Dissertations / Theses on the topic 'Alexandrie moderne'

On s'attache à montrer dans cette thèse comment le mythe d’Alexandrie, après l'expédition de Bonaparte, a permis l'éclosion d'une littérature, dans la mesure où les mythes meurent en créant des romans, et des poèmes. On étudie comment s'opère une création mythique continue jusqu'à nos jours, en examinant les différentes composantes du mythe qui, dans l'espace et dans le temps, s'organisent en différents mythèmes (la sensualité, etc. ). On s'aperçoit que ce mythe est en fait une projection du regard occidental dont les présupposés et les obsessions déforment et altèrent la vision de la ville. Ce même regard, en se référant à l'image de la ville antique comme à un archétype de la civilisation occidentale, transforme la ville en un mythe littéraire qui exprime en particulier son hantise de la décadence. A cette vision imaginaire idéologiquement orientée s'oppose la réalité souvent décevante des relations de voyage et le point de vue arabe moderne illustré par Naguib Mahfûz
In this thesis, our purpose is to show how the myth of Alexandria, after Bonaparte’s invasion, permitted the birth of a literature, in so far as myths, by dying, create novels or poems. One studies how the process of a continuous mythic creation operates throughout our times, in examining the different elements of the myth; these elements, in space and time, organize themselves in various "mythems" (sensuality, etc. ). One finds out that this myth is in fact a projection of an occidental point of view, whose prejudices and obsessions alter the vision of the city. This very same point of view, by referring to the image of the antic city as an archetype of the occidental civilization, transforms the city into a literary myth which expresses in particular its obsession with decadence. This imaginary ideologically oriented vision stands in contrast to the often-deceptive reality of travel writings as well as of the Arabic point of view expressed by Naguib Mahfuz

La cartographie d’Alexandrie constitue une source documentaire inestimable et incontournable pour l’étude de l’histoire de la ville. La présente recherche cartographique propose à partir d’un ensemble de 122 plans, issus d’un corpus de près de 700 plans, d’étudier l’histoire des représentations d’Alexandrie du milieu du XIXe siècle au milieu du XXe siècle, selon quatre perspectives : les plans publiés dans les annuaires et les guides, la production cartographique de la famille Nicohosoff, les plans d’assurance ainsi que la réorganisation de la ville pendant la Première Guerre mondiale. La cartographie a été associée à d’autres sources historiques, telles que les mémoires et les relations de voyage, les gravures, les photographies, dont les photographies aériennes, la presse, les guides et les annuaires, ainsi qu’à des archives familiales et à une importante prospection sur le terrain.Une contextualisation des plans, par l’identification ou la vérification de l’auteur, de la date, et le cas échéant de l’ouvrage source, ainsi qu’une comparaison des plans entre eux permet de mieux appréhender ces documents et de les utiliser d’une manière plus adaptée. Une attention toute particulière est portée aux auteurs. Il s’agit ainsi de lier l’histoire des hommes à l’histoire de la ville. D’autres thèmes ont été également abordés tels que ceux des copies incessantes, avec l’identification d’un certain nombre de ces sources, de la concurrence, du droit de propriété et des différents acteurs de la cartographie
The cartography of Alexandria represents an invaluable and essential documentary source for the study of the town’s history. The present research is based upon an ensemble of 122 maps chosen from a corpus of almost 700 and intends to study the history of representations of Alexandria from the mid-19th century until the mid-20th century from four perspectives: maps published in almanacs and guidebooks; the cartographic production of the Nicohosoff family; insurance plans; and those developed in relation to the redevelopment of the town during the First World War. The cartography has been associated with other historical sources, such as memoires and travelogues, engravings and photography, including aerial photography, the press, guidebooks and almanacs, as well as family archives and wide-scale investigation on the ground.Setting the maps in context, though identifying or verifying the author, the date and, if not, the source work, alongside comparisons between maps will allow for a better understanding of the documents and manner of their most appropriate use. Particular attention is paid to the authors in order to link the history of men with the history of the town. Other themes are also tackled, such as that of the incessant copying, with the identification of a certain number of these sources, the competition involved, proprietary rights and the different actors within the cartography

