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Gaw, Cynthia. "Freedom in George Herbert's 'The Temple'." Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683068.
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Chong, Shiao Choong. "The temple of communion, George Herbert and dialogism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22521.pdf.
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Lang-Graumann, Christiane. "Counting ev'ry grain : das Motiv des Allerkleinsten in George Herberts 'The temple' /." Münster (Deutschland) : Waxmann, 1997. http://catalogue.bnf.fr/ark:/12148/cb38880610g.
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Sutton-Jones, Andrew. "The pleasure of the temple : A Barthesian reading of George Herbert's poetic struggle." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527577.
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Warner, Matthew Gordineer. "Expecting a ring and finding a round : sequence and order in George Herbert's The Temple." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58969.
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This thesis is concerned with the sequential nature of George Herbert’s The Temple. By engaging with this volume of poetry as a cohesive unit with structures that extend beyond any one poem, it is shown that that although Herbert’s poetry is richly productive, it is also limited and self-undermining, expressing the ultimately contingent nature of human art. The structures examined are of two kinds, dealt with in turn: first, those that are typographical and emerge from the physical presentation of Herbert’s poems on the pages of the first edition of 1633, and second, formal structures modelled by particular poems in the collection, which provide insight and reflection into the functioning of the whole. In the first category are poems that share common titles (“Love” (I), “Love” (II), “Love” (III), for example) as well as the particular arrangements of poems such as “Hope” and “Sinnes Round” on the page, which suggest connections and relationships between these poems that are not apparent when viewed individually or in the abstract. The second kind of feature examined is found in a wide variety of Herbert’s poems, and is the tendency of these poems to model particular kinds of reading practice that are applicable to the reading of The Temple itself. Poems such as “Prayer” (I) and “The Sacrifice” exhibit modes of accumulation and revision that suggest how multiple poems may be combined to produce larger structures of meaning, while poems such as “The Flower” and “The Pulley” demonstrate how such structures are necessarily incomplete and flawed. Finally, a turn to the poems “Vertue” and “Love” (III) explores how Herbert’s poetry engages with questions of finitude and conclusion.Arts, Faculty of
English, Department of
Graduate
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Coatalen, Guillaume. "La stratégie poétique de George Herbert." Paris 3, 2002. http://www.theses.fr/2002PA030053.
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La thèse propose d'examiner l'ensemble des moyens poétiques, des plus visibles aux plus cachés, mis en œuvre par Herbert en vue d'une fin double, sa propre édification et la louange de Dieu. Le poète a créé une poésie liturgique qui fondait l'Église anglicane. En l'absence d'un système théologique constitué, The Temple (1633) est l'œuvre majeure de la période la plus glorieuse de l'anglicanisme. Herbert a jeté les bases de la confession nationale en forgeant une poésie dont le moindre élément exalte la relation d'un je au divin. Pour ce faire, il s'est évertué à imiter le Christ, conçu comme le premier des poètes, à travers un verbe poétique régénéré. Cette nouvelle rhétorique constitue d'abord un monde qui renvoie dans un même temps au courtisan, premier lecteur de ces poèmes, ainsi qu'aux figures du poète et du Christ. Elle s'attèle ensuite au problème poétique fondamental de l'évocation d'un Dieu à la fois immanent et inaccessible. La métaphore en particulier fera écho au mystère de l'incarnation alors que le style simple reflétera l'humilité du Sauveur. .This thesis intends to examine the various poetic means from the most to the least obvious that Herbert uses for a double purpose: for his own edification as well as to praise God. This poet created a liturgical poetry, which contributed to the foundation of the Church of England. For a church that has never developed a systematic theology, The Temple (1633) became an important work of its most glorious past. Herbert laid the foundation of a national creed by producing poetry in which every single element celebrates the relationship between the subject and God. To this end, he attempts to imitate Christ, whom he regards as the greatest poet, and to recreate a poetic Word. His new rhetoric conjures up a world related to that of the courtier in the first place, but also to the figure of the poet and Christ. At another level, his rhetoric deals with the basic problem of religious poetry of how to invoke a God who is immanent and inaccessible at the same time. His metaphors evoke the mystery of incarnation, while his simple style reflects the Saviour's humility. .
