Ouro Preto e Diamantina cidades barroco-rococó mineiras do Brasil Setecentista são tratadas, neste doutorado, como totalidades urbanas inseridas no processo que conceitualizamos como patrimonialização global. Essa abordagem exigiu-nos uma periodização para o entendimento da ressignificação simbólica dessas cidades, cujos momentos imbricados desse processo são: 1. as cidades coloniais como particularidade de um devenir universal gênese e incipiência do movimento histórico do patrimônio no Brasil; 2. as cidades coloniais como territórios de identidade nacional; 3. as cidades coloniais como territórios de identidade do capital; 4. as cidades coloniais emergentes enquanto cidades-patrimônio-mercadoria, na fase mais notória da patrimonialização global, que reinventa o barroco e estimula a recolonização dos centros históricos brasileiros; e 5. as cidades coloniais barrocas como possibilidade de vir a ser, de empoderamento dos bens materiais-simbólicos por parte da população. Tal periodização pensada na perspectiva dialética do espaço geográfico favorece a análise do ordenamento socioterritorial de Ouro Preto e Diamantina para além dos limites do tombamento federal, de maneira que a relação políticas urbanas e políticas de patrimônio é apontada como a condição primeira ao empoderamento deste Patrimônio Mundial mineiro, por parte de sua população local. / Ouro Preto and Diamantina baroque-rococo Minas Gerais towns of 18th century Brazil are considered, in this thesis, urban totalities inserted in the process here conceptualized as global heritagisation. This approach demanded a periodisation in order to understand the symbolic ressignification of those cities whose embedded moments in the process are: 1. colonial towns as a perculiarity of a universal devenir genesis and the incipient stage of the heritage movement in Brazil; 2. colonial towns as national identity territories; 3. colonial towns as capital identity territories; 4. emergent colonial towns as heritage-goods-cities in the most noted phase of global heritagisation, which reinvents the baroque and stimulates the recolonisation of Brazilian historical centres; and 5. the baroque colonial cities as a possibility of coming to be, of the population being empowered by the symbolic-goods. Such a periodisation thought from a dialectic perspective on the geographic space allows for the analysis of the socio-territorial ordering of Ouro Preto and Diamantina far beyond the limits of federal conservation so that the relation between urban policies and heritage policies is considered to be the first condition for the local population to be empowered by this Minas Gerais World Heritage.

Le solipsisme a été thématisé comme un préalable pour fonder la connaissance au dix-septième siècle. Cette doctrine suggérait, qu’en vue de la certitude, il fallait admettre transitoirement la concevabilité d'un doute portant sur l'existence du monde extérieur en totalité et des autres esprits. L'existence du monde extérieur a pu ainsi être tenue pour établie à l'occasion de preuves de l'existence d'un créateur unique ou tenue pour assurée à l’aide d'une déduction transcendantale. En comparaison, rien ne semble pouvoir prouver l'existence des autres. D'une part, rien ne semble compter comme une preuve a posteriori de l'existence d’autrui, puisque ce doute ne peut s'appuyer sur l'expérience. D'autre part, une preuve permettant de lever ce doute ne peut être produite a priori, puisque l'absence empirique généralisée des autres est concevable a posteriori. Ainsi, rien ne semble exclure la possibilité d'une découverte a priori de son unicité. Cette thèse entreprend de mettre au jour le traitement de cette difficulté par Sartre et Wittgenstein. Les deux philosophes se sont confrontés à l'illusion de confinement qui est le corollaire de l’admission, à titre de possibilité pertinente, de l'absence généralisée des autres esprits. Sartre propose dans L'être et le néant une preuve conceptuelle de l'existence d'autrui pour montrer que ledit problème théorique de l'existence d'autrui est un faux-problème, tandis que Wittgenstein propose dans le Tractatus de dissoudre les problèmes philosophiques de l'existence du monde extérieur et des autres esprits par le biais d'une réflexion sur les conditions d'intelligibilité de l'expression. Dans les deux cas, il s'agit de dissiper l’apparence d’un doute portant sur le monde en totalité et du même coup sur les autres esprits. Non seulement une preuve de l'existence d'autrui est impossible, mais elle est en plus superflue. Ainsi, requérir une telle preuve ne peut que conduire à manquer l’obviété de nos engagements envers les autres, et par là au déni de leurs existences. / Solipsism was conceived as a preliminary to grounding knowledge in the seventeenth century. This doctrine suggested that, in order to