal the weight of the silvicultural inheritances in the contemporary sylvo-systems, to identify the breaks and the continuities of the landscape which marked out the forest history of the Avesnois, to end what we know today. This research was led within the framework of a Cifre contract participating in the Plan Forest Regional – the objectif of which is to double the surface afforested on the whole territory- and in the Regional Plan of Ecological Coherence Green and blue Wefts. This Cifre contract in Human sciences and more particularly in History being rare, it was necessary to build an approach in the crossroads of the fundamental approach and the applied approach. Because not only it was a question of analyzing the modalities of the human actions and their impacts on the forest spaces but it was more particularly necessary to answer a demand of the actors of the current forest world, conditioning certain scientific problems. The main part in the understanding of the interactions between the man and its environnement, the crossing of the spatiotemporal scales establishes the heart of this research. The taking into consideration of the importance of the crossings of the scales of analyse, implying a crossing of sources of varied nature, led to a reflection on tools and methods to use to answer the initial questionings. While composing with the limits of the sources which he studies, the historian offers a backward movement on the spatiotemporal processes which made the forest landscape of today. This distance is necessary to bring to a successful conclusion the current environmental policies : to protect a landscape, its biodiversity, it is inevitable to resort to the past.

La « philosophie de l’histoire » de l’idéalisme allemand, si l’on entend par là un ensemble de thèses permettant de découvrir un sens de l’histoire, a fait l’objet de nombreux travaux, en particulier celle de Hegel. Mais la réflexion des penseurs idéalistes sur l’histoire ne s’est pas limitée à l’interprétation des événements historiques passés. Une large part a consisté au contraire à élaborer un concept d’histoire dont l’extension ne se limite pas aux transformations sociales et politiques des groupes humains (mais qui concerne l’ensemble des productions humaines, voire la nature elle-même), et dont la compréhension ne recoupe pas l’usage de cette notion dans la conscience commune. Il nous a semblé que l’originalité de Hegel et de Schelling résidait notamment dans la richesse qu’ils attribuent à ce sens ontologique de l’histoire (conçue comme Geschichte et non comme Historie). Notre travail a consisté à interroger précisément la manière dont Hegel et Schelling ont élaboré un tel concept, qu’il vaudrait mieux qualifier d’événementialité ou d’historicité, pour le distinguer de la connaissance ou du récit de ces événements. Nous avons proposé ainsi de clarifier le sens du concept d’histoire par une comparaison des différentes formes de temporalité (temps naturel, temps de la conscience, histoire, durée, éternité) et de leur rôle respectif dans les systèmes de Hegel et de Schelling, de façon à souligner le caractère central du problème de l’historicité au sein de ce corpus, et à suggérer de quelle façon sa compréhension a déterminé le positionnement ultérieur des philosophes « post-idéalistes » (de Marx et Kierkegaard à l’idéalisme britannique ou à l’École de Francfort). / Many scholars have treated the “philosophy of history” developed by German idealists as a set of arguments designed to find a purpose in history. Yet the idealist thinkers did not limit their investigation to the interpretation of past historical events. On the contrary, a significant part of their work is dedicated to outlining a concept of history that is not limited to social and political transformations affecting human groups, but instead includes the totality of humanity’s creations, and even nature itself. This concept of history differs, sometimes radically, from how the term “history” is, and has been commonly understood. The source of the difference is Hegel and Schelling’s focus on such a rich ontological meaning of the notion of history (taken as Geschichte, as opposed to Historie). This thesis traces how Hegel and Schelling developed this concept, which might be more aptly characterised as historicity, to distinguish it from the knowledge or the chain narration of past events. It thus clarifies the meaning of the concept of history by comparing different forms of time (natural time, psychological time, history, duration, eternity) and their respective roles in Hegel’s and Schelling’s systems. This comparison is intended to underline the centrality of the problem of historicity in German idealism, and to suggest how its understanding has shaped the development of “post-idealist” European philosophy (from Marx and Kierkegaard to British idealism or to the Frankfurt School).