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Dyck, Paul Henry. "All the constellations of the storie, George Herbert's Temple and English seventeenth-century textual common places." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59952.pdf.
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Clawson, Nicole Perry. "Obliterating Middle-Class Culpability: Sarah Grand's New Woman Short Fiction in George Bentleys Temple Bar." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6317.
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Scholars interested in the popular Victorian periodical Temple Bar have primarily focused on the editorship of George Augustus Sala, under whom the journal paradoxically began delivering controversial content to conservative middle-class readers. But while the Temple Bar's sensation fiction and social realism have already been considered, critics have not yet examined Temple Bar's New Woman fiction, which was published during the last decade of the 19th century and George Bentley's reign as editor-in-chief. While functioning as editor-in-chief, Bentley sought to adhere to the dictates found in the 1860 prospectus, to "inculcate thoroughly English sentiment: respect for authority, attachment to the Church, and loyalty to the Queen." The Temple Bar seems an odd publication venue for the audacious New Woman writer Sarah Grand. And yet, Grand published several short stories in Temple Bar under the editorship of Bentley. Knowing Bentley's infamous editorial hatchet work, we might assume that he would cut from Grand's writing any unsavory bits of traditional New Woman content. Instead, a comparison of Grand's Temple Bar stories, "Kane, A Soldier Servant" and "Janey, A Humble Administrator," with their later unedited, republished versions (found in Grand's Our Manifold Nature) suggests that Bentley had a different editorial agenda. This analysis of Grand's fiction demonstrates that it was not New Woman subjects that Bentley found objectionable but the culpability her texts placed on the upper-middle class for their failure to act on behalf of the lower classes. Examining Bentley's removal of this material thus sheds new light on the dangers of New Woman literature as perceived by its Victorian audiences.
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Van, Thienen Jean-Christophe. "Jeux d’écriture, tache aveugle et musée imaginaire dans l’œuvre de George Herbert (1593-1633)." Paris 3, 2007. http://www.theses.fr/2007PA030109.
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Dans The Temple (1633), George Herbert cisèle des techniques littéraires déjà expérimentées dans ses écrits en prose ou en latin. Les plus marquantes, soit l’anagramme et le jeux de mots, ne constituent pas, dans sa poétique, des artifices stylistiques mais bien des outils théologiques qui permettent au prêtre-poète d’élaborer une dialectique du Salut se fondant sur une opération permanente de caché/révélé au sein de chacun des poèmes de l’œuvre. Il réactive lors du processus les écrits des Pères de l’Église et des grandes figures de la pensée mystique tels Thomas à Kempis, Henri Suso ou Jacopone da Todi tout comme sont recyclés les genres littéraires profanes antérieurs et contemporains ou les expérimentations anagrammatiques de Cabalistes chrétiens comme Guy Le Fèvre de la Boderie ou Blaise de Vigenère. Dans le contexte de la nouvelle Querelle des Images l’auteur entend chasser l’image pieuse et le livre d’emblème de la sphère religieuse anglaise au profit du seul Verbe et du vernaculaire. Herbert s’adonne à un iconoclasme virtuel et s’ingénie à remplacer l’image per se par autant d’images mentales conformes au dogme et contribuant à l’émergence du lecteur moderne. Sa poétique s’oppose du même coup à la Contre-Réforme, Jésuite en particulier, et aura pour objectif majeur l’affirmation de la légitimité et de la suprématie de la jeune Église d’AngleterreThis research focuses on George Herbert’s frequent resorting to puns and anagrams in The Temple and his other works in prose and Latin. These are not to be viewed as mere tongue-in-cheek oddities but much rather as genuine literary as well as theological devices. This innovative stratagem opens on unexpectedly broad artistic scopes whilst serving a fully planned threefold religious strategy by disclosing additional layers of interpretation which are themselves profoundly embedded in dogma. The demonstration focuses on the poet’s rewriting of the Fathers of the Church’s literature and his recycling of earlier profane literary genres combined with frequent incursions in the works of Continental religious writers such as Thomas à Kempis, Henry Suso, Saint Teresa and Jacopone da Todi. This not only allowed the Bemerton priest/poet to compose a strong verbal attack on the Stuart monarchy but also to combat Jesuit propaganda and more specifically the then thriving emblem-book by imposing mental pictures, instead of actual ones, upon his potential readership, thus asserting the supremacy of the sole Word of God while promoting the full legitimacy of the then nascent Church of England
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Miller, Blaise Anne-Marie. "Le verbe fait image : iconoclasmes, écriture figurée et théologie de l'Incarnation chez les poètes métaphysiques : le cas de George Herbert." Paris 3, 2008. http://www.theses.fr/2008PA030131.