achieve certainty, one had to temporarily admit the conceivability of doubt about the existence of other minds and the external world as a whole. The existence of the external world was then taken to be established by means of proofs of the existence of a unique creator, or assured by means of transcendental deduction. By comparison, nothing seems to prove the existence of others. On the one hand, nothing seems to count as proof a posteriori of the existence of others, for the doubt it would dispel cannot be grounded in experience. On the other hand, nor can a proof which would dispel such doubt be produced a priori, for the empirical and generalized absence of others is conceivable a posteriori. Thus, nothing seems to exclude the possibility of an a priori discovery of one’s unicity. This thesis endeavours to bring out the similarity of the treatment of this difficulty by Sartre and Wittgenstein. Each of these philosophers confronted the illusion of confinement that presupposes admitting the generalized absence of others. In Being and Nothingness, Sartre proposes a conceptual means to establish that the theoretical problem of the existence of other minds is a pseudo-problem. In the Tractatus, Wittgenstein proposes to dissolve the philosophical problems of the existence of the external world and the existence of other minds via reflexion on the intelligibility conditions of expression. Both cases involve dispelling the appearance that doubt about the world and other minds is possible and required. Not only that proof of the existence of other minds is impossible, it is also superfluous. To require such a proof therefore can lead to nothing but missing the obviousness of our commitments to others, and thereby to denying their existence.

The thesis mainly deals with the specifics of Czech art at the time of communist totality. The main objective was to focus on the artists who due to circumstances found themselves at the edge of a cultural society. They were reconciled with this situation as they refused to betray the beliefs and denominations they confessed. The fundamental common point of their artistic freedom is the choice of themes. In this case it is the biblical theme that was first associated in the fifties with coping with existentialist feelings. And later on with finding artistic expression, which would contain spiritual overlap. In the first part we follow up iconographic parallels. In the second part we deal with individual authors and contexts that determined their artistic creation. In the group of authors are those who are engaged systematically in themes. Among others A. Divis, B. Reynek, I. Sobotka, V. Novakova, M. Medek, J. Koblasa and R. Piesen. In conclusion there is a treatise on contemporary philosophical trends that are connected with creation of our authors.

Cette thèse étudie la perception que Norbert Mobyem Mikanza se fait du monde qui l’entoure et sa conception de l’art théâtral. Cette étude se structure autour de trois parties. La première fait l’objet d’un panorama historique du théâtre congolais. Son importance consiste à situer la place du dramaturge Norbert Mobyem Mikanza et à cerner son originalité au sein de ce théâtre. La deuxième partie s’intéresse à l’étude de la forme, c’est-à-dire les structures de surfaces des pièces de théâtre du corpus. Ces éléments de la forme : la fable, les personnages, les actions, le temps, l’espace et le langage théâtral servent de passerelle vers le sens. La troisième partie est intitulée « les structures profondes ». Elle sert d’interprétation de l’œuvre dramatique de Norbert Mobyem Mikanza. Cette œuvre n’est rien d’autre qu’une scène de combat inégal où le social et le moral s’affrontent à « l’asocial et à l’immoral », dans la société congolaise en particulier et dans la société africaine en général. / This thesis is a study of the way the author Nobert Mobyem Mikanza considers the world surrounding him and how he conceives the art of theatre. This study falls into three parts. The first one is a historical and panoramic view of the congolese theatre. Its importance consists mainly in situating the part played by the play wright Norbert Mobyem Mikanza and in pointing out the originality of his theatrical work. The second part deals with the study of the form, that is how the plays are set and organized, these elements being the fable, the characters, the actions, the time, and space, the language, all that helps converging theis meaning to the audience. The third part entitled « deeper structures » is an analysis of the dramatic works of Norbert Mobyem Mikanza. His works port rays no thing but a fight, an unegual one, in which social and moral issues come in conflict with antisocial and immoral issues, not anly in the Congolese society but also further in the African society as a whole.

