Der Dialog über den Rhein hinweg handelt von Griechenland, und die komplette Übersetzung der platonischen Dialoge durch Victor Cousin ins Französische - nach dem Vorbild Schleiermachers in Deutschland - bildet den entscheidenen strategischen Einsatz auf dem Schlachtfeld der europäischen Philosophie.

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Thesis advisor: Boyd T. Coolman / The anonymous Speculum de mysteriis ecclesiae from the 12th century abbey of St. Victor has often been associated with the tradition of medieval liturgical commentaries, but this dissertation proposes reading it primarily as a general treatise on the spiritual life. Its unique Victorine emphasis on the combination of intellect and affect suggests a particular theology of the sign: the real ontological status of the sign relying not on Dionysian hierarchy but on ecclesial contemplation. Through the newly developed sacramental understanding of res et sacramentum, the Speculum suggests that signs have enduring value as signs that goes beyond their function as signifiers. The attainment of the signified, in other words, is only part of their gift. Their “sweetness” is found in an appreciation of their mode of signification — a signification that, the Speculum suggests, endures somehow even in heaven as a non-necessary gracious source of delight. That is, external and visible things in the Church have value not merely because they point us to particular invisible things (what the signs “mean”) but because they teach us the Church’s economy of grace. The Church, then, and her sacramental economy, are central not just to the practical life of individual salvation, but to the meaningfulness of all creation. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

Les lecteurs de Victor Hugo s'accordent à penser qu'il est un regardeur. Mais de quel regardeur s'agit-il ? Pour ce poète qui voyage, l'action de voir constitue, plus qu'un goût, un principe esthétique et poétique. Si Hugo s'attache à un beau paysage, c'est en vue d'en faire resurgir ce qui, tout en échappant au regard, prend la forme d'une pensée. Pour le dire autrement, le réel visible est, pour lui, tant régi par la Vérité cachée qu'il ne cesse de mettre en jeu l'existence du sujet. L'évocation d'un paysage est en ce sens la véritable pierre de touche du sujet : le paysage représente, comme inévitablement, le moi qui essaie de participer aux réseaux de l'univers. C'est pourquoi notre étude avait pour objet en particulier les paysages du voyage et de la poésie, afin d'examiner un moi et des moi intertextuels chez Hugo. La relative rareté des études sur le je en voyageur s'explique par une tradition critique qui le considère comme une incarnation immédiate d'un moi unique de l'auteur. Toutefois, on ne saurait trop souligner que, malgré les apparences, le je dans les textes de voyage est protéiforme non moins que le je poétique. Cette thèse dont les réflexions s'articulent autour des regards hugoliens vise ainsi à montrer la complexité du moi de Hugo, et à apporter une lumière nouvelle sur ses poèmes lyriques / Victor Hugo's readers agree that he is a viewer. But what viewer is it? For this poet who travels, the action of seeing constitutes, more than a fondness, an aesthetic and poetic practice. If Hugo attaches to a beautiful landscape, it is in order to bring out the truth escaping the gaze. To put it another way, the visible reality is, for him, so governed by the hidden truth that it emphasise the existence of the subject. The evocation of a landscape is in this sense the true touchstone of the subject: the landscape represents, as inevitably, the ego that tries to participate in the principle of the universe. This is why our study was particularly concerned with landscapes of travel and poetry, in order to examine an ego or egos intertextual in Hugo. The relative rarity of the studies on the traveler is explained by a critical tradition which considers him an simple embodiment of an ego of the author. However, it can not be over-emphasized that, in spite of appearances, the I in the travel texts is protean no less than the poetic I. This thesis whose reflections are articulated around the Hugo's landscapes aims thus to show the complexity of the ego of Hugo, and to bring a new light on his lyrical poems

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Standard Configural Frequency Analysis (CFA) is a one-step procedure that determines which cells of a cross-classification contradict a base model. Selecting these cells out does not guarantee that the base model fits. Therefore, the role played by these cells for the base model is unclear, and interpretation of types and antitypes can be problematic. In this paper, functional CFA is proposed. This model of CFA pursues two goals simultaneously. First, cells are selected out that constitute types and antitypes. Second, the base model is fit to the data. This is done using an iterative procedure that blanks out individual cells one at a time, until the base model fits or until there are no more cells that can be blanked out. In comparison to standard CFA, functional CFA is shown to be more parsimonious, that is, fewer types and antitypes need to be selected out. In comparison to Kieser and Victor's CFA which focuses exclusively on optimizing the fit of the base model, functional CFA needs, in most cases, more iteration steps, but the overall goodness-of-fit for the base model is better. The methods are illustrated and compared using data examples from the literature. (author's abstract) / Series: Research Report Series / Department of Statistics and Mathematics

Dissertation--Berlin--Humboldt-Universität, 2004. / Bibliogr. p. 357-385.

Texte remanié de: Dissertation--Kunsgeschichte--Berlin--Freie Universität, 2003. / Bibliogr. p. 211-223.

Reproduction de : Thèse de doctorat : Littératures françaises et comparée : Paris 4 : 2006. / Titre provenant de l'écran titre. 152 références bibliographiques.