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La période située entre les deux grandes vagues de destructions iconoclastes dans l’Angleterre du XVIe et du XVIIe siècle est aussi celle où se développe une nouvelle poétique dite « métaphysique », caractérisée par un usage frappant du conceit. Ce travail, consacré à l’œuvre de George Herbert, se propose d’étudier le glissement de propriétés habituellement dévolues à l’image religieuse vers la poésie. On montrera comment la rhétorique et l’imaginaire iconomaques informent le projet littéraire et religieux d’un auteur qui cherche à convertir et purifier la poésie. Là où l’iconoclasme anglais passé et à venir extériorise une crise profonde de la notion même d’image, George Herbert cherche à la reconstruire intérieurement par une poétique efficace de la discordia concors dont le modèle est la théologie de l’Incarnation. Si Herbert rompt, comme tant d’autres poètes à la même époque, avec certaines pratiques de l’image poétique, c’est afin de mieux figurer le divin. Au-delà de sa reconquête de la ressemblance par le transport de la métaphore, c’est aussi grâce à une modalité visuelle de la lettre que Herbert parvient à suggérer l’ineffable et la transcendance divineThe period of time which stretches between the two phases of violent iconoclastic destruction in Early Modern England also corresponds to the development of a new « metaphysical » poetics characteristically known for its striking conceits. The purpose of this study, which is devoted to George Herbert, will be to show how his poetry can become endowed with some of the properties usually ascribed to the religious image. The rhetorics of iconoclasm shape Herbert’s attempt to convert and purify poetry. Whereas past and future iconoclastic destruction testifies to a deeper crisis of the notion of image, George Herbert seeks to recreate it internally through a poetics of discordia concors whose model is the Incarnation. By distancing himself, as many other contemporary poets, from certain long-standing approaches to figurative language, he reclaims for poetry the power to body forth the divine. Such a recovery of resemblance is not only made possible through the « figure of transport », the metaphor, but aslo through an iconic use of writing. Thus Herbert is able to suggest the unspeakable and the transcendance of God
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Anderson, Trever. "Doctrine and Covenants Section 110: From Vision to Canonization." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2120.
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This thesis answers the question of how a vision recorded in Joseph Smith's journal found its home in the Doctrine and Covenants and become recognized as canonized scripture. The April 3, 1836, journal entry became known as Section 110. Section 110 serves as a foundation for the current practices and doctrines of The Church of Jesus Christ of Latter-day Saints, involving temple building and temple ordinances. Thus it is important to understand the history of this Section from journal entry to canonization because it is an example of recovering revelation. This thesis also explores contributing factors that could have led to the rediscovery of the 1836 vision. While Joseph Smith and Oliver Cowdery were in the Kirtland Temple with veils drawn around them at the Melchizedek Priesthood pulpits on April 3, 1836, they both saw Jesus Christ, Moses, Elias, and Elijah. Jesus Christ accepted the newly built temple and Moses, Elias, and Elijah committed keys to Joseph Smith and Oliver Cowdery. The vision was recorded, but as of yet, there is no evidence that the vision was publicly taught by Joseph Smith nor by Oliver Cowdery. This thesis follows the pattern established by Section 110 and the reclamation of the revelation and looks at how this section paved the way for other revelations and visions to move from handwritten pages to doctrinal levels of canonization, such as Sections 137 and 138. Joseph Smith had the vision recorded in his journal by Warren Cowdery, who served as a scribe to him. Joseph Smith also had the journal entry written in the Manuscript History of the Church. Although Joseph Smith did not publically declare that the 1836 vision had occurred to him and Oliver Cowdery, he still taught