Dissertations / Theses on the topic 'Dionysian conception of the world'

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES<br>Esta tese tem como objeto de estudo as múltiplas formas que o símbolo Dioniso assume ao longo do pensamento nietzschiano. Podemos dizer que Dioniso acompanha Nietzsche durante toda sua produção intelectual, prefigurando a imagem mais importante de sua obra, se relacionando direta ou indiretamente com todos os grandes temas de sua filosofia. No entanto, o significado de Dioniso não é o mesmo durante toda a filosofia nietzschiana; pelo contrário, sua significação sofre uma radical transformação. Primeiramente, Nietzsche encontra em Dioniso, e em seu oposto Apolo, a chave para compreender a visão de mundo dos gregos antigos, e com isso, o meio para decifrar a própria existência. Em seus primeiros escritos, que compreendem a fase conhecida como metafísica do artista, o dionisíaco é essencial para elaboração de uma teoria estética que reconhecia no elemento musical das tragédias gregas o momento de superioridade da cultura ocidental. Todavia, o filósofo rompe com seus próprios preceitos, suspende temporariamente as menções a Dioniso e inicia a elaboração de uma filosofia trágica, isto é, combatente a toda forma de negação da vida. O segundo Dioniso renasce na obra nietzschiana despido de qualquer roupagem metafísica; o dionisíaco passa a ser ligado à imanência, aos instintos e, fundamentalmente, à afirmação da existência e ao louvor do instante. Sabendo disso, nosso trabalho divide-se em quatro partes que, juntas, formam um todo, uma verdadeira tragédia nietzschiana: primeira parte, quem era o deus antigo Dioniso; segunda, quais são os desdobramentos filosóficos de O Nascimento da tragédia; terceira, o que vem à cena, enquanto Dioniso se cala; e por fim, quais as nuances do Dioniso renascido e qual sua importância, segundo Nietzsche, para a cultura e para a vida.<br>The objective of this thesis is to study the forms that Dionysius assumes during Nietzsche s thoughts. He follows Nietzsche throughout his intellectual production, connecting directly or indirectly to all the major themes of his philosophy. However, the meaning of Dionysus is not the same throughout his work; on the contrary, its significance undergoes a radical transformation. First, Nietzsche finds in Dionysius a key to understand the old greeks world s view and deciphering one s own existence. In his early writings, which comprised a stage known as the artist s metaphysics, the Dionysian is essential to an aesthetic theory that recognized in the musical element of greek tragedies, the high point of Western culture. However, the philosopher breaks with his own precepts, get distance from schopenhaurian pessimism and that of Wagnerian aesthetics. Suspends, temporarily, the mentions to the god and begins the elaboration of a tragic philosophy, that is, fighting all ways of denial of life. The second Dionysus is reborn in the Nietzschean work unclad of garb. He is now related to immanence, to instincts, to the affirmation of existence and to the praise of the instant. Considering that, this thesis is divided into four parts, together, forming a whole, a true Nietzschean tragoedia: first, who was the ancient god Dionysus; second, what are the philosophical unfoldings of The Birth of tragedy; third, what comes to the scene when Dionysus is silent; and, finally, what are the nuances of the reborn Dionysus and what is his importance, according to Nietzsche, for the culture and for life.

