Submitted by Marilene Donadel (marilene.donadel@unioeste.br) on 2017-11-07T18:52:31Z No. of bitstreams: 1 Willian_C_Kuhn_2017.pdf: 760801 bytes, checksum: 78300a5c770a1d87d077e80adea6ae0b (MD5) / Made available in DSpace on 2017-11-07T18:52:31Z (GMT). No. of bitstreams: 1 Willian_C_Kuhn_2017.pdf: 760801 bytes, checksum: 78300a5c770a1d87d077e80adea6ae0b (MD5) Previous issue date: 2017-05-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims the investigation of the relationship between metaphysics and science using the popperian concepts of metaphysical realism and the metaphysical research programs. The place of metaphysics was reevaluated throughout the developments of popperian philosophy and changed the situation of excluded from the domain of science, by its non-testability at first, to be incorporated directly into the scientific methodology at second. A cause for this is that Popper thought the methodology is not empirical, but possibly metaphysical and normative, besides the realism, while metaphysical in nature, and non-testable, is open to criticism. The philosopher thought the methodology of science saying that induction must be rejected as a characteristic method of science and replaced by falsifiability, whose assumption is that universal theories are accepted as conjectures, considering the fallibility of our knowledge. We see that Popper, in developing his falseationist theory of method he accepted the correspondential truth theory due to the understanding that it was the only well suited option to the falsifiability and its metaphysical realism and had no choice but admitting the problems arising as a mystery. Popper didn´t realize that in doing so he created problems for the rest of his own philosophy, especially for the thesis of knowledge as a human invention. Thus it seems that popperian realism and its presupposition of natural laws seems to have been sustained by the belief in the connection of this with the latent aim of science, which is in his point of view the search for truth. But it seems this conception of truth, as Caponi (1996) also pointed out, can be understood as an idealization of rational acceptance, which seems to be an acceptable internalist alternative as more compatible with falseasionism and, at the same time, as an outline of difficulties arising from the metaphysical commitments of popperian realism. We understand that the defense of realism for Popper is also motivated by the attempt to avoid one of the negative ethical consequences of solipsism that is the human suffering. At this point we see the metaphysical programs of investigation seemmingly occupying the function of the methodology in terms of their programmatic character. Therefore, the methodology will depend on a metaphysics. We see that a reasonable explanation for this shift in Popper's perspective of metaphysics is the understanding that criticism regulates both metaphysics and empirical science. Thus, the demarcation that makes sense at all is that between criticisms and non-criticism, that is, falsification is not a strict criterion make possible the idea about the influence of metaphysics in science. The predominance of criticism over knowledge allows imaginative theories such as some metaphysical programs to provide content-rich insights and contribute on problems selection and its interpretation. Criticism, therefore, is the link between metaphysics and science. / O presente trabalho tem como objetivo a investigação da relação entre metafísica e ciência utilizando os conceitos popperianos de realismo metafísico e programa metafísico de investigação. O lugar da metafísica foi reavaliado ao longo dos desenvolvimentos da filosofia popperiana e passou da condição de excluída da esfera da ciência, pela sua não testabilidade em um primeiro momento, para ser incorporada diretamente na metodologia científica em seguida. Um motivo para pensarmos isso é o fato de Popper ter constatado que a metodologia não é empírica, mas possivelmente metafísica e normativa, além de o realismo, apesar de ter caráter metafísico, e não ser testável, ser criticável. O filósofo pensou a metodologia da ciência no seguinte sentido: a indução deve ser rejeitada como método característico da ciência e substituída pela falseabilidade, cujo pressuposto é de que as teorias universais são aceitas como conjecturas, considerando a falibilidade do nosso conhecimento. Entendemos que Popper, ao desenvolver sua teoria falseasionista do método, aceitou a tese da verdade como correspondência por entender que era a única opção compatível com a falseabilidade e seu realismo metafísico e não teve outra opção senão admitir os problemas decorrentes como um mistério. O que Popper não percebeu é que, ao fazer isso criou problemas para o restante de sua filosofia, sobretudo para a ideia do conhecimento como invenção humana. Assim nos parece que o realismo popperiano e seu pressuposto de leis naturais, parece ter sido sustentado pela crença da vinculação deste com o objetivo latente da ciência, que é, para ele, a busca da verdade. Mas essa concepção de verdade nos parece, conforme Caponi (1996) também assinalou, pode ser entendida como uma idealização da aceitação racional, a qual parece ser uma alternativa internalista aceitável como mais compatível com o falseasionismo e, ao mesmo tempo, como um contorno das dificuldades decorrentes dos compromissos metafísicos do realismo popperiano. Entendemos que a defesa do realismo para Popper é motivada também pela tentativa de evitar uma das consequências éticas negativas do solipsismo, a saber: o sofrimento humano. Em torno dessa discussão, pensamos que os programas metafísicos de investigação parecem ocupar a função da metodologia, por terem o caráter programático. Assim sendo, a metodologia dependerá de uma metafísica. Entendemos que uma explicação razoável para essa mudança da perspectiva popperiana sobre a metafísica é entender que a crítica regula tanto a metafísica quanto a ciência empírica. Portanto, a demarcação que importa realmente é entre teorias criticáveis e não criticáveis, ou seja, a falseabilidade não é um critério rigoroso e permite pensar a possibilidade de influência de uma metafísica na ciência. A predominância da crítica sobre o conhecimento permite que teorias ricas em imaginação como alguns programas metafísicos possam fornecer intuições ricas em conteúdo e contribuir na seleção de problemas e na interpretação destes. A crítica, portanto é o elo entre a metafísica e a ciência.