Pénélope Delta (1873-1941) s'inscrit parmi les écrivains liés à l'Alexandrie des temps modernes. Inconnue à l'étranger, elle est réputée en Grèce comme première démoticiste de la littérature enfantine et comme auteur engagé dans les luttes qui ont jalonné la Grèce de son temps. Or, elle a passé l'essentiel de sa vie, et la part la plus marquante, dans cette cité cosmopolite, ouverte sur le monde, mais isolée entre mer et désert. A travers ses oeuvres autobiographiques en cours de publication, cette femme qui se voulait grecque avant tout se révèle une véritable Alexandrine. De la ville mythique de Cavafy, Durrell, Forster, Ungaretti et Tsirkas, la fille du richissime et omnipotent Em. Benaki donne une autre image : une Alexandrie au quotidien, vue par une enfant puis une femme prisonnière de la haute bourgeoisie alexandriote qui fondait sa richesse et son pouvoir sur le commerce du coton. Vision aussi partielle et partiale que les autres. Longtemps restée en marge et redécouverte récemment à l'occasion de la question macédonienne qui occupe largement son oeuvre, c'est sous un autre angle que Pénélope Delta apparaît dans ses relations avec son Alexandrie natale
Penelope Delta (1874-1941) must be looked as one of the writers linked to modern Alexandria. Unknown abroad, she is famous in Greece for having been the first person who wrote in demotic for children and as an author she was involved in the fights that punctuated Greece's history in her own time. In fact, she sent the most important part of her life in this cosmopolitan city, open to the world but apart, between sea and sand. Reading her autobiography in process of publishing, one would discover as a true Alexandrine this woman who wanted above all to be recognized as a Greek. The mythic town of Cavafy, Durrell, Forster, Ungaretti and Tsirkas is pictured in another way by the daughter of wealthy and powerful Emmanuel Benákis : an everyday Alexandria, seen by a child and then a woman from the jail of the Alexandriot upper-class whose richness and power was based on tie cotton trade. Vision as partial as the others. Left on the fringe for a long time and recently brought back to topical literature with the Macedonian problem widely exposed in her books, Penelope Delta is revealed from another point of view through her relationships with her birthplace, her own Alexandria

Ce doctorat a pour ambition de connaître et d'apprendre à connaître les formes modernes de cosmopolitisme, c 'est-a. -dire les visions du monde et de l'humain en genèse dans les sociétés modernes. Nous partons du postulat que ces sociétés entretiennent une relation problématique avec la définition du monde et de l'humain. Notre démarche consiste à élaborer un concept utile théoriquement et pratiquement pour identifier dans les sociétés modernes les visions du monde et de l 'humain qui se construisent et comprendre les modalités de telles constructions sociales (en l'occurrence, a. New York. Pristina et Alexandrie) Nous chercherons à comprendre comment ces manières de penser et de sentir déterminent le sens des actions sociales. Avant de penser une forme d'acosmisme inhérent aux sociétés modernes ou une éventuelle crise de la culture, il s'agit pour nous de comprendre comment les visions du monde et de l'humain se construisent à l'échelle de sociétés concrètes et cohérentes.

In the second half of the 19th century, Alexandra Princess of Wales and later Queen Consort to her husband Edward VII became one of the most recognizable women of the period. Her image was circulated around the globe by the million and her every movement recorded daily in The Times. Despite her contemporary celebrity, she has become a lesser-known figure in modern history. With little in the way of political influence, Alexandra recognized that her ppearance in public was powerful. She used clothes throughout her life to both display and disguise herself. despite the centrality of dress in her life, no other study has ever examined her remaining items of clothing until now. This thesis considers in detail those garments that have survived from Queen Alexandra’s wardrobe, most of which, owing to their geographic spread, have never been studied before. This object-led approach allows an analysis of a life, which has been considered before in more traditional biographies. However, the close examination of the garments and of Alexandra’s approach to her clothing reveals aspects never before considered. It has also prompted the consideration of previously under researched areas such as royal laundry, the role of the dresser and the logistics of 19th century royal travel. As a multi-disciplinary project it has shed new light onto Alexandra’s life and dispelled certain apocryphal stories which only the material culture itself could reveal.