In this paper I compare and critically evaluate Sreenivasan’s and Pogge’s conceptions of global justice. While Sreenivasan holds that all the currently existing theories of global justice agree that wealthy countries should transfer at least a portion of their wealth to the poor, Pogge claims that all the currently existing theories of global justice agree that wealthy countries should stop harming poor ones in the first place. In this paper I shall try to show (i) that Sreenivasan’s proposal, as presented in his articles, is broad enough to be acceptable by some international distributive justice theories, but not all of them, (ii) that Pogge’s proposal is broader than Sreenivasan, in the sense that it aims to gain support from all the different conceptions of international distributive justice, but it depends on the claim that developed countries are currently harming the global poor—a claim that I will try to defend–, and (iii) that Pogge’s and Sreenivasan’s view are compatible. In fact, if Sreenivasan added Pogge’s central claim of his argument to his own proposal, the scope of theories that he could gain support from would be much broader.<br>En este artículo comparo y evalúo críticamente las concepciones sobre la justicia global de Sreenivasan y Pogge. Mientras Sreenivasan sostiene que todas las teorías sobre la justicia global actualmente existentes concuerdan en que los países ricos deberían transferir al menos una porción de sus riquezas a los pobres, Pogge reclama que todas las teorías sobre la justicia global concuerdan en que los países ricos deberían dejar de dañar a los pobres en primer lugar. En este artículo, trataré de mostrar (i) que la propuesta de Sreenivasan, como es presentada en sus artículos, es lo suficientemente amplia como para ser aceptable para algunas teorías de justicia internacional distributiva, pero no para todas ellas; (ii) que la propuesta de Pogge es más amplia que la de Sreenivasan, en el sentido de que aspira a obtener sustento en todas las diversas concepciones de justicia internacional distributiva,pero depende de la afirmación de que los países desarrollados dañan actualmentea la pobreza global –una afirmación que intentaré defender–; y (iii) que la visión de Pogge y Sreenivasan son compatibles. De hecho, si Sreenivasan asumiera la afirmación central del argumento de Pogge en su propia propuesta, el alcance delas teorías desde las que él podría ganar sustento sería mucho más amplio.

Cette recherche s’inscrit dans le contexte particulier d’une étude en design portant sur la multiplicité des conduites de projet. Des origines gréco-latines, de « mania » à « manuarius », le terme « manière » nous prédispose ici au sens d’une « habile folie ». Une acception qui permet alors d’interroger les « manières de faire le projet » de design comme des pratiques de l’écart. Invités ainsi à cheminer sur le terrain de polarités divergentes, dans une discipline faite à la fois de ruptures et d’accompagnements, nous sommes conviés par cette aporie à un nécessaire dépassement dogmatique. Des singularités à l’unicité plutôt que de l’universalité à l’unité, cette recherche construit l’hypothèse d’un dessein commun : faire-monde par des manières de faire des mondes. L’analyse de quelques projets qui intéressent la multiplicité nous conduit aussi à dégager la tension que peut entretenir le design à l’égard de l’environnement. À partir d’un intérêt critique envers des projections qui évoquent l’idée d’un paradigme de « centrement et de séparation » de l’homme dans le monde, la thèse interroge ensuite son renversement par des valeurs de « décentrement et d’inséparation »<br>This research is part of a study in design on the multiplicity of ways in project management. The word « manner », with its Greco-Latin origins from « mania » to « manuarius » inclines us to take it as « skilful folly ». This meaning allows us to question the various « manners to conduct the design project » as gap practices. Thus, we are invited to explore the field of divergent polarities in a discipline made of breaches and guidance. This aporia leads us to consider a necessary dogmatic passage. From singularities to unicity rather than from universality to unity, this research is constructed on the assumption of a common purpose: make the world through manners of making worlds.The analysis of a few projects related to multiplicity leads us to bring out the tension between design and the environment. Taking a critical stance toward projections evoking the idea of a « centering and separating » paradigm, this research questions afterwards its inversion through « de-centering and de-separating » values