The objectives of this thesis are concerned with the peculiar feature of repetitions in the so-called 'Flood-Narrative', Genesis 6-9. The presence of these repetitions has provoked many arguments amongst twentieth century biblical critics as to their origin, their function and even their form. The first objective of the thesis is to review critically a wide spectrum of research done on the repetitive phenomenon, outline the resultant opinions and to weigh the merits or weaknesses of any particular methodology as it relates to how the function of repetitive features is to be understood. The first chapter presents this critical view and finds that up to now, most research done on the text has not been free of methodological bias, with the result that only those repetitions useful to an approach are dealt with, to the exclusion of other repetitive features. The second objective is to catalog and describe the repetitive features of the text in an objective manner, free from methodological or exegetical bias. Chapter II arranges and classifies the repetitions that are evident in Gen. 6-9 and comments on possible patterns or forms suggested by the repetitions. The last objective of the thesis is to look at the repetitions from some perspectives of modern narrative theory to find if this viewpoint can shed any light on the function of repetitive forms. The last chapter of the thesis concludes that explanatory devices from narrative theory which rely on pre-established criteria apart from the text itself, are as well too short-sighted to be useful in corning to grips with repetitive function. However, those approaches which stress certain subjective, exegetical endeavors, or which emphasize a reader's response are found to provide useful insights for the perception of repetitive function. / Thesis / Master of Arts (MA)

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Thesis (MDram)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This study examines the role and function of theatre critics and reviews in the industry at present. Characteristics of a good review are also examined and the role of the traditional review in the ‘new media’ is questioned. The ‘new media’ offer the public the opportunity to have access reviews to within a few hours of the first performance. This implies that theatre reviews become more newsworthy through their immediacy. “New media” have the added advantage that the content of reviews can be enhanced, and that the notorious space limitations of the ‘old media’ no longer impact on the copy volume. Within the modern media the style and content of reviews and opinions depend on the specific media form. In the ‘new media’ subjective personal opinions have become more prominent than well-grounded, ethically accountable journalism which used to be required in the older forms of media. The ‘new media’, on the other hand, present journalism with a whole new platform. If utilised in a controlled and dynamic manner, these new technological and electronic developments, can contribute enormously to the theatre review industry. In the concluding chapter a model is suggested according to the which the ‘new media’ can be used as a platform to maintain, develop and advance theatre – and specifically criticism – in South Africa. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die rol en funksie van die teaterresensent en die resensie in die hedendaagse bedryf. Die eienskappe van ’n goeie resensie word ook ondersoek en die gebruik van die tradisionele resensie in die “nuwe media” word bevraagteken. Die “nuwe media” bied ’n geleentheid om resensies aan die publiek beskikbaar te stel, enkele ure ná die eerste vertoning. Die implikasie van hierdie element is dat ’n teaterresensie dus nuuswaardig word in sy onmiddellikheid. “Nuwe media” het die voordeel dat inhoudsverryking in resensies kan plaasvind en dat die beperkings van die ou media nie meer geld met betrekking tot die lengte van die werk nie. Styl en inhoudsaspekte van resensies of opinies in die “nuwe media” is kwessies waar die vorme van die verskillende media wel ter sprake kom. Binne die “nuwe media” is die persoonlike, subjektiewe opinies meer pertinent as deurgrondelike joernalistiek wat eties verantwoordbaar moet wees en wat van die ou media-vorme verwag word. Die “nuwe media” bied andersins ’n hele nuwe platform vir joernalistiek, en indien hierdie nuwe tegnologiese en elektroniese verwikkelinge op ’n gekontroleerde en dinamiese wyse ingespan kan word, kan dat dit ’n enorme bydrae tot die resensiewese lewer. In die laaste hoofstuk word ’n model voorgestel wat die “nuwe media” as platform gebruik om die behoud, ontwikkeling en bevordering van teater, en spesifiek teaterkritiek in Suid-Afrika, te bewerkstellig.