That Christianity came to Ethiopia in the fourth Century at the time of King Ezana was fairly established by reliable historical accounts and archaeological findings. The arrival of Christianity also marked the introduction of Cyrillo-Alexandrian Christology. Athanasius the Great ordained the first bishop of Axum but it was his distant successor Cyril that had the final say on Ethiopian Christology through the translation of his polemical works against Nestorius of Constantinople into Ge’ez by the Nine Saints. Their work was seminal in firmly establishing Cyrillo-Alexandrian Christology in Ethiopia. In the view modern Ethiopian theologians, the arrival of the Jesuit missionaries in the 16th century was a challenge to Cyrillo-Alexandrian tradition by promoting a Chalcedonian alternative. The strategic mistakes committed by the Jesuits aside, the main reason for Ethiopian theologians rejection of Roman Catholicism was its perceived incompatibility with Cyrillian Christology. It was the same commitment to and the quest for Cyrillo-Alexandrian orthodoxy on the part of modern Ethiopian theologians that led to bloody christological disputes that lasted for over three hundred years and the formation of schools of thoughts (cultures) after the expulsion of the Jesuits. The driving force for the development of Ethiopian Christology was loyalty to the Cyrillo-Alexandrian tradition rather than theological innovations triggered by the need to address the challenges of the society. One of the schools of thought, Karra Haymanot, was declared authentic representative of the Cyrillo-Alexandrian tradition at the Council of Borumeda in 1878 to the dismay and persecutions of the other groups; namely, Qïbat and S’ägga. It was, however, the contention of this thesis that the underlying factor behind the decisions of Borumeda was political considerations rather than theological reflections and we propose that all the three traditions sufficiently meet the requirements Cyrillo-Alexandrian orthodoxy.

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This dissertation belongs to area of literature and literary criticism and deals specifically about analysis of Romanesque prose in Fado Alexandrino, by António Lobo Antunes. In this study, we sought to make an immanent analysis of the work, however without disregarding the ideological, political, historical and social aspects that permeate the romance and are of fundamental importance to the understanding of the fable. The analysis presents a theoretical-analytical procedure, in a way that the privileged theoretical aspects were applied, by aiming: to identify in the romance the characteristics that define it as a post-modern literature; to approach the hybridization of genders: prose and poetry, the polyphony of voices, and also the aspects of intertextuality and, of course, the strong political and social contents. The results obtained allow concluding that Fado Alexandrino cannot be characterized only as Romanesque prose nor framed in a predetermined structure. It is a complex construction in which the author uses features of hybridism, heteroglossy and interdiscursivity elements radiographed by Mikhail Bakhtin and by him denominated as prosaic practices that different uses of language make of discourse, offering them as manifestation of plurality. At last, we can affirm that Fado Alexandrino is a work that gives voice to characters that speak, discuss ideas and seek to reposition themselves in a country that attempted a transformation in ten years that has not occurred for five centuries
Esta dissertação pertence à área da literatura e crítica literária e trata, especificamente, da análise da prosa romanesca em Fado Alexandrino, de António Lobo Antunes. Procurou-se, neste estudo, fazer uma análise imanente da obra sem, entretanto, desconsiderar os aspectos ideológicos, políticos, históricos e sociais que permeiam o romance e que têm fundamental importância para a compreensão da fábula. A análise apresenta um procedimento teórico-analítico, de forma que os aspectos teóricos privilegiados foram aplicados tendo em vista: identificar no romance as características que o definem como obra literária pós-moderna; abordar a hibridização dos gêneros prosa e poesia, a polifonia de vozes, além dos aspectos de intertextualidade e, claro, do forte conteúdo político, histórico e social. Os resultados obtidos permitem concluir que Fado Alexandrino não pode ser caracterizado apenas como prosa romanesca, nem enquadrado em uma estrutura predeterminada. Trata-se de uma complexa construção em que o autor utiliza recursos de hibridismo, heteroglossia e interdiscursividade B elementos esses Aradiografados@ por Mikhail Bakhtin e por ele denominados como práticas prosáicas que diferentes usos da linguagem fazem do discurso, oferecendo-os como manifestação de pluralidade. Pode-se afirmar, enfim, que Fado Alexandrino é uma obra que dá voz a personagens que falam, discutem idéias e procuram reposicionar-se em um país que experimentou, em dez anos, uma transformação que não acontecia havia cinco séculos

