Christ can be understood as a mirror, connecting humanity and God in his image into a hybrid entity, without eliminating the difference. The complex reality is mirrored through Christ transcending the border between subjectivity and objectivity, human and God, ourselves and others. This study is a form of constructive theology that aims to construct a transformative christological conceptual model, which can contribute to theology as a power critical epistemological deconstruction. It does this through the method of critical and comparative text analysis.  The study consists of two main sections, analysis and the discussion. The analysis section seeks to develop a theoretical frame, in which to generate a conversation between critical theorists Theodor Adorno and Gloria Anzaldúa on their view on epistemological oppression and liberation. The result is the development of an analytical concept called dialectics of the borders that exposes epistemological oppression as understood through the critical terms of oppression of objectivism and the suppressed gap. As an answer to the dialectics of border the analysis section develops the phrase dialectics of the gap, as an expression of epistemological liberation, which relies on such concepts as the shape of the gap, epistemological deconstruction, the hybrid entity, and transformative hybridity. The discussion section applies this theoretical frame to various christological concepts in order to create a new useful conceptual model. The constructed conceptual model is called incarnational epistemology and expresses an empowering critical epistemological reconstruction in Christ. The cross is understood as the explicit border between God and humanity, which is expressed by man's colonialization of dialectics. In Christ God transcends these epistemological borders and embodies the gap, as an expression for dialectics of the gap. For example it is demonstrated with the understanding of the body of Christ as the hybridization between subjectivity and objectivity and the sanctification as a reversed incarnation by the collective reconstruction of Christ in the border between subjectivity and objectivity. Hence, humanity as the body of Christ through sanctification can be understood as the mirrored image of Christ incarnating this epistemological reconstruction.

This dissertation explores the relationship of two of the most prominent women intellectuals of the twentieth century, Hannah Arendt and Susan Sontag. While they are not commonly considered to be related figures – Arendt is mainly recognized as a political thinker, Sontag is an icon of postwar popular culture – it has been anecdotally noted that they lived and worked in the same intellectual environment in postwar New York City, where their paths crossed a few times. However, a comprehensive systematic study of their relationship is missing. Starting from their Benjamin portraits of 1968 and 1978, I argue that Arendt’s and Sontag’s relationship is significant in terms of the German and US American tradition of literary criticism: Both women acted as transatlantic critics invested in cultural transfer between postwar US and Germany, and they employed similar styles of citation and editorial strategies to create and inscribe themselves into an authoritative literary tradition. With Arendt and Sontag, I discuss the critic’s task in terms of citational style and as a matter of taking care of literary traditions beyond national borders. As I demonstrate through comprehensive, in-depth archival analysis and close readings, Arendt and Sontag intervened with their Benjamin portraits in a heated debate about critical methods surrounding the editorial management of Benjamin’s estate and legacy through Theodor W. Adorno and Gershom Scholem in late 1960s Germany. Arendt’s portrait made Benjamin’s work available to an English-speaking audience for the first time and Sontag popularized his prominence in the US even further. Both stage Benjamin as a literary figure rather than a philosopher. Stylistically, they employ related strategies of citational mimicry to create an intimate connection between their voices and Benjamin’s, granting even unfamiliar readers access to Benjamin’s complex writing. Through constant dialogue with his work, their affective and affirmative mediation has significant editorial qualities. By preserving and promoting Benjamin as a critic in the US, Arendt and Sontag created a transatlantic tradition of literary criticism in which they inscribed themselves to gain critical authority in singular yet similar ways. Tracing the relationship between the portraits archivally, I argue that their similar citational creation of discursive authority results from Sontag’s comprehensive study of Arendt’s work and is thus an example of critical skill building through stylistic imitation. Rendering the hidden citational traces between the portraits transparent, I show how this line of influence ironically yields a lack of credit to Arendt on Sontag’s part. Like Arendt, Sontag reifies rather than breaks patriarchal citational chains. Illuminating what Arendt calls a “hidden tradition” – consisting in stylistically visible yet inexplicit commonalities – I draw on terminology gained from the current debate on critical method in Western literary studies to argue that the portraits afford a concept of criticism between such polemic poles as “surface” versus “depth” reading, “description” versus “interpretation” or “affirmation” versus “suspicion.” Characterizing this critical nuance with Arendt and Sontag as related critics, my study delineates a genealogy of a transatlantic mode of close reading with hermeneutic roots and a feminist twist.