Dans le présent travail de thèse, nous nous proposons de mettre en lumière les raisons pour lesquelles Heidegger donne le coup d’envoi à un questionnement de longue haleine et de grand ampleur sur la question de la liberté à la suite de la publication, en 1927, de son chef d’oeuvre, Etre et Temps. Nous nous efforcerons de formuler et d’élaborer progressivement deux thèses à la lumière des objections heideggeriennes adressées à la conception kantienne et à la doctrine schellingienne de la liberté. Notre première thèse est que la radicalisation heideggerienne de la conception kantienne de la liberté, développée dans le cadre d’une « métaphysique du Dasein », ne permet pas de découvrir un contexte philosophique dans lequel une problématique plus originelle de la liberté pourrait être formulée puisque le questionnement heideggerien de la liberté se réduit en dernier ressort en une répétition de la démarche transcendantale de Kant et en un exemple d’application remarquable de cette démarche à une question non kantienne, à savoir la question de l’être. Notre deuxième thèse est qu’à partir de la thèse de la différence ontologique et au prix de l’oubli du concept schellingien de l’absolu, l’investigation heideggerienne de la liberté ne donne lieu qu’à une forme sécularisée de la théologie dialectique de Schelling, qui prend en garde malgré son caractère panthéiste la thèse de la bonté divine et la doctrine de la révélation de la dogmatique chrétienne. Dans la perspective ontologique proprement heideggerienne, l’être fondé dans la liberté, dans le fondement du fondement (Grund des Grundes), dans l’abîme (Abgrund) se manifeste à travers ce qu’il rend possible, c’est-à-dire l’étant / In this thesis, we tried to highlight the reason for which Heidegger initiates an investigation of large scale on the question of freedom after the publication of Being and Time. We tried to formulate and elaborate progressively two theses in the spot of objections that Heidegger addresses to the Critique of Kant and to the Schellingian theology of freedom. Our first thesis is that the Heideggerian radicalization of Kantian conception of freedom developed in the framework of metaphysics of Dasein does not allow to the discovery of a philosophical context from where a more original problematic of freedom could be formulated and the Heideggerian questioning is nothing but a repetition of it and a remarkable application example for elaborating a non Kantian question, to namely the question of Being. Our second thesis is that from the thesis of ontological difference and further to forgetting Schellingian concept of absolute, Heideggerian questioning only could develop a secularized variant of theological dialectics of Schelling, which despite its pantheistic view affirm the thesis of divine goodness and the doctrine of revelation of Christian dogmatics. In Heideggerian ontological perspective, the Being (Sein) melted in the freedom, in the ground of ground (Grund des Grundes), in abyss (Abgrund) manifests itself through what it renders possible, that is to say through being (Seiende)

This thesis in Spanish philology consists of three main parts. The first part represents an in-troduction to Miguel de Unamuno's and Ernest Renan's philosophy, an interpretation of both thinkers' writings in the context of their life stories and the values they defended. The second part is focused on the Czech reception of Ernest Renan between 1864 and 1948. The third part is dedicated to the Czech reception of Miguel de Unamuno between 1922 and 1948. Powered by TCPDF (www.tcpdf.org)

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Esta tese analisa a constituição singular do poeta Álvaro de Campos em relação aos outros heterônimos pessoanos, como uma questão de grau intensivo. Partindo do princípio camposiano da poesia como força, aplica-se a conceituação deleuziana para interpretar essa força como criação de platôs intensivos, criação de afectos e perceptos, e como constituição de um fora, portanto, aspectos constituintes do sujeito poético. Analisam-se cinco principais poemas como um mesmo perfil marcado pela rubrica da intensidade. Os poemas escolhidos são analisados em termos de platôs intensivos, a saber: 1) o platô da viagem, a bordo de um navio, em Opiário e num passeio pela cidade, em Ode Triunfal, 2) o platô avistado do cais, em Ode Marítima, 3) o platô do livro, em Saudação a Walt Whitman, 4) o platô do fora, no manifesto Ultimatum e por fim, 5) o