Francis Schaeffer presented a Christian world and life-view encompassing the totality of reality as an alternative to a fragmented view of reality. Refinements of dualism are examined from within a theological context giving substance to his understanding of modern world and life-view trends. Dualisms may be traced from the dawn of history of religion. It was Thomas Aquinas who profoundly influenced Western thought into a secular compartment through a synthesis of Christian dogma with Aristotelian presuppositions. The reign of the sacred diminished and a predominantly secular pathway may be traced through disciplines such as philosophy, arts, science and theology. This dissertation suggests that a dualistic analysis of reality is limited in its application. A model is suggested which traces all of reality to its ultimate source, God. The Fall brought about a dialectic which is found within the totality of a Christian world and life-view. / Philosophy, Practical & Sytematic Theology / M. Th. (Systematic Theology.

Depuis le début du vingtième siècle, les artistes chinois ont commencé à poursuivre leurs rêves artistiques en France. Cent ans plus tard, bien que l’art français ne soit plus le centre absolu du monde artistique, son histoire glorieuse en fait un symbole au statut inébranlable. La France d’autrefois, avec son orientation politique culturelle a attiré des artistes du monde entier, qui sont devenus une partie importante du patrimoine artistique et culturel des Français; en même temps, la « culture française », dans son ensemble, perpétue le mythe de capitale culturelle.Compte tenu de la structure du discours prévalent sur « la Chine et l’Occident », la place des artistes chinois en France est un peu spéciale. Pour les artistes chinois, la France est, dans une large mesure, « le monde occidental ». Ces artistes chinois intègrent leur expérience à l’étranger dans un contexte transculturel tout en restant conscients de leurs propres expériences et sentiments, ce qui mène à une innovation permanente dans leurs propres techniques de création. De même qu’il est difficile de trouver une raison collective pour la venue en France des artistes chinois, leur création ne se présente pas sous une forme de système ou d'aspiration unifiée. Comme c’est le cas pour l’imaginaire chinois de la France, nous imaginons que les artistes chinois en France suivent un parcours « uniforme ».Cette thèse commence par l’exposition biennale de Lyon en 2009, à laquelle j’ai participé et grâce à laquelle j'ai pu progresser dans ma connaissance du fond culturel, historique et social local. À partir de ce groupe particulier d’«artistes d’outre-mer» et selon les textes existants et les déclarations des artistes rencontrés, je discute tout d’abord de l’imaginaire et de la réalité de l'« étranger » en France, puis j’analyse la structure narrative des textes de l’histoire de l’art et des médias de masse sur les « artistes étrangers ». J’interprète alors certaines œuvres et pratiques des artistes, en évoquant leur compréhension de la structure narrative. Ensuite, je discute du marché de l’art et de l’expérience des artistes en son sein. Enfin, j’essaye de comparer l’expérience de l’artiste et les idées sociales et culturelles, et de réfléchir à mes propres recherches et réflexions. / Since the twentieth century, Chinese artists have voyaged to France in pursuit of their dream of art. Even though France is no longer the only art capital in the world today, it glorious history has made its status unshakeable as a symbol which attracted artists eager for opportunities for free creation and diverse forms of inspiration. These artists’ works became an important part of French culture and art, while “French culture and art” as a whole perpetuates the myth of cultural capital.Given the structure of the prevalent discourse concerning « China and the West », the place of Chinese artists in France is somewhat special. These Chinese artists integrate their experience abroad in a transcultural context while remaining conscious of their own experience and feelings; in terms of their own creative techniques they innovate permanently. It is difficult to find a collective reason for Chinese artists’ coming to France; similarly, their work does not constitute a unitary system or ambition. As is the case of the Chinese imaginary concerning France, it is imagined that Chinese artists in France follow a uniform trajectory.This thesis starts with the Lyon biennale exhibition of 2009 which I attended and thanks to which I was able to expand my acquaintance with local social, cultural and historical contexts. Based on this particular group of “overseas artists” and referring to the existing texts and statements of the artists encountered, the imagined experience and the lived experience of the “foreigner” in France are discussed, and then narrative structure of history of art and mass media texts about “foreign artists” are analyzed. Evoking their understanding of this narrative structure, certain artists’ works and practices are then interpreted. There follows a discussion of the art market and the experience of artists within it. Finally there is an attempt to compare the artist’s experience with socio-cultural ideas, and a reflection on the findings of this thesis.