about the visitors in the vision and of their importance. After Joseph Smith's death, the leaders of the Church had his history printed in Church owned newspapers. The first time the vision was published in print was on November 6, 1852, in Salt Lake City, Utah, in the Deseret News. Outside influences of the late 1850s through the 1860s put pressure on the Church. Some of these potentially destructive influences were the Utah War, Civil War, transcontinental railroad, Spiritualism movement, and the lack of understanding of the foundational doctrines of the Church by the rising generation that had been a part of the Church from its beginnings with Joseph Smith as its Prophet. This thesis explores these potentially destructive forces on the Church and its doctrine, and looks at how the leadership of the Church responded to them and how their response influenced the canonization of the 1836 vision. Under the direction of Brigham Young, Orson Pratt oversaw the publication of the new 1876 edition of the Doctrine and Covenants. This new edition contained twenty-six new sections, including Section 110. After the death of Brigham Young in 1877, John Taylor sat at the head of the Church as president of the Quorum of the Twelve Apostles. While Orson Pratt was in England, preparing to print a new edition of the Book of Mormon on electrotype plates, he asked John Taylor about printing the Doctrine and Covenants with the electrotype plates as well. John Taylor agreed on condition that Orson Pratt add cross references and explanatory notes, as he had done with the Book of Mormon. Using the 1876 edition, Orson Pratt made the requested additions and the new edition of the Doctrine and Covenants was printed in 1880 and canonized on October 10, 1880, in a General Conference of The Church of Jesus Christ of Latter-day Saints, where all present voted unanimously to accept the 1880 edition as canonized scripture.
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Shamo, Michael Lyle. "Making the Desert Blossom: Public Works in Washington County, Utah." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2555.
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The following thesis is a study of how communities of Washington County, Utah developed within one of the most inhospitable deserts of the American West. A trend of reliance on public works programs during economic depressions, not only put people to work, but also provided an influx of outside aid to develop an infrastructure for future economic stability and growth. Each of these public works was carefully planned by leaders who not only saw the immediate impact these projects would have, but also future benefits they would confer. These communities also became dependent on acquiring outside investment capital from the Mormon Church, private companies and government agencies. This dependency required residents to cooperate not only with each other, but with these outside interests who now had a stake in the county's development. The construction of the Mormon Tabernacle and Temple in St. George during the 1870s made that community an important religious and cultural hub for the entire region. Large-scale irrigation and reclamation projects in the 1890s opened up new areas for agriculture and settlement. And in the 1920s and 1930s the development of Zion National Park and the construction of roads provided the infrastructure for one of the county's most important industries, tourism. Long after these projects' completion they still provided economic and cultural value to the communities they served. Some of these projects provided the infrastructural foundation that allowed Washington County communities to have greater security and control over their economic future. Over time the communities of southern Utah created dramatic reenactments and erected monuments of these very projects to celebrate and preserve the story of their construction. During the first decade of the twenty-first century Washington County has become one of the fastest growing areas in the country, and as a result public works programs continue to be important to support this growth.
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Seichepine, Marielle. "Le temps dans les romans de George Eliot." Paris 4, 1996. http://www.theses.fr/1996PA040123.