<p>У раду је описана укупна књижевна заоставштина Милана Савића; извршена класификација и жанровска систематизација појединих дела; дат је поглед на стваралаштво с акцентом на&nbsp;вредновању његовог доприноса српској књижевној историографији; ширини и дубини његовог рада на уређивању Летописа Матице српске; извршено вредновање његових оригиналних књижевних радова, приповедака, путописа, драма и другог.</p> / <p>U radu je opisana ukupna književna zaostavština Milana Savića; izvršena klasifikacija i žanrovska sistematizacija pojedinih dela; dat je pogled na stvaralaštvo s akcentom na&nbsp;vrednovanju njegovog doprinosa srpskoj književnoj istoriografiji; širini i dubini njegovog rada na uređivanju Letopisa Matice srpske; izvršeno vrednovanje njegovih originalnih književnih radova, pripovedaka, putopisa, drama i drugog.</p> / <p>This document describes whole Literary legacy of Milan Savić with classification and systematization according to the genre for several of his works. Further, the document gives overview of his work and its contribution to the Historiography of Serbian Literature, the scope of his editorial work of magazine Letopis Matice srpske, evaluation of his original literary works, short stories, travelogues, dramas and other works.&nbsp;</p>

In dieser Arbeit werden vier zwischen 1712 und 1755 entstandene Kritiken von Leibniz’ Optimismus-Lehre der ‚besten aller möglichen Welten‘, wie diese in der Theodizee (1710) vorgestellt wird, dargestellt und kritisch untersucht. Nach der Meinung etlicher Kommentatoren wurde Leibniz’ philosophischer Optimismus erst nach dem Erdbeben von Lissabon 1755 und Voltaires Angriffen zum Ziel gewichtiger Kritiken seitens Philosophen und Theologen. Gegen dieses geläufige Bild zeigt diese Dissertation, dass jene Kritiken sehr bald nach der Veröffentlichung der Theodizee kamen, und dass zentrale Thesen des Leibniz’schen Optimismus schon in der ersten Hälfte des 18. Jh. Gegenstand philosophiegeschichtlich bedeutender Polemiken waren. Es wird gezeigt, dass die Kritik an Leibniz’ Gottesbegriff – der in dieser Arbeit als ‚intellektualistisch‘ bezeichnet wird – eine fundamentale Rolle spielt, und dass ein beträchtlicher Teil des Konflikts zwischen dem Optimismus und dem frühen ‚Gegen-Optimismus‘ durch den Konflikt zwischen Intellektualismus und Voluntarismus erklärt werden kann. / This work describes and examines four critical reviews, all of them written between 1712 and 1755, of Leibniz’s theory of optimism or the system of ‘the best of all possible worlds’, as it is presented in the Theodicy (1710). Several commentators state that the first important criticisms of Leibnizian philosophical optimism by philosophers and theologians came only after the Lisbon Earthquake of 1755 and Voltaire’s subsequent attacks. In opposition to this standard picture, this dissertation shows that criticisms emerged very soon after the publication of Theodicy, and that central theses of Leibniz’s optimism were already the target of significant philosophical criticisms in the first half of the eighteenth century. Furthermore, it is demonstrated that the criticism of Leibniz’s concept of God – a concept described here as ‘intellectualist’ – plays a fundamental role, and that a considerable part of the conflict between optimism and early ‘counter-optimism’ can be explained by referring to the conflict between intellectualism and voluntarism.