As a consequence of a process of semiotic totalization of public life in totalitarian societies, a system of social, esthetic, ethic and language norms becomes radically altered. This system is partially described in Totalitarian kitsch section, in chapters called Totality, Kitsch, Art, Language, Esthetics and Myth. In a passage called Underground, totalitarian realism and Egon Bondy's and Ivan Vodseďálek's gauche poetry is interpreted as a model reply on totalitarian society conditions. A concept of total poetry is introduced. We ask a question: what actually total poetry is, if not an art? Eleven answers are being sequentially found: 1. it is a complex of apocryphal texts of socialistic realism, 2. it is a game about art, 3. it is culture at the phase of being born, 4. a method of phenomenological reduction, 5. a language game, 6. de-construction of myth, 7. occupation of game position within totalitarian society, 8. a myth, 9. a semiotic clearance process carried out through semiotic rage, 10. symbolization of reality and realization of symbol, 11. call for a game. In the end, we try to define total poetry in relationship to avant-garde, modern art and postmodernism. Three points have been discussed in a chapter called Kitsch and underground: 1. recapitulation of acceptation of Egon Bondy's and...

Investiga-se aqui a formação de um autêntico pensamento contemporâneo na América, tendo como eixo o conjunto da obra político-historiográfica e filosófica desenvolvida pelos marxistas Caio Prado Júnior e José Carlos Mariátegui, a partir das primeiras décadas do século XX. Apresenta-se inicialmente um panorama histórico de sua formação intelectual e militância, para então se explanar os traços característicos de suas originais interpretações relativas à questão nacional. Em seguida, verifica-se as convergências e dissonâncias entre as concepções de ambos sobre a história e a política, bem como acerca da filosofia da práxis ressaltando as importantes contribuições dos pensadores à metodologia dialética e à própria ontologia totalizante do marxismo. Para tanto, examina-se vários de seus trabalhos (em distintos campos do saber), expondo-se suas principais proposições científicas e polêmicas intelectuais-revolucionárias, com o intuito de mostrar como suas criativas análises histórico-dialéticas com que confrontam o eurocentrismo cultural e epistêmico então hegemônico alicerçam seus posteriores aportes também no âmbito universal da filosofia começada por Marx, cujo princípio central é a práxis. Colocando-se do ponto de vista da totalidade, tal postura existencial, teórica e prática, entende a objetividade e a subjetividade como inerentes aspectos fundamentais no processo de emancipação humana e construção de uma nova sociedade em que o Homem possa se realizar em sua plenitude. Propõe-se por fim reflexão sobre a atualidade e urgência da realização da teoria marxista, em um contexto de crise civilizacional (econômica, cultural e mesmo ambiental) que se renova e agrava. / This thesis investigates the formation of an authentic contemporary way of thinking in America, axised at the whole of political-historiographical and philosophical work developed by Marxists Caio Prado Júnior and José Carlos Mariátegui, as from the first decades of the twentieth century. It initially presents a historical overview of the authors\' intellectual formation and militancy and then explains the characteristic features of their original interpretations related to the national issue. Furthermore, it analyzes the convergences and dissonances between the conceptions of both authors on history and politics, as well as on philosophy of praxis highlighting the important contributions of them to Marxism\'s dialectic methodology and totalizing ontology itself. In order to do so, the thesis examines several of their works (in different fields of knowledge), disclosing their main scientific propositions and intellectual-revolutionary controversies, in order to expose how their historical and dialectical creative interpretations whose which they confront the cultural and epistemic Eurocentrism, hegemonic at the time underpin their posterior contributions also at the universal ambit of philosophy begun by Marx, whose central principle is the praxis. Placing ourselves from the point of view of the totality, such existential posture, theoretical and practical, assumes objectivity and subjectivity as inherent fundamental aspects of the process of human emancipation and construction of a new society in which Man can be realized to its fullness. It is finally proposed a reflection on the actuality and urgent realization of Marxist theory in the context of civilizational crisis (economic, cultural and even environmental) that renews and aggravates itself.