Assim como Sócrates representa a filosofia de Platão em seus diálogos e Zaratustra encarna os conceitos da filosofia nietzschiana, também o Meursault de Albert Camus é um avatar para sua filosofia. No eterno presente de Meursault, na terna indiferença de seu amor e abertura ao mundo e ao destino, estão encarnados os principais conceitos da filosofia camusiana. Na obra de Camus, a tragédia do protagonista de O Estrangeiro e sua postura diante do tempo, do mundo e do destino têm sua raiz na tragédia do Mersault de A Morte Feliz e, em última análise, na tragédia do inválido Zagreus: na morte do inválido Zagreus de A Morte Feliz está a tragédia original do Mersault de A Morte Feliz e do Meursault de O Estrangeiro. E Camus não deu o nome de Zagreus a esta personagem por acaso. Na tragédia do inválido Zagreus de A Morte Feliz e na tragédia dos protagonistas de A Morte Feliz e O Estrangeiro, Camus fez referência ao mito de Dioniso Zagreus. Nesta dissertação, mostraremos que a origem da filosofia de Camus em O Estrangeiro e A Morte Feliz está no mito de Dioniso Zagreus e, mais precisamente, no mito de Dioniso Zagreus segundo o interpretou Nietzsche. No conceito de dionisíaco em O Nascimento da Tragédia e nos correlatos conceitos nietzschianos de amor fati e eterno retorno, encontramos o lugar de gênese dos conceitos camusianos de eterno presente, terna indiferença, amor ao destino, amor ao mundo e abertura ao mundo na Tradição Filosófica, encarnados na figura dos protagonistas de O Estrangeiro e A Morte Feliz. Na filosofia de Nietzsche, encontramos a principal influência de Camus para a criação de sua filosofia em O Estrangeiro e A Morte Feliz.<br>Just as Socrates represents the philosophy of Plato in his dialogues and Zarathustra embodies the concepts of the nietzschian philosophy, the Meursault of Albert Camus is an avatar for his philosophy. In the eternal present of Meursault, in the tendre indifférence of his love and opening towards the world and towards his destiny, the main concepts of the camusian philosophy are depicted. In the works of Camus, the tragedy of Meursault in LÉtranger is originally in the tragedy of the Mersault in La Mort Heureuse, and moreover, in the tragedy of the crippled Zagreus: in the death of the crippled Zagreus in La Mort Heureuse and in the final tragedies of La Mort Heureuse and LÉtranger, Camus referred to the myth of Dionysos Zagreus. In this dissertation, we shall indicate the origin of the philosophy of Camus in LÉtranger and La Mort Heureuse; we shall indicate its origin in the myth of Dionysos Zagreus and, more precisely, in Nietzsches interpretation of that myth. In the nietzschian concept of dionysian and in the related nietzschian concepts of amor fati and eternal recurrence, we have found the main influence in the genesis of the camusian concepts of eternal present, tendre indifférence, love of destiny, love of the world and opening towards the world, all embodied in the Meursault of LÉtranger and in the Mersault of La Mort Heureuse. In the philosophy of Nietzsche, we have found Camus main influence for the creation of his philosophy in LÉtranger and La Mort Heureuse.

Face à l'uniformisation marchande du monde, aux épreuves de synthèses technologiques et industrielles, aux discrédits de la nature méthodiquement consentis, à l'asservissement machinique de notre sensibilité, l'homme apparaît, comme les artefacts qu'il a créés, semblable à une entité idéalisée et artificielle, inadaptée à son milieu. Comment ré-envisager alors nos modalités de créativité et de générativité au-delà du paradigme humaniste finissant, par-delà cette crise multiple de la pensée et de l'identité, de l'espace et de la représentation ? La conversion des principes métaphysiques et substantialistes nous oriente auprès de sentirs transindividuels, vers un devenir non humain de l'être-par-delà-le-sujet. Penser les valences entre intelligibilité et sensibilité, les médiances entre être technique et naturel, les transjections entre entendement et imagination suppose de reconsidérer la nature de l'être au-delà de ses forces de détermination, dans la puissance de sa vulnérabilité. Cet essai d'esthétique sur la créativité spatiale contemporaine s'attache à établir à l'aune de la révolution numérique une poïétique géosensible, transverse et trilogique, qui questionne conjointement les processus actuels de création artistique, de conception architecturale et de conceptualisation philosophique. Il s'accorde à penser l'acte créatif à partir du concept de dispositif géosensible, application spatiale du devenir-frémissant et de ses modalités que sont les fragmentations, les micro-hétérogénéisations et les fluences<br>Faced with the mercantile globalisation of the world, the processes of technological and industrial syntheses, the discreditation of nature which has been methodologically consented to, and the mechanical subservience of our sensibilities, human beings appear, like the artefacts they have created, like idealised and artificial entities, ill-adapted to their surrounding world.How can we then re-envisage our creative and generative modalities beyond the humanist paradigm which is drawing to an end, outside this multiple crisis of identity and thought, and of space and representation. The conversion of metaphysical and substantialist principles orients us towards transindividual feelings for a post-human becoming of the being-outside-the-subject. Thinking the valencies between intelligibility and sensibility, the mediancies between technical and natural being, the transjections between comprehension and imagination, postulates reconsidering the nature of the being beyond its powers of determination, in the strength of its vulnerability.This essay on the aesthetics of contemporary spatial creativity seeks to establish, in light of the digital revolution, a geosensible poïetics, transversal and trilogical, which conjointly questions the current processes of artistic creation, architectural conception, and philosophical conceptualisation. It seeks to think the creative act from the point of view of the concept of the geosensible device, a spatial application of a becoming-trembling, and of its modalities which are fragmentations, micro-heterogenisations, and fluences

