Doctorado en filosofía, mención en estética y teoría del arte / La presente tesis se propone analizar las diversas modulaciones que alcanza en la obra de Walter Benjamin el concepto de «aura», cuyos efectos han sido en general calibrados a partir de las formulaciones expresadas en su famoso ensayo «La obra de arte en la época de su reproductibilidad técnica», y que en esta ocasión son contrastados con un conjunto de textos que, en mayor o menos medida, complejizan esas afirmaciones. En este sentido, se intenta demostrar que el concepto de aura no es un concepto caduco, vinculado a ciertas formas artísticas arcaicas, sino que posee plena actualidad para pensar en general los problemas atingentes a la visualidad moderna y contemporánea, y en particular algunas cuestiones referentes a la historia del arte. A partir de lo anterior, esta tesis establece una serie de cruces entre las nociones de aura, experiencia, imagen e historia, anudándolos en el concepto de «imagen latente», que viene a designar el modo en que lo que Benjamin llama la «historicidad específica» de una obra de arte, adviene a sus condiciones propicias de legibilidad en una época determinada / Marzo 2019

Programa de Pós-Graduação em Filosofia. Departamento de Filosofia, Instituto de Filosofia, Artes e Cultura, Universidade Federal de Ouro Preto. / Submitted by giuliana silveira (giulianagphoto@gmail.com) on 2016-02-25T16:55:50Z No. of bitstreams: 1 DISSERTAÇÃO_ConceitoBarbárieWalter.pdf: 1424127 bytes, checksum: d0e905224ab92eebbd8d69d7d6ee904a (MD5) / Rejected by Oliveira Flávia (flavia@sisbin.ufop.br), reason: A licença está correta? on 2016-04-08T15:42:47Z (GMT) / Submitted by giuliana silveira (giulianagphoto@gmail.com) on 2016-04-15T17:00:48Z No. of bitstreams: 1 DISSERTAÇÃO_ConceitoBarbárieWalter.pdf: 1424127 bytes, checksum: d0e905224ab92eebbd8d69d7d6ee904a (MD5) / Approved for entry into archive by Oliveira Flávia (flavia@sisbin.ufop.br) on 2016-04-20T14:20:05Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_ConceitoBarbárieWalter.pdf: 1424127 bytes, checksum: d0e905224ab92eebbd8d69d7d6ee904a (MD5) / Made available in DSpace on 2016-04-27T12:04:04Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_ConceitoBarbárieWalter.pdf: 1424127 bytes, checksum: d0e905224ab92eebbd8d69d7d6ee904a (MD5) Previous issue date: 2015 / Esta pesquisa busca apresentar um conceito de barbárie na obra do filósofo Walter Benjamin. Quando, em seu ensaio “Experiência e Pobreza” (1933), ele diz da necessidade de pensar um “conceito novo e positivo de barbárie”, tomamos a sério a tarefa de conceituá-la. Para isso, adotamos um paradigma estético de pensamento, a “constelação”, a fim de chegar a um conceito que faça jus ao pensamento do filósofo. No primeiro capítulo, tentamos conceituar a “constelação” e sua aparição na obra benjaminiana. Partindo disso, buscamos, no segundo capítulo, os elementos que compõem esse conceito, tentando diferenciar aquilo que comporia os extremos da constelação da barbárie, tais como: violência, direito, justiça, poder, destino, contínuo, interrupção, estado de exceção. No terceiro capítulo, agora relacionando a barbárie com a cultura, tentamos encontrar os elementos em que ambos se tocam, e ao mesmo tempo, compõem o conceito de barbárie, tais como: memória, esquecimento, experiência, pobreza, relacionados num tipo de produção artística que tenta construir uma outra tradição: os antimonumentos. Com a apresentação desse conceito, o que podemos pensar a respeito de Benjamin, é o desejo de criar desvios e colocar em questão a escrita da história, partindo não da tradição que engendra a história dos vencedores, e sim, interrompendo-a a fim de construir uma outra história, que faça jus à memória da “corveia sem nome”. ______________________________________________________________________________________ / ABSTRACT : This research aims to present a concept of barbarism in the work of the philosopher Walter Benjamin. When, in his essay “Experience and Poverty” (1933), he talks about the need of thinking a “new and positive concept of barbarism”, we take seriously the task of conceptualizing it. For that, we adopt an aesthetic paradigm of thought, a “constellation”, in order to come to a thought that does justice to the thought of the philosopher. In the first chapter we try to conceptualize the “constellation” and its appearance in Benjamin’s work. From this point, we search, in the second chapter, the elements that compose this concept, trying to differentiate what would compose the extremes of barbarism´s constellation , such as: violence, right, justice, power, destiny, continuous, interruption, exception state. In the third chapter, now relating barbarism and culture, we try to find the elements on which both meet, and at the same time, compose the concept of barbarism, such as: memory, forgetfulness, experience, poverty, related in a kind of artistic production that try to build another tradition: the “antimonuments”. With this concept presentation, what we can think about Benjamin is the desire of creating diversions and putting into question the writing of history, going not from the tradition that engenders the winner’s history, but interrupting it in order to build another history, that does justice to the memory of “anonymous toil of others”.

