Made available in DSpace on 2014-06-11T19:35:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-11-26Bitstream added on 2014-06-13T20:45:51Z : No. of bitstreams: 1 molina_ja_dr_assis.pdf: 1475951 bytes, checksum: 90692993ff4bb87a0f8ab332fa2e4b1e (MD5) / No século XIX Viena assiste uma verdadeira revolução social, política e cultural. Surge a psicanálise que encontrou neste momento e neste lugar condições privilegiadas para seu nascimento. Freud construiu uma teoria singular com conceitos como inconsciente, pulsão e um método que incluía a escuta, associação livre e transferência. As histéricas foram as protagonistas desta criação. O olhar atento e solidário de Freud encontra a razão do sofrimento delas: o cerceamento de seus desejos. A psicanálise revoluciona o tratamento das histerias, mas na proposição do conceito de feminino se enclausura numa lógica fálica. Assim, a conselho do mestre, fomos olhar a política, a sociedade de Viena, a literatura de Schnitzler e a pintura de Klimt para poder entender o porquê da insistência fálica do criador da psicanálise / In the nineteenth century Vienna watch a genuine social revolution, political and cultural. It appears the psychoanalysis that found at this moment and this place privileged conditions for its birth. Freud constructed a unique theory with concepts like unconscious, instinct and a method which included the listening, the free association and the transference. Hysterics were the protagonists of this creation. The intent and solidary look of Freud finds the reason of the suffering of them: the restriction of their desires. Psychoanalysis has revolutionized the treatment of hysteria but in proposing the concept of feminine encloses a phallic logic. Thus, following the advice of the master, we were looking at politics, society of Vienna, the literature of Schnitzler and the painting of Klimt to understand why the phallic insistence of the creator of psychoanalysis

Em The Logical Syntax of Language (1937) R. Carnap elabora o seu Princípio de Tolerância Lógica. Trata-se de um princípio lógico-filosófico de grande alcance, que condensa as posições mais consistentes do autor acerca do significado filosófico da pesquisa em lógica formal. A despeito do fracasso do projeto geral de uma filosofia sintática, esse princípio permaneceu como base de todo o pensamento posterior de Carnap. Mais do que isso, influenciou boa parte do melhor trabalho realizado em lógica até hoje, tendo deixado marcas duradouras sobre a filosofia analítica. Neste trabalho, buscamos examinar a origem do Princípio de Tolerância no pensamento de Carnap, como melhor caminho para estabelecer seu significado e implicações. / In The Logical Syntax of Language (1937) R. Carnap develops his Principle of Tolerance in Logic. This is a far-reaching principle for the whole philosophy of logic, and which sums up Carnaps most consistent tenets concerning the philosophical meaning of research in formal logic. Despite the failure of the general project of a syntactical philosophy, the Principle of Tolerance remained the basis for the whole of Carnaps subsequent thought. Moreover, it proved influential in a good deal of the most important work done in logic to this day; it also left permanent traces in analytic philosophy. In this work, we aim at examining the origins of the Tolerance Principle in Carnaps thought, as the best way to establish its significance and implications.

Le Théâtre des Orgies et des Mystères d’Hermann Nitsch s’inscrit dans le contexte douloureux de l’Autriche post fasciste. En effet, alors que cette dernière affiche dès l’annexion de 1938 un collaborationnisme « joyeux », elle s’est, au lendemain de la guerre, victimisée en déniant sa responsabilité et sa participation active aux crimes nazis préférant l’imputer entièrement à son voisin germanique.Aussi, c’est dans cette atmosphère nauséabonde et face au silence de la majorité des intellectuels de l’époque, ou’Hermann Nitsch va mettre en place son Theater à travers un langage plastique d’une grande radicalité.Cependant, contrairement à ce que l’on pourrait penser, il ne s’agit pas d’un art politique. En effet, passé le premier choc visuel, le Theater est avant tout philosophique et anthropologique.L’homme moderne désacralisé ne serait plus selon l’artiste en harmonie avec ce qui le constitue dans son essence. Les sociétés postmodernes, jugées par Nitsch comme aliénantes, seraient à l’origine d’une rupture de sens entre le matériel et le spirituel. L’expérience du Theater propose ainsi à l’individu, par le rituel et la mise en exergue des principes anthropologiques d’invariances de se débarrasser des déterminismes sociétaux afin d’accéder, à une connaissance continue (Bataille).Ainsi, le Théâtre des Orgies et des Mystères est une oeuvre multi référentielle et transhistorique se situant au carrefour entre micro et macrohistoire. L’artiste affirme que « le processus de création et le Theater doivent contribuer à former une unité avec le tout » afin « d’en finir avec la séparation entre immanence et transcendance ». Aussi, chacune des actions proposées par Nitsch consistent en des rituels tantôt de vie tantôt de mort ayant précisément pour objectif de rompre avec l’antagonisme immanence/transcendance. Réactualisant un langage symbolique inné (au sens où l’entend Freud) et des traditions anciennes, le Theater d’Hermann Nitsch tente de démontrer à l’individu moderne que l’univers qui l’entoure, malgré sa diversité, est un tout cohérent relevant d’une continuité survivante auquel il participe. / Hermann Nitsch's Theatre of Orgies and Mysteries (Orgien Mysterien Theater) grew out of the painful context of post-Fascist Austria. Although Austria had welcomed annexation with Germany in 1938 and the Austrians had been eager collaborators with the Nazis from the outset, as soon as the war was over, they portrayed themselves as victims, denying responsibility for or active participation in Nazi crimes, preferring to blame everything on their German neighbours.In this loathsome atmosphere, in which the majority of the intellectuals of the time remained silent, Hermann Nitsch set up his Theater, using a highly radical, visual language.Contrary to what one might suppose, however, it was not political art.And in fact, after the initial visual shock, the Theater was, above all, philosophical and anthropological. Nitsch maintained that modern man, stripped of mythology, was no longer in harmony with his essence. Postmodern societies, which he deemed alienating, were responsible for a semantic breach between the material and the spiritual. The experience of the Theater, through ritual and its emphasis on anthropological principles of invariance, was a way for the individual to rid himself of societal determinism in order to gain access to continuous knowledge (Bataille). Thus, the Theatre of Orgies andMysteries is a multi-referential, transhistoric work situated on the cusp of micro- and macro-history. Nitsch has stated that "the creative process and the Theater must contribute towards forming a unity with the whole" so as to "erase the difference between immanence and transcendence". All of the activities proposed by Nitsch consist in rituals, sometimes of life and sometimes of death, but all with the aim of erasing the immanence/transcendence dichotomy. Hermann Nitsch's Theater adapts inborn symbolic language (in the Freudian sense) and old traditions in an attempt to demonstrate to the modernindividual that the universe that surrounds them, despite its diversity, is a coherent whole, a surviving continuity in which they participate.a