Les mécanismes de capacité (CRM) sont instaurés pour aligner l’équilibre de marché avec l’optimum social, c’est-à dire assurer la sécurité d’approvisionnement au moindre coût. Sur le plan théorique, les marchés energy-only sont censés atteindre cet objectif, mais leur efficacité est mise en doute. Si le bien-fondé de la qualification des CRMs comme mécanisme optimal de second rang occupe les chercheurs depuis plusieurs décennies, l’évaluation empirique des CRMs a reçu une attention beaucoup plus limitée. Cette lacune constitue un domaine de recherche académique fertile, mais limite la capacité de chacun à transposer les résultats théoriques en termes d’élaboration de politiques publiques. L’évaluation empirique des CRMs est d’autant plus nécessaire que leur performance dépend non seulement de paramètres structurels, techniques et culturels spécifiques à chaque pays, mais aussi des détails de leur mise en œuvre. A ce titre, cette thèse présente le premier travail traitant de la performance empirique des CRMs ainsi que des choix de mise en œuvre réglementaire. L’étude de la convergence relative des designs des CRMs depuis les années90 permet l’identification des caractéristiques indispensables à leur succès quand les divergences de résultats dans la littérature quantitative existante aident à prendre la mesure des défis futurs restants. Le coût net d’une telle intervention sur le marché est aussi discuté à l’aide d’une approche économétrique trans-nationale. Enfin, les préférences des agents quant à la précision de l’information sur les obligations de capacité sont abordées dans un modèle analytique<br>Capacity remuneration mechanisms (CRMs) are widely implemented as an attempt of correcting the real-world imperfections of electricity markets and aligning market outcomes with social optimality. Mainly, many observers doubt theability of the EOM to provide sufficient investment incentives to ensure the security of supply, and CRMs are expected to mitigate the risk of failure. Unfortunately, the numerous real world experiences have led to limited academic publications.In addition, the abundant theoretical literature fails to deliver clear take away messages with respect to the performance ofCRMs in real life conditions. The empirical assessment of CRMs is all the more necessary as their performance depends on a number of country-specific, structural, technical and behavioral parameters, as well on the details of implementation that structure the incentives. Reducing the literature gap from both ends, this doctoral thesis represents the first attempts to empirically discuss CRM performance and design choices. It provides a conceptual reflection on the evolution of CRM designs over time (Chapter 1) and discusses the divergences existing in the quantitative literature (Chapter 2). It also contributesto the discussion on the net cost of such intervention thanks to an econometric cross-country analysis (Chapter4). From a theoretical stand point, an analytical model analyses the preferences for the precision of information available under different capacity market designs (Chapter 3)

碩士<br>世新大學<br>傳播管理學研究所(含碩專班)<br>99<br>This study selected, Soft-World Group, the largest game company of Taiwan to be the object of study. Since 2004, its parent company "Soft-World Technology Co., Ltd." transformed to be a channel integration provider of the game industry under the concept of Integrated Marketing Communication. It not only provides adequate resources to its subsidiaries Chinesegamer and Gameflier, but also became the distribution and marketing partner of other game companies worldwide. However, with increasing competition and more new entrants, how Soft-World remains its leading position with current strategy on IMC in this ever changing market and leverage the synergy of its multi-branding is the purpose of this study. In order to truly describe the way how Soft-World group operate and manage its multiple brands. Author adopted In-depth Interview method for this case study. Two topics was addressed for this research:（1） How effective integrated marketing communication strategy is on the multi-brands operated by Soft-World Group? （2） Does operate multiple brands with IMC strategy beneficial to Soft-World Group's future development? For these two questions, this study concludes following suggestions.（1）It is beneficial to the current developments of Soft-World Group to position the parent company as an integrator. （2）Besides being an aggregator of multiple channels, Soft-World should actively expands its scope of business, create partnership with horizontal alliance and bring synergy to the Group. （3） Under the multi-brand business concept to establish the brand power of "MyCard" of Soft-World. This study tries to emphasize the practical situation which differs from the academic aspect of IMC theory. The author applies IMC and multi-brand concepts in a real case. This study not only deeply discussed the current strategy of the Group based on operations, but also introspected with general considered integrated marketing communications. The author aimed to find the balance between academic and practical situation, then provided suggestions for Soft-World Group’s future direction.