platô da mansarda, em Tabacaria. Levantar-se-á em conta também todo o perfil intensivo camposiano para realçar as marcas da intensidade que o constitui e lhe fornece o perfil característico singular. Para empreender a análise, partiu-se da imagem do poeta à janela, como uma metáfora perceptiva, confrontando o mundo, dobrado para o exterior, e dele captando em figuras e ambientes, os acontecimentos que o afetam. Conclui-se que é essa alma à janela ou esse olhar perceptivo voltado para o fora, o que, ao incorporar as forças da alteridade, desenha para Álvaro de Campos a sua feição poética singular. / This thesis examines the peculiar poetic subjectivity in Álvaro de Campos, relating to the other heteronyms pessoanos as a matter of intensive degree. Starting from the Campos principle of poetry as a force, it applies deleuziano concepts to interpret that force in terms of intensive plateaus, affects and percepts and formation of an outside; therefore, as constituents aspects of poetic subject. Five major poems covering the three thematic stages on Álvaro de Camposs poetry are analyzed as a same profile marked by the rubric of intensity. The chosen poems are discussed in terms of intensive plateaus, namely: 1) the voyage on board of a ship in Opiário and a city tour in Ode Triumphal; 2) the plateau viewed from the pier in Ode Marítima; 3) the book plateau, in Ode to Walt Whitman, 4) the outsides plateau in Ultimatum manifest and finally, 5) the plateau of the mansard, in Tabacaria. It also examines the whole camposiano literary becoming aiming to highlight the intensive traces so that provide his peculiar profile. The analysis starts from the poets image at the window as a perceptive metaphor; he confronts the world bent outwards, and expresses by means of figures and features all events which affect him. We conclude that this \"soul to window, or perceptive look toward outside is what, by embodying the forces of alterity, may have allowed Álvaro de Campos its unique poetic garb.

Partindo do conceito proposto por André Lefevere de literatura traduzida enquanto textos refratados, este estudo mostrará alguns aspectos da publicação e recepção das primeiras traduções em português, francês e espanhol da obra Ulysses (1922), de James Joyce na França, Argentina, Portugal e Brasil. Também destacará algumas soluções encontradas pelos tradutores em suas interpretações da obra, realizando um estudo comparativo pelo método de Antoine Berman de identificar as tendências deformadoras que operam em cada tradução. Desse modo, pretende-se compreender e descrever o estilo de cada tradutor e como foram expressos os conceitos temáticos do romance. De acordo com Berman, esse tipo de reflexão é sempre eficiente ao realizar-se uma crítica das traduções pelo uso de um duplo critério: a poética e a ética de uma tradução. O primeiro refere-se ao trabalho do tradutor no texto da sua tradução e à sua textualidade em relação ao original. O último refere-se ao tipo de diálogo e o respeito que os tradutores mantêm para com o texto original. Para o confronto das passagens do Ulysses, este estudo também levará em consideração as idéias de Fritz Senn, Haroldo de Campos e Maria Tymoczko sobre tradução e a obra de Joyce. / By following André Lefevere\'s concepts of translated literature as refracted texts, this study presents certain aspects of the reception of the first translations into Portuguese, French and Spanish of James Joyce\'s Ulysses (1922) in France, Argentina, Portugal and Brazil. It also discusses various solutions of the translators when interpreting Joyce\'s text, using Antoine Berman\'s concept of identifying the deforming tendencies that operate in every translation. The examination of these translations describes each translator\'s style and how the thematic concepts of the novel are expressed. According to Berman, this kind of analysis is always effective when making a critique of translations because it makes use of double criteria: the poetics and the ethics of a translation. The former refers to the translator\'s work on his or her own translated text, and its textual proximity to the original. The latter refers to the kind of dialogue the translator maintains with the original and his respect towards it. In order to compare the elements of selected passages in Ulysses this study will also take into consideration the contemporary ideas on translations of Joyce\'s work made by Fritz Senn, Haroldo de Campos, and Maria Tymoczko.