Orientador: Paulo Franchetti
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente trabalho estuda as origens da prosa moderna em língua portuguesa, a emergência do gênero romance em terras lusas e, de modo mediato, o impacto do discurso prosístico de Almeida Garrett e Alexandre Herculano na narrativa lusófona subseqüente. Diferentemente do que dá a entender a tradição crítica, que privilegia somente algumas facetas da obra dos dois autores acima referidos, num campo valorativo especificamente literário, Garrett ocupa um lugar fundador não apenas por inaugurar a narrativa de atualidade em Portugal, e sim por ser um dos instauradores da prosa burguesa. Do mesmo modo, a importância de Herculano não pode reduzir-se ao fato de ele introduzir a ficção histórica no seu país, pois o seu papel, assim como o de Garrett, é decisivo na elaboração da prosa moderna em vernáculo. Outro ponto enfocado nesta tese é a constituição do público do romance, na primeira fase do romantismo lusitano, para o que Garrett e Herculano, acompanhando a valorização, ao longo dos séculos XVIII e XIX, da função educativa da forma romanesca, contribuíram com uma verdadeira pedagogia da leitura por meio da construção da narrativa ficcional
Abstract: The present work studies the origins of modern prose in the Portuguese language, the emergence of the novel as a genre in Lusitanian lands, and, as mediation, the impact of the discourse of Almeida Garrett and Alexandre Herculano on subsequent Lusiphone narrative. Differently from what comes to light in the critical tradition, which privileges only some facets of the oeuvre of the two above cited authors within a specifically evaluative literary field, Garrett occupies a founding place not only for inaugurating the narrative of the present time in Portugal, but also as one of the founders of the bourgeois prose. In a similar way, the importance of Herculano cannot be reduced to the fact that he introduces the historical fiction in his country, as he plays a decisive role, as well as Garrett, in the elaboration of modern prose in the vernacular. Another point focused on here is the creation of a reading public for the novel during the first phase of the Portuguese Romanticism, to which Garrett and Herculano, by means of the construction of fictional narrative, contribute a true pedagogy of reading, which accompanies the valorization of the educational function attributed to the Romanesque form throughout the eighteenth and the nineteenth centuries
Doutorado
Literatura Portuguesa
Doutor em Teoria e História Literária

A la fin du 19° s. les écrivains grecs créent un genre littéraire original, la nouvelle paysanne : une intrigue simple sert de base à la description de la vie et des moeurs dans des petits villages grecs. Ce mouvement a été appelé « étude de moeurs » (ithographie) [ηθογραφία]. Les bouleversements historiques et économiques au tournant du siècle entraînent une crise des valeurs traditionnelles et conduisent les auteurs à élargir leur questionnement. Dans Le Mendiant, Andréas Karkavitsas montre les déterminismes qui font agir les personnages collectifs que sont les paysans du village et les autorités venues les juger. L’individu est le représentant d’un groupe :Tziritokostas représente la classe des mendiants, Valachas la classe aristocratique déchue, Croustallo le groupe des paysannes. Quand ces deux derniers personnages prennent conscience de leur aliénation, le poids de la société est tel qu’il les écrase. Si la liberté est possible, c’est dans la mort. Francoyannou, l’héroïne de La Femme meurtrière d’Alexandre Papadiamandis, est responsable de l’enfer dans lequel elle s’enferme en multipliant les meurtres de fillettes. Le déterminisme, l’aliénation sont les fausses raisons qui lui permettent de se complaire dans ce que le récit révèle être la rumination de son âme froide et dure ; elle persiste dans le mal parce qu'elle refuse sa liberté de créature de Dieu
At the end of the 19th century, Greek writers created an original genre, the rural novel : a simple plot is the basis for the description of the life and mores in small Greek villages. This movement was called "study of mores" (ithografie) [ηθογραφία]. The historical and economic upheavals at the turn of the century lead to a crisis of traditional values and lead the authors to expand their questioning. In The Beggar, Andreas Karkavitsas shows determinisms which act collective characters that are the peasants of the village and the authorities who came to judge them.The individual always represents a group: Tziritokostas represents the class of beggars, Valachas the aristocratic class toppled over, Croustallo the peasant women. These last two figures are partly aware of their alienation; but the weight of society is such that it crushes them. The freedom is possible just in death. Francoyannou, the heroine of The Murderess of Alexander Papadiamandis, is responsible for the hell in which she locks herself by multiplying little girls murders. Determinism and alienation are the false reasons that allow her to wallow in rumination of her soul cold and hard; she persists in evil because she refuses her freedom of God’s creature

In broad terms, this thesis is a study of what Protestant theologians in early modern England taught regarding the interdependence between physical health and spirituality. More precisely, it examines the specific and complex doctrines taught regarding health-related issues in the sixteenth and seventeenth centuries, and evaluates the consistency of these messages over time. A component of the controversial Protestant-science hypothesis introduced in the early twentieth century is that advancements in science were driven by the Protestant ethic of needing to control nature and every aspect therein. This thesis challenges this notion. Within the context of health, sickness and death, the doctrine of providence evident in Protestant soteriology emphasised complete submission to God's sovereign will. Rather, this overriding doctrine negated the need to assume any control. Moreover, this thesis affirms that the directives theologians delivered governing physical health remained consistent across this span, despite radical changes taking place in medicine during the same period. This consistency shows the stability and strength of this message. Each chapter offers a comprehensive analysis on what Protestant theologians taught regarding the health of the body as well as the soul. The inclusion of more than one hundred seventy sermons and religious treatises by as many as one hundred twenty different authors spanning more than two hundred years laid a fertile groundwork for this study. The result of this work provides an extensive survey of theological teachings from these religious writers over a large span of time.