碩士<br>國立屏東師範學院<br>視覺藝術教育學系碩士班<br>93<br>Cubism has motivated the present paintings ever since Pacasso’s Demoiselles d’Avignon appeared in Paris. The revolution of traditional formation concepts：reconstructions after disconstractions,destroy and reconstructed and multi aspects is a very important milestone in Art History. Cubism has spread from Paris to Europe, Russian, America, Japan, Taiwan…etc since Picasso, Braque, Duchamp, Robert Delaunay and Leger. It is even found in the newly created art of present times. The point of the research is： （1）The sources, meaning, category and speciality of Cubism. （2）The context of Cubism in Taiwan Oil Painting. （3）The style of Taiwan Oil painters after they transform and translate the concept of Cubism. （4）Analyze the similarities and deferences between Taiwan Cubism Oil painting and western Cubism. （5）The meaning of Cubism in the development of Taiwan Oil painting. The writer researched with Formalistica,article analyzation and History studying. Discoveries：After 1946, Cubism was introduced into Taiwan by painter Shih-Ho Chuang and Wuyung Hsu. It was unacceptable and argumentative when Impressionism and Fauvism were on the way during the beging of post war period. After 1950, American Abstract Expressionism was introduced to lead the revolution of modern art. Lee and Chuang’s individual painting exhibition was the beginning. Since 1958, More and more artists tried to apply the concept of Cubism between 1960 to 1970’s. At that time, there were many different artworks gained notice. But after 1970, because the international status of Taiwan glided, the politics and diplomacy were wounded time and again. People''s national consciousness and native soil consciousness gradually rose. In addition, cherishing the memory of the introduction of homeland realism and ultra realism, the artists came back to seek the fine arts of their native soil. The cubism concept disappeared gradually, only a few people occassionally applying it to their creations. In addition, the cubism works from which Taiwan’s derived, can be roughly divided five major types： (1).The cubism of natural realistic type : Can be regarded as the natural attitude as the body mainly.Taking shapes by simplifying, dividing and recombining the local parts, usually could remain the original appearances of objects. (2).Cubism of the linear composition type: When the painters have experienceed the concept of cubism, they ofetn take the idea of divisionism but neglect the way to present by multi-perspective. Therefore, for dividing the picture it needs to match with the different shapes, lines of various thickness and colors of the works. (3).Cubism of geometry-block type: While using the concept of divisionism , some painters not only use tne concept of linear deviding the picture but also simplfy the object by using geometry blocks to inforce the concept for division, reassembling and the perspective of simultaneiry view. (4). Cubism of collage type : In Taiwan, the Synthetic Cubism is rarely known. There are only few painters apply the idea to createions and merely add a few paper collages to their paintings. (5). Cubism of abstract divisionism type : Abstract divisionism is the type of Cubism developed in Taiwan late. It forms by simplifying, dividing and reassembling the view of the cubism and combins the concept of abstract paintings . Analying the western cubism works , and making a comparison with the works style of Taiwan cubism, we can find the differences between the art works in Paris and Taiwan are: First, the forming background of the two all relates to world war, the west wanting to seek another innovation in peak period while Taiwan is in depression period , want to absorb the new knowledge to strengthen it. Second, the idea of creation in west is influenced by Cezan and the sculpture of the black races, then has created and developed out the break-through to the tradition. While in Taiwan , by absorption and imitation and adding the various perspective and transformation of individual artist , it possesses the syncretism of western and Taiwain’s styles. Third, in creating the subject matter, the west likes regarding objects, such as jobs , musical instruments, industrial results,etc. as the subject matter, and Taiwan regards rural view, the still life or the religious mythology in the room as the subject matter mostly. Fourth, in color used, the Western uses larger blocks and lines ,and the bright-colored background occurently to present the machine-like cold colour of objects. But in Taiwan, more naturalistic color or the middle tone is applied mostly. The fifth, in devision tactics, the west often simplifies physique to display the target with large blocks or the broken modelling and complement to strengthen the three-dimensional effect . In Taiwan, it is according to the original texture of objects then devided the picture by lines or the existing shapes. Often can be seen the detail description, and arcs or curves divided with distinct colors and various lengths in it. The sixth, as modelling structure, the west often uses a succession or overlap of some lines to strengthen the shapes, or joins meaningful characters or title.It is also inclines to the open incomplete shaping structure.Whereas in Taiwan ,it uses naturalistic shapes and colored blocks with plane forms to display, tends to a complete shaping structure with a closed form. The seventh, in order to present the sense .of space, the west often makes up the works by three dimensional blocks with brightness and darkness to make the pictures with more senses of space and gradation ,and even with various overlays , perspective methods to present the extence of dynamic and space direction . While the works in Taiwan overly strengthen the results of division, make the pictures incline to use plane colors, relatively lack the space level sense and trend to present the sense of space by two dimensional way. So, the cubism concept has passed through many hands or places and introduced into Taiwan since rising in the west. After being transformed and annotated again by the painters, it has formed a new type and style gradually. Ahough partly absorbing the idea of creation in the west , we can see the peculiar cultural background of Taiwan as the artistic style demonstrate uniqueness of humane breath. As it destroys, constructs and reconstructs the concept of creation , makes a significant breakthrough for the development of art in Taiwan. Even in the modern sects of art that mixes confusingly, this common concept is also applied to creating,and has meaning of importance.