Les Épîtres des Frères en Pureté forment une encyclopédie des sciences philosophiques (au sens hégélien) composée par Aḥmad b. aṭ-Ṭayyib as-Saraḫsī vers 280/894 à partir des travaux effectués par les Frères en Pureté, héritage du « cercle d’al-Kindī ». Le système trouve ses fondations dans l’arithmétique de Nicomaque de Gérase, est composé de la science kindienne, et s’élève sur les préoccupations politiques d’al-Ǧāḥiẓ, mais réalise une construction philosophique originale. Historiquement, une fois démontrée l’unicité du rédacteur, établi qu’Abū Ḥātim puise sa réfutation d’Abū Bakr ar-Rāzī dans la doctrine rasaélienne de l’héritage scientifique des prophètes, compris que les Rasāʾil sont alimentées par le kindisme, repéré que le seul héritier d’al-Kindī apte à cette entreprise est as-Saraḫsī, la comparaison des fragments saraḫsiens avec les épîtres révèle l’identité de style et de doctrine. L’identification de surcroît d’as-Saraḫsī au réviseur de l’Introduction arithmétique de Nicomaque autorise à postuler un système philosophique fondé mathématiquement. Préoccupées par le problème ontologique de la diversité du réel sous l’unité du Créateur, par le problème épistémologique de la divergence des méthodes et des doctrines scientifiques et religieuses malgré l’unité de la vérité et par le problème politique de la discorde malgré l’interdépendance des hommes, les Rasāʾil Iḫwān aṣ-Ṣafā entreprennent d’unifier la multiplicité empirique des êtres, de coordonner les savoirs et de réconcilier les hommes en une communauté vertueuse au moyen de trois concepts mathématiques : par leur origine dans l’émanation des êtres à partir du Créateur exprimée par la suite arithmétique, dans leur structure par la compréhension des analogies et des puissances entre les choses que révèle le rapport harmonique, et dans leur finalité au moyen de l’abstraction géométrique des formes hors de la matière constituée en modèle initiatique des âmes à la séparation d’avec le corps. / The Epistles of Brethren in Purity are an encyclopedia of philosophical sciences (in the Hegelian meaning) and were composed by Aḥmad b. aṭ-Ṭayyib as-Saraḫsī around 280/894. They are based on the work of the Brethren in Purity, which are the social inheritance of the “circle of al-Kindī.” The system itself is based on the arithmetic works of Nicomaque of Gerase. It is full of kindian science and erected on al-Ǧāḥiẓ political concerns. But as-Saraḫsī builds a very particular philosophical object. At the historical level, once we determine that the author is unique, that his views on the scientific heritage of the prophets is largely used by Abū Ḥātim ar-Rāzī to dispute with Abū Bakr, that the epistles are full of kindian elements, that the only al-Kindī’s student able to write such a book is Aḥmad b. aṭ-Ṭayyib as-Saraḫsī, we can compare the text with his fragments and reveal that they both share a particular style and philosophical ideas. So, because as-Saraḫsī is also the corrector of Nicomaque’s Introduction on Arithmetics, we can assume that he gives great importance to mathematics and base his system on it. The Epistles are focused on the ontological problem of the diversity of reality under the reign of the Creator’s unity, on the epistemological problem of contrariety of sciences and religions in methods and beliefs, and on the political problem of adversity of men in spite common interdependence. So they unify the effective multiplicity of beings, order the different disciplines of knowledge and build human reconciliation in the virtuous city, thanks to three mathematical concepts: they rewrite the emanation of beings from the Creator’s spring with the arithmetical sequence, they unify the actual structure of the world with the harmonic relation that rationalizes the different analogies and the mutual powers of their parts, and they educate the soul to its spiritual end with the geometric abstraction of forms from the material.