L’elaborato analizza la ricezione del pensiero di Origene di Alessandria (c. 184-c.253) nell’opera del teologo arminiano Jean Le Clerc (1657-1736), soffermandosi in particolare sulla concezione origeniana della libertà e sulle questioni che vi sono annesse. Tale analisi consente anche di chiarire alcune pratiche argomentative e dinamiche intellettuali, soprattutto riguardanti i dibattiti religiosi ed interconfessionali, nella seconda metà del XVII secolo. L’elaborato è diviso in tre sezioni. La prima, di carattere introduttivo, mira ad indagare le premesse epistemologiche di Le Clerc, nonché la sua relazione con le auctoritates religiose ed intellettuali del passato. La seconda sezione prende in esame le citazioni dirette di Origene presenti nella vasta produzione di Le Clerc, come pure i suoi rimandi all’opera dell’Alessandrino e al suo pensiero, consentendo in questo modo di delineare un quadro preciso dell’Origene letto e reinterpretato da Le Clerc. La terza sezione restringe infine il campo d’indagine allo sguardo che Le Clerc porta sulla dimensione più propriamente teologica di Origene ed in particolar modo su quel nodo di concetti che ruota attorno al tema della libertà umana (peccato originale, grazia e predestinazione, il problema del male). Questo studio mostra come, malgrado l’indubbia, e talvolta malcelata, simpatia per Origene, Le Clerc non possa essere definito tout court un ‘origenista’, dal momento che la sua visione epistemologica, scritturale e teologica lo distanzia da una acritica e piena adesione al pensiero dell’Alessandrino.
The present thesis analyses the reception of the thought of Origen of Alexandria (c. 184-c. 253) in Jean Le Clerc (1657-1736). Its particular focus is on Origen's conception of freedom and the theological doctrines related to it. The goal of this thesis is to uncover, through Le Clerc's use of Origen, some of the argumentative practices and the intellectual dynamics of the time, in particular in religious, especially inter-confessional, debates. This thesis is divided into three main parts. The first part has mainly an introductory character and looks at the epistemological assumptions of Le Clerc and his relationship with intellectual and religious authorities of the past. The second part reviews the various ways in which Le Clerc quoted, referred to or otherwise made use of the thought or the name of Origen in his vast production. This part provides a first result in that it frames, in general, Le Clerc's reception of Origen. This step is, at the same time, also preparatory for the material contained in part three. In the third part, only the material is considered which is strictly related to Origen's idea of freedom and the related theological doctrines of original sin, grace/predestination, and the problem of evil. The result of this analysis, as it appears form the examination of argumentative practices in the previous sections, is that Le Clerc was no simple "Origenist" but neither was he was fully uncommitted to the Origenian cause. A full commitment to Origen, despite this strong sympathy, was still hindered by Le Clerc's epistemological, scriptural and theological outlook.

The thesis focuses on modern translations of the classic American novel The Great Gatsby by F. Scott Fitzgerald within the Czech cultural setting. Initially, in accordance with Gideon Toury's (2012) descriptive model, two Czech translations will be compared in light of their functionality within the target literary canon, their dominating stylistic features will be determined and they will be assessed in terms of their acceptability or adequacy. Subsequently selected excerpts will be compared with the source text to reveal how each of the translations treats Fitzgerald's text, and in relation to these findings their shifts between acceptability and adequacy will be specified. The central goal of the thesis is to evaluate the transfer of Fitzgerald's very specific writing style, with special focus on its poetic character, lyricism and imagery. Therefore individual translation strategies will be identified and the invariant core of both of the translations will be determined. For an even more detailed explanation of the translation strategies the thesis employs the preceding translation by Lubomír Dorůžka (1960) which helps clarify the relationship between the studied translations. In conclusion all of the findings are summarized and characteristics of each of the Czech versions of Fitzgerald's The...