This master diploma thesis is concerned with Hitler's stay in Vienna during the period from 1908 to 1913 and the way in which his experiences from this period influenced the anti-Semitic views presented especially in his crucial work, Mein Kampf. The first, introductory chapter describes Vienna at the turn of the 20th century and also factors leading to the emergence of the specific atmosphere of this period, called fin de siècle. The focus of the second chapter is put on the issue of Jewish population in Vienna, i.e. a growing number of Jews in the city, the difference between the two basic groups of Jews (east and west), and especially the sorts of anti-Semitism which could be encountered in Vienna at that time. The third, last chapter is dedicated to Adolf Hitler, his life before his arrival to the capital, and his way of life and occupation in Vienna. The last part of the chapter is focused on the anti-Semitic quotations in Mein Kampf and their probable sources in Hitler's Viennese experiences. The aim of the thesis is to determine how Hitler's stay in Vienna influenced his later anti- Semitic attitude.

Considering that the concept of sustainable development has a function of normative integration in international law, Article 31(3)(c) provides a legitimate basis of such systemic integration. At the same time, it displays the limitations of the harmonious solution drawn from its application because it works only within the rigid consent-based framework in which the referenced rules should be legal “rules” and should be “applicable in the relations between the parties.” International jurisprudence suggests supplemental elements to overleap the consensual limitations in the application of Article 31(3)(c): a generic term and the object and purpose of the treaty. These text-based and the object-and-purpose-based developmental interpretative techniques enable interpreters to consider legal rules that are not “any relevant rules of international law applicable in the relations between the parties” under Article 31(3)(c).

The Vienna Tonkünstler-Verein (1885-1929) was established for the sole purpose of providing extensive support to the music and musicians of Vienna. The society became renowned in Vienna for its outstanding performances of chamber music and counted among its members many of the city’s foremost musicians and composers. Johannes Brahms had a significant influence on the society as its honorary president and assisted in establishing its composition competitions, aimed at promoting and reviving under-developed chamber genres. Of particular interest to clarinetists is the Verein’s competition of 1896, which aspired to promote chamber music literature for wind instruments. Brahms’s recently completed chamber works for clarinet were clearly influential in fin-de-siècle Vienna; for of the twelve works chosen as finalists in the competition, ten included the clarinet in the chamber combination.The purpose of this document is to provide an English-language history of the Vienna Tonkünstler-Verein and a thorough account of its1896 competition based on my study of the society’s annual reports. In addition, this document will provide the first published account of the anonymous submissions for the 1896 competition. It is my hope that this paper will serve as a springboard for future endeavors aimed at uncovering the identities of the anonymous finalists for this competition.

In this Master’s thesis, I conduct a micro-historical study of deaconess and missionary Greta Andrén (1909-1971) and her work for Svenska Israelsmissionen, the Swedish Israel Mission, in Vienna during the National Socialist occupation. By examining letters as well as select publications, I try to uncover her motives and how she found meaning in her work, and how this could be seen in relation to the origins of the Mission in the Swedish Low Church awakening and certain apocalypticviews on the Jews. Ultimately, I conclude that “Sister Greta’s” world-view was centred around the children and youth she cared for, because she found in them signs of God’s will, as well as teachers and examples of how a good Christian should relate to the Lord. Her capable personality expressed itself through action, and it was through diligent work that she upheld an everyday world filled with meaningful signs of divinity.

No abstract / Mini Dissertation (LLM)--University of Pretoria, 2017. / Mercantile Law / LLM / Unrestricted

No description available.

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