This study is a thematic-descriptive investigation of the reproduction and transformation of norms in the theoretical discourse on the novel during the 1960s. Primary literature consists of articles and essays published in West German literary and cultural journals 1959-1967. The term ‘discourse’ is applied partly in accordance with Busse/Hermanns/Teubert (1994), the term ‘theory of the novel’ chiefly in accordance with Lämmert (ed. 1984). ‘Ideology’ is not used in the sense of ‘false ideology’ but rather as an umbrella term for various types of value-related statements. From this, the theory-of-the-novel discourse is perceived as an aesthetic-ideological discourse, containing statements directed at the contemporary novel which have clear programmatic function and significant thematic width. The objective of the investigation is to show that specific comprehensive thematic fields – Werteverlust (breakdown and loss of values), Subjektproblematik (‘problematisation of the concept of the subject’), Sprachproblematik (language related problems) and Realitätszerfall (reality loss, breakdown of the reality concept) – bear discursive significance as regards the discussion of literary norms during the 1960s, and that this discussion realises itself as two aesthetic-ideological discourses competing for interpretative precedence. The major issues are: Which reiterated patterns of argumentation, i.e. norm-related categories, concepts and rhetorical patterns, are used in the discourses for diagnoses and programmatic imperatives? How are the comprehensive thematic fields accentuated? What is treated, postulated or set aside as ‘truth’? How - based on the above – is the novel formulated as a ‘problem’ (‘crisis of the novel’)? The investigation confirms that the comprehensive thematic fields are particularly central to the theoretical discussion of literature in the 1960s. This manifests itself as a discursive re-evaluation process which may be characterised as a conflict between an ‘aesthetic-conservative discourse’ and a ‘discourse of change’ (‘Veränderungsdiskurs’) where the right to define and evaluate the novel in terms of literature is at stake. It is in the collision between these two discourses and their largely incompatible concepts of literature that the novel discursively becomes a ‘problem’. The discourses are maintained by specific reiterated patterns of argumentation which in the investigation are subsumed under the following headings: die negative Modernität (negative modernity), das bloß Moderne (phenomena of ‘fashionable character’, simply expressing trends) and das Überzeitliche und das Ganze (the timeless and the totality); respectively die traditionelle, bürgerliche Gesellschaft (traditional bourgeois society), die technisch-sprachliche Realität (technolinguistic reality) and der subjektive, sprachliche Realitätsausschnitt (‘subjective language based slice of reality’). The first group of argumentation patterns is linked to universal, ‘eternal’ and essential categories and inherited norms, ethical-aesthetical educational grounding and a ‘rhetoric of the spirit’ or of ‘mankind’, oriented around a specific reception of German Classicism and Idealism, a downgrading of the present and an upgrading of the past. The other group embraces an incipient constructivism, contextually bound and societal categories and norms as well as implicitly critical programmes of enlightenment, devaluing the past and ‘acknowledging’ rather than criticising the present. In doing so they tend rather to realise a rhetoric of the linguistic and political reality and of more modest programmatic proposals.