Philosophy began, historically, with the discovery of nature-that which is permanent, preceding, outlasting and remaining unaffected by human action. Nature is understood by way of contrast with art and convention, which are specifically human. Man himself is a natural species, yet has produced a nonnatural (artificial and conventional) world. The classical (Platonic-Aristotelian) explanation for this is that man, through reason, participates in a 'higher' nature of which his arts and conventions are imperfect actualizations. The perfection of this nature would be wisdom embodied in the life of a state. Modern thought, beginning with Hobbes, rejects this account. Man has no natural purpose; reason is a mere invention; the state exists by convention. But the convention at the origin of the state is authoritative for political practice ever after. It thus implies certain ends of its own, the establishment of world government being among them. Alexandre Kojeve clarifies and radicalizes Hobbes's unclassical anthropology by an original interpretation of Hegel's story of Master and Slave: Hobbes failed to grasp the significance of mastery. Kojeve uses the Master/Slave story to interpret the entire Hegelian philosophy of history. His notorious doctrines of the 'End of History' and the 'Universal Homogeneous State' are merely the consequences of modern thought itself. But they are subject to various possible interpretations, which he does not always help us to decide between. And the 'wisdom' which replaces philosophy at the end of history provides no more unequivocal guidance for our actions than did the classical doctrine of the 'natural end of man'
acase@tulane.edu

La thèse présente une analyse conceptuelle de l'évolution du concept d'espace topologique. En particulier, elle se concentre sur la transition des espaces topologiques hérités de Hausdorff aux topos de Grothendieck. Il en ressort que, par rapport aux espaces topologiques traditionnels, les topos transforment radicalement la conceptualisation topologique de l'espace. Alors qu'un espace topologique est un ensemble de points muni d'une structure induite par certains sous-ensembles appelés ouverts, un topos est plutôt une catégorie satisfaisant certaines propriétés d'exactitude. L'aspect le plus important de cette transformation tient à un renversement de la relation dialectique unissant un espace à ses points. Un espace topologique est entièrement déterminé par ses points, ceux-ci étant compris comme des unités indivisibles et sans structure. L'identité de l'espace est donc celle que lui insufflent ses points. À l'opposé, les points et les ouverts d'un topos sont déterminés par la structure de celui-ci. Qui plus est, la nature des points change: ils ne sont plus premiers et indivisibles. En effet, les points d'un topos disposent eux-mêmes d'une structure. L'analyse met également en évidence que le concept d'espace topologique évolua selon une dynamique de rupture et de continuité. Entre 1945 et 1957, la topologie algébrique et, dans une certaine mesure, la géométrie algébrique furent l'objet de changements fondamentaux. Les livres Foundations of Algebraic Topology de Eilenberg et Steenrod et Homological Algebra de Cartan et Eilenberg de même que la théorie des faisceaux modifièrent profondément l'étude des espaces topologiques. En contrepartie, ces ruptures ne furent pas assez profondes pour altérer la conceptualisation topologique de l'espace elle-même. Ces ruptures doivent donc être considérées comme des microfractures dans la perspective de l'évolution du concept d'espace topologique. La rupture définitive ne survint qu'au début des années 1960 avec l'avènement des topos dans le cadre de la vaste refonte de la géométrie algébrique entreprise par Grothendieck. La clé fut l'utilisation novatrice que fit Grothendieck de la théorie des catégories. Alors que ses prédécesseurs n'y voyaient qu'un langage utile pour exprimer certaines idées mathématiques, Grothendieck l'emploie comme un outil de clarification conceptuelle. Ce faisant, il se trouve à mettre de l'avant une approche axiomatico-catégorielle des mathématiques. Or, cette rupture était tributaire des innovations associées à Foundations of Algebraic Topology, Homological Algebra et la théorie des faisceaux. La théorie des catégories permit à Grothendieck d'exploiter le plein potentiel des idées introduites par ces ruptures partielles. D'un point de vue épistémologique, la transition des espaces topologiques aux topos doit alors être vue comme s'inscrivant dans un changement de position normative en mathématiques, soit celui des mathématiques modernes vers les mathématiques contemporaines.
The thesis presents a conceptual analysis of the evolution of the topological space concept. More specifically, it looks at the transition from topological spaces inherited from Hausdorff to Grothendieck toposes. This analysis intends to show that, in comparison to traditional topological spaces, toposes radically transform the topological conceptualization of space. While a topological space is a set of points equipped with a structure induced by some of its subsets called open, a topos is a category satisfying exactness properties. The most important aspect of this transformation is the reversal of the dialectic between a space and its points. A topological space is totally determined by its points who are in turn understood as being indivisible and devoided of any structure. The identity of the space is thus that induced by its points. Conversely, the points and the open of a topos are determined by its very structure. This entails a change in the nature of the points: they are no longer seen as basic nor as indivisible. Indeed, the points of a topos actually have a structure. The analysis also shows that the evolution of the topological space concept followed a pattern of rupture and continuity. From 1945 to 1957, algebraic topology and, to a lesser extend, algebraic geometry, went through fundamental changes. The books Foundations of Algebraic Topology by Eilenberg and Steenrod and Homological Algebra by Cartan and Eilenberg as well as sheaf theory deeply modified the way topological spaces were studied. However, these ruptures were not deep enough to change the topological conceptualization of space itself. From the point of view of the evolution of the topological space concept, they therefore must be seen as microfractures. The definitive rupture only occurred in the early 1960s when Grothendieck introduced toposes in the context of his reform of algebraic geometry. The key was his novel use of category theory. While mathematicians before him saw category theory as a convenient language to organize or express mathematical ideas, Grothendieck used it as a tool for conceptual clarification. Grothendieck thus put forward a new approach to mathematics best described as axiomatico-categorical. Yet, this rupture was dependent of the innovations associated with Foundations of Algebraic Topology, Homological Algebra and sheaf theory. It is category theory that allowed Grothendieck to reveal the full potentiel of the ideas introduced by these partial ruptures. From an epistemic point of view, the transition from topological spaces to toposes must therefore be seen as revealing a change of normative position in mathematics, that is that from modernist mathematics to contemporary mathematics.