The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.

Submitted by Daniele Amaral (daniee_ni@hotmail.com) on 2016-09-15T14:42:10Z No. of bitstreams: 1 DissJCB.pdf: 944818 bytes, checksum: 41640ab4f64d87f9cfb7ec09dc2a40b4 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-16T19:51:04Z (GMT) No. of bitstreams: 1 DissJCB.pdf: 944818 bytes, checksum: 41640ab4f64d87f9cfb7ec09dc2a40b4 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-16T19:51:10Z (GMT) No. of bitstreams: 1 DissJCB.pdf: 944818 bytes, checksum: 41640ab4f64d87f9cfb7ec09dc2a40b4 (MD5) / Made available in DSpace on 2016-09-16T19:51:15Z (GMT). No. of bitstreams: 1 DissJCB.pdf: 944818 bytes, checksum: 41640ab4f64d87f9cfb7ec09dc2a40b4 (MD5) Previous issue date: 2014-09-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This research aims to study the creative process of the Brazilian film “O Bravo Guerreiro” (The Brave Warrior), 1969, Gustavo Dahl, from the analysis, description and comparison of the different versions of scripts and other peripheral documents belonged to the film. These files are deposited in “Cinemateca Brasileira” and many of them have not been officially cataloged. Thus one of the efforts of this paper will be to detail them seeking reach the poetic project of the author, revealing its esthetic and ethical principles of that moment. The theoretical support offered by academics in Critics of Creative processes will be the main tool for this task. We intend to use this material, the result of the comparative reading of scripts and other documents, to understand the Brazilian political and cultural context of the late 60's, taking as basis for such work theories that allows to think the examination of film documents, in addition to film, as a source for the writing of history. / Esta pesquisa tem o objetivo de estudar o processo criativo do filme brasileiro O Bravo Guerreiro, 1969, de Gustavo Dahl, a partir da análise, descrição e comparação das diferentes versões de roteiros e demais documentos periféricos à realização deste filme. Estes arquivos estão depositados na Cinemateca Brasileira e boa parte deles não foi catalogada oficialmente até a conclusão deste texto, assim, um dos esforços desta dissertação será o de detalhá-los buscando alcançar o projeto poético do autor, revelando seus princípios éticos e estéticos naquele momento. O suporte teórico oferecido pelos estudiosos em Crítica de processo criativo será a ferramenta principal para tal tarefa. Pretendemos utilizar esse material, o resultado da leitura comparativa dos roteiros e demais documentos, para a compreensão do contexto político e cultural brasileiro do final da década de 1960, tomando como base para tal empreita teorias que permitam pensar o exame de documentos cinematográficos, além do filme, como fonte para a escrita da História.

No description available.

Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

Nous pouvons appréhender le Cinéma comme un vecteur culturel capable de cristalliser les us et coutumes d’une société, ou comme un outil susceptible d’en manifester les aspirations. L’industrie cinématographique italienne demeure parmi celles qui ont su imposer dans l'imaginaire des publics des œuvres venues aussitôt enrichir le patrimoine culturel mondial. De nos jours, sa présence internationale est plus modérée, et le rayonnement de ses œuvres ne dépasse que rarement les limites nationales. Les quelques auteurs tels que Emanuele Crialese, Matteo Garrone et Paolo Sorrentino ont su gagner une visibilité désormais incontestable, leur permettant de devenir le symbole d’un cinéma italien contemporain renaissant. Les contenus de leurs filmographies sont le résultat de formes cinématographiques tout aussi riches que variées, et leur influence semble capable de modifier et de mettre à jour l’imaginaire des passionnés de culture italienne. Nos travaux veulent étudier et comprendre l’impact de leurs œuvres au sein d’un pays comme la France. À travers une étude qui se veut historique, sociologique et économique, nous analysons la représentation du réel dans l’histoire du cinéma transalpin, un idéal intellectuel qui semble intéresser particulièrement les publics français. Puis nous nous consacrons aux contenus de nos trois filmographies de référence, pour en extrapoler les données socio-politico-économiques. L’étude de l’impact de ces œuvres sur les critiques cinématographiques français conclut ces travaux, qui se penchent également sur la distribution et l’exploitation de ce cinéma, présent non seulement dans les salles de l'Hexagone, mais diffusé parallèlement au sein de nombreux festivals. / One may approach cinema as a cultural vector which can either give shape to the habits and customs of a given society or reflect its yearnings. The Italian film industry is one among those which have produced movies which entered the global cultural imaginary. Nowadays, its international presence has been reshaped and Italian films do not easily shine beyond the national frame. Artists such as Emanuele Crialese, Matteo Garrone or Paolo Sorrentino have managed to achieve an undeniable visibility, and have become the symbol of a reborn contemporary Italian cinema. The content of their filmographies are the result of film shapes that are as rich as they are diverse, and their influence seems able to alter and to update the imaginary of italian culture connoisseurs. The purpose of our work is to study and understand the impact of their masterpieces on the French audience. Through a historical, sociological and economical study, we will analyse the representation of reality in the history of Italian cinema : an intellectual ideal which seems to have been of interest especially to the French spectators. Then we will focus on the content of these three specific directors’ lifework in order to examine social, political and economical data. Finally, we will conclude by observing the impact these films have had on French experts such as film critics. This study also deals with the distribution and the running of these specific directors’ films not only in the cinemas but also when aired in various film festivals. / È possibile concepire il Cinema come un vettore culturale capace di materializzare gli usi e i costumi di una società, o suscettibile di manifestarne le aspirazioni. L'industria cinematografica italiana dimora tra quelle che hanno saputo imporre delle opere entrate istantaneamente nell'immaginario collettivo, e ciò su scala mondiale. Oggi, la sua presenza a livello internazionale è stata ridimensionata e la diffusione delle sue opere oltrepassa raramente i confini nazionali. I rari autori del calibro di Emanuele Crialese, Matteo Garrone e Paolo Sorrentino hanno saputo acquisire una visibilità oramai indiscussa, permettendo loro di diventare il simbolo d'un cinema italiano contemporaneo rinascente. I contenuti delle loro filmografie sono il risultato di forme cinematografiche tanto ricche quanto varie, e la loro influenza sembra capace di modificare e aggiornare l'immaginario degli appassionati di cultura italiana. Queste ricerche vogliono analizzare e comprendere l'impatto delle loro opere in un paese come la Francia. Attraverso degli studi storici, sociologici ed economici, queste ricerche analizzano le forme rappresentative legate al reale presenti nella storia del cinema italiano, un ideale intellettuale che sembra interessare in particolar modo i pubblici francesi. Inoltre, esse si consacrano all'estrapolazione dei dati socio-politico-economici contenuti nelle tre filmografie a cui facciamo riferimento. L'analisi dell'impatto di queste opere sui critici cinematografici francesi scelti come pubblici, concludono queste ricerche che si dedicano in egual modo alla distribuzione e alla commercializzazione di queste opere, presenti non solo in sala, ma diffuse inoltre in molti festival.

In this case study four non-fiction books are being accompanied on their way from the Netherlands to the public in Sweden, that is from one peripheral language into another. Where did the initiative come from? Were there any subsidies and did that matter? What kind of publishers were involved and were there also other agents involved? Who were the most important cultural mediators? How were the books framed in order to be noticed in the new country? How does all this fit in with the sociological theory of transnational cultural transfer? It turned out that these books more or less followed the expected path with a few exceptions: Two of the books were published by large-scale publishers in Sweden although they had not proved to be successful in the Netherlands. And there were no signs of regular co-operation between the involved publishers. Obviously the translated Dutch books in Sweden are such a marginal business for these publishers that they do not influence their network of foreign publishers.  Even if all four books belong to the same genre, they are very differently framed to be noticed in their new country.