Le Dasein ne pourra jamais « être » son « là ». Une telle remarque pourra surprendre. Toutefois, dès lors que la totalité ou la plénitude d'un « là » soient pensées, ce dernier se révèle transi de néant. Or, parler du néant implique une méthode propre, car c’est l’absence de tout « phénomène ». Devons-nous plutôt, et « déjà », constater la mort de la phénoménologie, son incapacité de « dire » ce qui est radicalement « sans » phénomène, même à entendre ce qu’elle nous aura enseigné ? C'est alors une Méthode du Néant qui se « donne » – ou plutôt « qui se sera déjà donnée », maintenant, comme dans l’Histoire – comme reste irréductible, têtu et tenace. Ce Néant implique qu’il est tant sans « temporalité » que sans « spatialité ». Il nous importe, par conséquent, de pouvoir « penser » le « non-lieu » et d’entendre à nouveaux frais ce que l’histoire nous en informe, notamment dans la pensée de Sohravardî. Le paradoxe est que cette histoire est peut-être elle-même hors histoire. / The Dasein cannot « be » its « be-ing-there ». Such a proposition may surprise us. However, where the totality of a « there » is considered, the latter reveals itself as kneaded by « nothingness ». Further, nothingness would imply its own method. Here, one is dealing with the absence of all phenomena. Should we, and « already », find in favour of the death of phonemenology, of its incapacity to « say » what is radically « without » phenonmenon, even where we are to heed what this tradition has taught us ? A Method of Nothingness, the kind which is sought here, seems to propose itself – or rather « has already proposed itself », as it is within History – as an irreducible, stubborn and tenacious one. Nothingness does imply the absence of « temporality » as well as « spatiality ». Consequently, we are driven to « think » the « no-where » and to heed afresh what history has taught us, namely the thought of Sohravardî on the matter. The paradox is this may bring us outside history itself.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2018-05-07T17:23:13Z No. of bitstreams: 1 FABIOLA LOWENTHAL LOPES.pdf: 30047779 bytes, checksum: c16ab95f44e0821ac3e6c85f780076e5 (MD5) / Made available in DSpace on 2018-05-07T17:23:13Z (GMT). No. of bitstreams: 1 FABIOLA LOWENTHAL LOPES.pdf: 30047779 bytes, checksum: c16ab95f44e0821ac3e6c85f780076e5 (MD5) Previous issue date: 2018-02-23 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This dissertation aims at examining the congruence of distinct temporalities in urban spaces and presenting Literature as a tool to aid in the understanding of the city 's history and an instrument for the approximation of multiple narratives. To this end, aspects of the Paulista Avenue trajectory are presented from its inauguration (1891) until the 1950s and 1960s, when the verticalization process of the area was intensified, for the conclusive analysis, space and its appropriations are presented as a basis. The presence of literary manifestations is demonstrated permeating the course of urban history, with emphasis on authors such as M?rio de Andrade and Ignacio de Loyola Brand?o. As a spatial clipping, the research specifically emphasizes the section of the Avenue where the Trianon Park (1892), the Baronesa de Arary Building (1954) and the MASP (1968), considering in the place, the existence of three temporalities. From the analysis of the urban layers, marked in space-time, the essence and identity were examined through the images presented by the urban occupation during this period. Following an interdisciplinary proposal, the elements of literary narrative were considered as references to understand the transformations of space, seeking to find echoes in a dialectical relationship, in which reality writes fiction and fiction reflects the yearnings of society in a given time-space cut. As a theoretical reference, the following authors were used: Alfredo Bosi, in the literary analyzes, Bernardo Secchi in urban studies and Gaston Bachelard in the approaches related to the philosophy of space. / A presente disserta??o tem como proposta examinar a congru?ncia de temporalidades distintas nos espa?os urbanos e apresentar a Literatura como uma ferramenta de aux?lio no entendimento da hist?ria da cidade e instrumento de aproxima??o das narrativas m?ltiplas. Para isto, s?o pontuados aspectos da trajet?ria da Avenida Paulista, desde sua inaugura??o (1891) at? as d?cadas de 1950/1960, quando se intensificou o processo de verticaliza??o da ?rea, apresentando-se como base para a