En la actualidad, museos y galerías de todo el mundo realizan exposiciones de un arte que tiene sus orígenes en el espacio urbano. El presente estudio muestra las estrategias posibles que tanto los artistas como las instituciones museológicas y comisarios han adoptado para mostrar el arte urbano en el espacio expositivo. Los objetivos son analizar a través de seis exposiciones llevadas a cabo en Europa, en el transcurso del siglo XXI, las características conceptuales, técnicas y formales para realizar una exposición de arte urbano, buscando la interconexión existente entre el lenguaje artístico propio de este arte y el lenguaje expositivo. Para ello se muestra un contexto histórico en el que se abordan los principales casos desarrollados a lo largo de la historia, orientado a crear una base a un movimiento que actualmente está en pleno auge. Se analiza también el papel adyacente del graffiti con el arte urbano, encontrando tanto grandes similitudes como diferencias, que han coexistido a lo largo de los años complementándose unas con otras, sea entre los artistas, en el espacio urbano y en el espacio expositivo. Bajo la emergencia de muestras de arte urbano en la actualidad, este estudio selecciona seis exposiciones que tuvieron lugar en instituciones europeas desde el 2008. La variedad entre ellas permite realizar un análisis rico en posibilidades, como en Street Art en la Tate Modern, una institución de gran relevancia a nivel internacional y con artistas referentes dentro del movimiento; en Banksy versus Bristol Museum, en la que el mediático y anónimo Banksy crea una muestra heterogénea; con Os Gêmeos en el Museu Berardo en Lisboa se presenta una exposición de uno de los grandes referentes del arte urbano en el mundo, o el Palais de Tokyo que presenta unos espacios propicios para la muestra de este tipo de arte bajo una serie de eventos desarrollados en una amplia línea temporal con una gran variedad de artistas; Lisboa, ciudad distinguida por su implicación con el arte urbano, presenta dos muestras importantes, una en la Fundação EDP-Museu da Electricidade con la figura emergente de Alexandre Farto, y otra en el MUDE con el significativo André Saraiva. Bajo la premisa de que todos estos artistas han desenvuelto o desenvuelven su trabajo en la calle, se estudia su relación con el lenguaje adaptado para el espacio expositivo. El objetivo desarrollado es la búsqueda de una esencia que permita sentir y apreciar el arte urbano en todos sus contenidos, sea formal, técnica o conceptualmente, reflexionando acerca de la naturaleza del mismo para así realizar la complicada descontextualización de presentar un arte en un espacio ajeno a sus raíces. Tras el análisis de las exposiciones, se observan varias formas de abordar la inclusión en el museo, categorizándolas en exposiciones individuales, colectivas, históricas y temáticas, creando cuatro líneas curatoriales. Desde la perspectiva de las estrategias creativas analizadas en las exposiciones, se observan diferentes recursos tanto por parte de los artistas como de las instituciones para introducir el arte urbano en el contexto museológico, encontrando aspectos que coexisten dentro y fuera del espacio expositivo. Además, el estudio examina cómo a lo largo de la historia hubo un intento de aproximación e inclusión del arte popular al espacio expositivo, lo cual desenvolvió un camino para la institución museológica actual, que debe defender un servicio y un compromiso con la sociedad bajo la actual demanda de un público interesado en el arte urbano