Made available in DSpace on 2014-06-12T16:32:35Z (GMT). No. of bitstreams: 2 arquivo97_1.pdf: 5393370 bytes, checksum: a1a1a3b435e484114203436097e999b1 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2009 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Com base no pensamento benjaminiano sobre a imagem e o tempo, traçamos um paralelo entre o conceito de fotografia e a noção de ruína. Evidenciamos o que há de comum nessa analogia com o objetivo de aprofundar a discussão da questão: como a fotografia, ao se caracterizar como ruína, dialoga com a descontinuidade do tempo? Nesse caminho, percebemos no legado de Walter Benjamin pontos-chave para construirmos nossa fundamentação, tais como: o conceito de história, a memória, a ruína alegórica barroca e a própria fotografia. A contribuição do filósofo nos permitiu ligar tais temas aos liames da teoria fotográfica tão discutida por Roland Barthes, Philippe Dubois, André Bazin, dentre outros que balizaram a fotografia sob a ótica do vestígio, do rastro do real. Interessou-nos perceber a proximidade entre imagem fotográfica e o tempo descontínuo que se estabelece na dialética entre passado e presente, aparência e ocultação, morte e vida. Indo além, também relacionamos fotografia e história, que põem em evidência duplos como: documento/monumento e verdade/mentira. Ao longo do texto, dedicamo-nos a apresentar imagens de fotógrafos que trabalham, de formas diversas, com a fotografia como ruína. São eles: Eugène Atget, Christian Boltanski e Rosângela Rennó. Essa seleção de imagens, sobretudo, reforça temas benjaminianos que abordamos. Buscamos, então, construir e fundamentar um texto com o intuito de chegar mais próximo daquilo que seria, para Benjamin, a imagem fotográfica de seu pensamento

Walter de la Mare has always been known as a writer of fantasy and supernatural fiction. It is proposed here that he is, in fact, concerned with exploration of the conscious and unconscious selves. His exploration is more philosophical than psychological in that he makes no use of Freudian formulas. He follows rather the intuitive approach of Jung but uses the media of fiction and, thereby, imagery, to show the possibilities of man's infinite mind. He uses images of doors, windows, water and mirrors to show how the conscious and unconscious selves, the real and astral selves, are divided by lack of understanding, by refusal to accept the other, and by total denial of one another. But he shows also how they may be united across these barriers once they are seen as thresholds between one and the other, that union of the two selves as one integral whole makes for happiness in understanding. He uses the present as an image of the threshold between past and future in which the individual stands in command of primeval memory and his future experience. In all his prose fiction, de la Mare is concerned with man in his present, real, world crossing the boundary into the world of the spirit, the astral world. The real self, the physical human body, serves as container for the spiritual, though the make-up of that unconscious self should, ideally, be seen in the face. It is attainment of that ideal which is a major theme in de la Mare's prose fiction. / Arts, Faculty of / English, Department of / Graduate

This research represents the first complete attempt to deal solely with “Lizards in Jamshyd’s Courtyard” as an autonomous text. The format is based on the chapters of Hans Skei’s Reading Faulkner’s Best Short Stories. The first part presents a detailed description of the most complete manuscript and typescript versions of “Lizards,” most of which are held in the University of Mississippi’s Rowan Oak Papers collection. The second part presents a critical reading of “Lizards in Jamshyd’s Courtyard,” based on the published version of the story, using the textual study for support. I draw on Walter Benjamin’s essay “The Storyteller” to provide perspective on the function of storytelling in the modern world and Faulkner’s use of storytelling as something more than a simple integration of Southwestern humor motifs, illuminating how Flem corrupts/disrupts the community’s oral traditions to achieve his goals.

Was there such a thing as "orthodoxy" in earliest Christianity? That was the question raised by Walter Bauer in his classic monograph, Orthodoxy and Heresy in Earliest Chrsitianity. Bauer argued that the traditional Eusebian reconstruction of the primitive church was markedly defected, and against that reconstruction, he contended that heretical movements of the second century had as good a claim to apostolic traditions as did the catholic movement. Although I agree with Bauer that the traditional reconstruction of the early church is unsound, I do not find that Bauer has offered a reconstruction engendering any firmer confidence. I challenge Bauer at two points. First, in chapter three, I attempt to determine whether Bauer's reconstruction makes sense of all the evidence. Then, I analyze the process by which groups come to self-consciousness. That is a two-sided matter. One is the fixing of a pool of acceptable diversity in which a group relates itself to the larger world of diversity (chapter four). The second is the process by which a group excludes various other diverse positions (chapter 5). Attention to these matters makes possible a more sensitive evaluation of the complexities that confronted the Christian community as it sought to define itself. Having confined my investigation to the most significant area of the Christian mission at the turn of the century, my work provides a fresh reconstruction of the primitive church in western Asia Minor at a time when the process of self-definition was becoming the controlling issue. / Thesis / Doctor of Philosophy (PhD)

No description available.

Univ., Diss.--Frankfurt (Main), 2003.

Dissertation--Katholisch-Theologische Fakultät--Mainz--Johannes Gutenberg-Universität, 2000. / Bibliogr. p. 307-331.

Thesis (doctoral)--Universität, Lausanne, 2001. / Includes bibliographical references (p. 206-211).