an?lise conclusiva, o espa?o e suas apropria??es contempor?neas. A presen?a de manifesta??es liter?rias ? demonstrada permeando o percurso da hist?ria urbana, com destaque para autores como M?rio de Andrade e Ign?cio de Loyola Brand?o. Como recorte espacial, a pesquisa enfatiza especificamente o trecho da Avenida onde se localiza o Parque Trianon (1892), o Edif?cio Baronesa de Arary (1954) e o MASP (1968), considerando no local, a exist?ncia de tr?s temporalidades. A partir da an?lise das camadas urbanas, marcadas no espa?o-tempo, realizou-se o exame de sua ess?ncia e identidade atrav?s das imagens apresentadas pela ocupa??o urbana no decorrer deste per?odo. Seguindo assim, uma proposta interdisciplinar, foram considerados os elementos da narrativa liter?ria como refer?ncias para compreender as transforma??es do espa?o, buscando-se encontrar ecos em uma rela??o dial?tica, na qual a realidade escreve a fic??o e a fic??o reflete os anseios da sociedade em determinado corte de tempo-espa?o. Como refer?ncia te?rica, os seguintes autores foram utilizados em destaque: Alfredo Bosi, nas an?lises liter?rias, Bernardo Secchi nos estudos urban?sticos e Gaston Bachelard nas abordagens relativas ? filosofia do espa?o.

From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.

Submitted by William Justo Figueiro (williamjf) on 2015-06-12T14:40:52Z No. of bitstreams: 1 7.pdf: 2415398 bytes, checksum: 9b9d0126e91b4ea9c7e7f8e799dcacb6 (MD5) / Made available in DSpace on 2015-06-12T14:40:52Z (GMT). No. of bitstreams: 1 7.pdf: 2415398 bytes, checksum: 9b9d0126e91b4ea9c7e7f8e799dcacb6 (MD5) Previous issue date: 2012-06-19 / Nenhuma / Através da teoria sistêmica e autopoiética de Luhmann se observa a existência de um outro modelo de observação do Direito. E, nesta esteira, se aproveita esse novo método para o presente estudo. Do exame sobre a conceituação sobre o tempo, em suas mais distintas versões, pode-se chegar a uma ideia de tempo útil a ser explorada no âmbito jurídico. A problemática existente entre o tempo e o processo judicial, principalmente quando este deve se realizar sem os extremos ditados pela rapidez, tampouco pela morosidade, é tema atual e mundial. Por essa razão, a ideia de um tempo justo, como aquele vinculado a uma temporalidade processual útil, ganha espaço no cenário jurídico. Ademais, um processo judicial temporâneo, já que proveitoso por sua eficácia, resta próprio da consagração dos valores básicos dos direitos do homem. Ocorre que um mundo de expressiva quantidade de informações, as quais não se comprometem com a qualidade de conteúdo, resulta por provocar o sistema jurídico. A existência de uma nova sociedade, caracterizada pela rápida temporalidade, por certo reflete no Direito. E, assim, as irritações originadas pela sociedade, em razão de seu tempo social de velocidade extrema, restam processadas pelo Direito e permitem os aparecimentos de outras lógicas como fundamento da decisão. Dessa forma, o trabalho analisa a diferenciação consubstanciada no Direito Processual, destacando que se trata de um próprio direito e que promove operações recursivas, sempre através de seus elementos constitutivos e suas estruturas, em obediência ao esquema binário legal/ilegal. Mas, como o mundo atual reclama por uma temporalidade justa aos processos judiciais, se busca um recurso fora do Direito, a fim de auxiliar em sua funcionalidade perfeita. Assim, provoca-se a possibilidade de o Direito aproveitar o recurso externo da linguagem da imagem como uma benéfica razão, a fim de aperfeiçoar a temporalidade do processo. Veja-se que essa espécie de comunicação permite uma maior quantidade de cognição, a qual resta produzida em menor tempo. Nessa linha, o estudo segue no sentido de que a linguagem da imagem é uma forma de racionalizar a temporalidade processual, pois se trata de uma comunicação conveniente como alternativa para o justo tempo processual. Por certo não se pretende substituir integralmente a linguagem da palavra pela linguagem da imagem na processualística, porém estabelecer a possibilidade de um aproveitamento maior desta espécie de comunicação, já que o visual pode se adaptar à técnica e a outras condições exigidas no processo judicial. / Through Luhman’s system and autopoietic theory one observes the existence of another pattern of observation of law. And this way,we use this new method in the present study. From examining the concept about time in its several distinct versions, one can get to an idea of useful time to be explored in the legal field of action. The