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2016
O tema da tese de doutoramento, constituiu o estudo da colagem no contexto da arte contemporânea nacional, focado em alguns artistas de referência, durante a segunda metade do séc. XX. Importa sublinhar o processo de colagem, como um importante veículo da linguagem do desenho e não como um mero suporte de trabalho, complementar ao desenho e (ou) à pintura. Esperamos acima de tudo, contribuir para um melhor conhecimento da evolução dos processos de colagem, inserido nos vários movimentos artísticos vigentes e em particular a partir do Surrealismo. Sendo a colagem, parte intregrante do desenho, constituiu um procedimento artístico em que se compoêm pedaços de papel liso, estampado, pintado ou impresso (jornais, revistas), embalagens, cartão, tecido ou pequenos objectos sobre um suporte geralmente plano. A colagem constituiu no ínicio do séc. XX, um importante veículo de expressão no seio dos grandes círculos artísticos europeus, centrado especialmente na cidade de Paris. Por isso, é essencial, antes de entrarmos no tema da tese, salientar o pioneirismo de Pablo Picasso e George Braque na criação dos primeiros Papiers Collés. Na esfera nacional é imprescindível salientar o papel de Amadeo de Souza-Cardoso, como artista de referência no panorama português, no que concerne à introdução das primeiras colagens no movimento cubista. No desenvolvimento da tese, importa focar o estudo da colagem na segunda metade do séc. XX, a partir do movimento surrealista português, dos seus principais intervenientes e das obras mais relevantes para a evolução do desenho e da colagem. Neste período, importa referenciar a importância do grupo KWY no contexto da arte contemporânea nacional e do impulso que alguns dos seus membros introduziram no desenvolvimento da colagem. Definimos como case study de estudo, um artista de referência nacional (Artur Manuel Rodrigues do Cruzeiro Seixas), cuja obra, (particularmente no domínio no desenho e da colagem), seja marcante no contexto da arte contemporânea nacional. Ao estudarmos a sua longa carreira, principalmente ao nível do desenho, retemos um amplo conjunto de ideias e de obras inéditas reveladas a partir dos seus scrapbooks. Sendo a análise desta informação ainda muito escassa, mesmo por parte da FCM, torna-se imperativo um estudo mais aprofundado acerca deste tema e mais concretamente dos registos ao nível do desenho e colagem.
The main objective of the Phd project is to focus the whole study of collage as an essential element of artistic expression. Its also important to clarify that collage its not just an artistic work tool for drawing or paint, but an important comunication support and to focus on the introduction of collage in contemporary Portuguese art and all its evolution over the second half of the twentieth century. Contribute to the study of the history of portuguese contemporary art, focusing the study on the theme of collage in Portugal, alongside the drawing. However, as collage is considered being part of drawing, is an artistic procedure (completely apart) in putting together pieces of plain paper, stamped, painted or printed (newspapers, packaging), cardboard, cloth or small objects on a plan support. Since the beginning of the twentieth century, collage was an important vehicle of expression in the European vanguard movements. Before entering the theme it self its important to study the pioneering role of Picasso and Braque in the early twentieth century and the environment in portuguese artistic context, highlighting the role of Amadeo de Souza-Cardoso, with reference to the introduction of the Cubist collages movement in Portugal and it´s transition to painting. After the introductory chapter, it´s important to focus the study of collage in the second half of the twentieth century, beginning with the birth of the portuguese Surrealist movement, their main artists and the more significant works for the evolution of portuguese contemporary collage, either by it´s pioneering in the materials and techniques used, or by it´s conceptual composition. To assess and substantiate this study, it is important to make a brief overview on the international references. Make a case study of collage to a main portuguese artist (Artur Rodrigues do Cruzeiro Seixas), which has been distinguished by the use of collage techniques in an exceptional way. By analyzing and studying his long artistic career in drawing and collage, we retain several ideas, artistic concepts and new information about his work, which proved to be particularly relevant in the whole collage movement and in Portuguese contemporary art. Set as case study by investigating the develop of collage by a national reference artist (Master Cruzeiro Seixas), which has been distinguished by the use of collage techniques in designing exceptional way. By analyzing and studying his long artistic career by drawing and collage level, we retain a set important ideas and artistic concepts reflected by the revelation of a set of unpublished works from his scrapbooks, which proved to be particularly relevant in his work and in the Portugal contemporary art.