The present work presents the model of symbol analysis in media texts. The critical case of the Ukrainian protest movement Euromaidan is used to build up such a model and to link it with the phenomenological meanings. It relies on empirical data from the coverage by the tabloid and quality media of three countries: Ukraine, the country where the protest took place; Poland, its neighboring, geographically, culturally close country; and Germany, more geographically and historically distant country from Ukraine. Three different national perspectives are compared. The proposed model of analysis of every particular symbol includes the following stages: the identification of objects, signifier, subject, conception, concept in a symbol; interpretation of its denotation, connotation, and signification; identification of protest life-world structures in symbol's meanings; analysis of spatiality, temporality, numerality, and power relations in some symbols that display such qualities, and interpretations of dominant complex symbolic representations on the basis of the coded symbols. The combination of symbol theory, post-structuralism, and phenomenology lays the theoretical foundation for the analysis of symbolic meanings across cultures. The focus is shifted from the coverage of events towards the coverage of experience of events. The latter is structured and described in terms of the life-world theory by Alfred Schutz. The research relies on the broad understanding of symbols proposed by the German philosopher Ernst Cassirer and developed by his followers, interpreters and authors of post-structural and phenomenological symbol theories (Langer, 1954; Goodman, 1988; Bourdieu, 1991; Janz, 2001; Dreher, 2003). This dissertation also sets the task of comparing symbols between tabloid and quality press to test whether there are any visible differences between them in terms of symbol selection and in terms of their qualities and relations. One of the findings of this research is the cross-national symbol that unites all three countries. This is the symbol-concept "barricade". It is the most visible symbol in the Polish and German media coverage of the Euromaidan life-world and the third most visible symbol in the Ukrainian media. The biggest number of symbols in all three countries under study is grouped around the symbolic representation "struggle against dictatorship".

碩士<br>國立成功大學<br>歷史學系碩博士班<br>95<br>Abstract “Representing the God to Guard the World(代天巡守)” and “Pacifying the People to Punish the Iniquity(弔民伐罪) ” were the two formations of war of justice in ancient China. First of all, “Representing the God to Guard the World” was the right of saga-kings from god, which was used to order the earthen world and punish the guilty; comparatively, “Pacifying the People to Punish the Iniquity.” was the right of war from the public. Because the old formation of war, “Representing the God to Guard the World”, had collapsed, the scholars in the Warring States Period advocated to constitute a new stander by moral and public opinions. A war needs different slogan and denotation for fight. Though the war conception had distinct origins, god and public, in ancient China, the two characteristic ideas could cooperate, rival, or function along. Moreover, they believed they were the justice to punish the guilty opponents. Therefore, they used the property war cry to arouse and hope the society would support them and win the war. Through the discussion of the transition of the war conception, the thesis wants to clarify two events. First of all, the history study should take heed of the failure, non-classical, and individual unit’s belief rather than the winner. Secondary, justice is a reason to arouse and continue the war in the both sides of the war. Thus what was war conception of justice in ancient China is the thesis wants to reach.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal<br>Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.