existing problem between time and legal proceedings, especially when this must happen without extremes dictated neither by speed nor by slowness, is a topic present all over the world. Therefore,the idea of a fair time as that one related to a useful processual temporality grows in the legal scenario. Moreover, a temporal legal proceeding, advantageous for its efficacy i s proper for the consecration of the basic values of men’s rights. It occurs that an expressive amount of information which does not promise quality of content ends up provoking the legal system. The existence of a new society characterized by fast temporality reflects in Law, for sure. So, the exasperation originated by society because of its social time of extreme speed are processed by Law and allows the appearance of other logics as basis for decision. This way, this paper analyses the consubstantiated differentiation in Processual Law, underlining that it is a proper right and it promotes judicial appeals always through its constitutive elements and its structures, obeying the binary scheme legal-illegal. But, as the present world claims for a temporality fair to law suits, one seeks resources out of the law in order to help its perfect functioning.This way one provokes the possibility for law to take advantage of the external resource of the language of image as a beneficial ratio in order to improve the temporality of proceedings. Notice that this kind of communication allows a bigger quantity of cognition, which is produced in shorter time. The study continues in this line, in the sense that the language of image is a way to rationalize the processual temporality, for it is convenient communication as an alternative for fair processual time. Certainly, one does not intend to totally substitute language by image in processualistic, but to establish the possibility of a bigger use of this kind of communication since the image can adapt to technique and to other conditions asked for in legal proceedings.

Made available in DSpace on 2016-04-28T20:39:55Z (GMT). No. of bitstreams: 1 Ana Paula Briguet.pdf: 685835 bytes, checksum: 9bbaaf93973bde2f769b34761a722673 (MD5) Previous issue date: 2008-12-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This project aims to go around the interfaces of the meeting of the occupational therapy with the pharmacodependence and, from this, search for the answers of the following questions: how should it be these meetings? Were there any variations in relation to temporality at these meetings? How should it be the approach between patient-therapist-activities? How could the Occupational Therapy provide experiences that created other meetings? The main strategy consisted in showing parts of my meeting with my patient, using attendandance records; the activities done for him and illustrative scenes that set the whole process. And then, offer theoretical approaches. In addition, I search to map the pharmacodependence territory in some of its aspects, as well as show my insertion in one of the public health tools, the Centro de Atenção Psicossocial para Álcool e outras Drogas [Center of Psychosocial Atencion for Alcohol and Other Drugs]. The conceptual research performed in attempt to deal with all these questions started from the joint with the thoughts of several writers, specially; Olievenstein, Le Polichet, Bergson, Safra e Benetton / Este trabalho procura percorrer as interfaces do encontro da Terapia Ocupacional com a farmacodependência e, a partir deste, buscar respostas às seguintes questões: como se dariam esses encontros? Existiriam variações em relação à temporalidade nesses encontros? Como se dariam as aproximações entre paciente-terapeuta-atividades? De que maneira a Terapia Ocupacional poderia propiciar experiências que agenciariam outros encontros? A principal estratégia consistiu em apresentar recortes de meu encontro com um paciente, utilizando para isto os registros de atendimento; as atividades por ele produzidas e cenas ilustrativas que compõem todo o processo. A partir daí, oferecer as aproximações teóricas. Além disso, busco mapear o território da farmacodependência em algumas de suas facetas, bem como apresentar minha inserção em um dos equipamentos de saúde pública, o Centro de Atenção Psicossocial para Álcool e outras Drogas. A pesquisa conceitual realizada na tentativa de lidar com todas estas questões se deu a partir do encontro com o pensamento de vários autores em especial; Olievenstein, Le Polichet, Bergson, Safra e Benetton