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Je me propose, en me fondant sur les théories du philosophe Paul Ricœur, d'apporter un éclairage général sur l'aspect temporel de l'œuvre eliotienne. En fait, la romancière souscrit aux nouvelles conceptions philosophiques du début du dix-neuvième siècle, qui se caractérisent par un dynamisme mesure, et qui reposent sur la notion de continuité et de développement progressif. Le temps, parfois mythique et statique, revêt généralement un caractère organique, illustrant que Paul Ricœur nomme la "répétition du même" à travers l'évocation de l'histoire naturelle, mais aussi "historique" par la prise de conscience de l'importance de l'héritage. Au plan individuel, le temps est synonyme de nostalgie, et d'évolution ou régénération par la souffrance. En fait, George Eliot retourne constamment au passé (nostos), et privilégie la notion de mais elle tente aussi d'accélérer le temps, en appelant de ses vœux le progrès social, économique, politique et scientifique. En réalité, elle souhaite surtout décrire la vie quotidienne de ses contemporains. En ce qui concerne les personnages eliotiens, certains souffrent du décalage entre temps privé et public ou "monumental", d'autres jouissent du moment présent et ou se tournent vers l'avenir, d'autres encore privilégient le passé (liens biologiques, sociaux organiques, …). ; L'œuvre montre également que l'homme est soumis au temps (aux "récurrences du temps cosmique") ou tente de le transcender en produisant une œuvre, ou en faisant bénéficier la communauté de ses visions. Quant à la temporalité narrative, elle s'inscrit dans une certaine mesure dans la tradition, car histoire et récit se développent parallèlement devient dynamique lorsque le narrateur a recours aux discordances anachroniques et anisochroniques entre "le temps raconte" et "le temps du raconter". Ainsi, le lecteur, appelé à s'interroger sur le concept de temporalité, annonce déjà le lecteur du vingtième siècleMy aim is to study time in all George Eliot’s novels. The novelist actually appropriated the organicist philosophy based on continuity and progressive development. Time in her work is sometimes mythical and static, but is generally organic natural history) and it is also what the philosopher Paul Ricœur would call "historic" (man gets aware of the importance heritage). For the individual, time is synonymous with nostalgia as well as evolution or regeneration through suffering. George Eliot both clings to tradition and wishes for social, economic, political and scientific progress, but she is interested in her fellowmen's everyday life. As regards her characters, some of them suffer from the gap between private public time, others enjoy the present and prepare the future, others still are faithful to the past (through biological, and social ties). Man is submitted to cosmic time, but he also attempts to transcend it through creation and visions. La not least George Eliot challenges the conventions of temporal continuity in fiction. The reader therefore has to cope with more dynamic narrative structure, and in doing so he anticipates the twentieth-century reader
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Hodson, Alistair Graham. "John George Russell and His Impact on New Zealand Tax Jurisprudence: An Investigative Analysis." Thesis, University of Canterbury. School of Law, 2013. http://hdl.handle.net/10092/7683.
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Mr John George Russell holds a special place in New Zealand’s relatively brief tax history. He is a person who has challenged Inland Revenue’s authority and the taxing statutes more than any other individual. If Mr Russell had followed his father’s early advice and studied engineering he may have taken over the family farm on the outskirts of Hamilton and by now have been enjoying a peaceful retirement. Instead, his enjoyment of the accounting subjects taken at college, which he had enrolled into in error, ultimately led him to becoming a leading figure in the development of the then emerging New Zealand money market, and the managing director of the merchant bank Securitibank. Novel approaches to commercial issues and tenacity in litigation are the trademarks of Mr Russell, Auckland tax advisor and business consultant.
Mr Russell is well known in New Zealand tax circles as the creator and defender of the ‘Russell tax template’, developed in the 1980s as a mechanism to turn the ‘water’ of taxable receipts into the ‘wine’ of untaxed gains. Template related issues are still being litigated some three decades later. There have been many cases related to the template covering both substantive and procedural issues. Mr Russell has had limited success on procedural grounds claiming his wins have been the result of good luck more than anything else. He strongly claims Inland Revenue have run a vendetta against him for many years.
Inland Revenue have taken several different ‘Tracks’ when assessing various parties it considered received the tax advantage from the template. The ‘Tracks’ used to assess various parties are also regarded by Mr Russell as a vendetta tactic. Ultimately the litigation has led to ‘Track E’ with Inland Revenue personally assessing Mr Russell for tax, penalties and interest totalling in excess of NZD $200 million (underlying core tax of $15 million). A Court of Appeal decision found for Inland Revenue and confirmed Mr Russell’s personal tax assessment. Leave to the Supreme Court was not granted and Mr Russell has recently commented that a ‘Track F’ may now exist.
Mr Russell has accused the Commissioner of Inland Revenue of fraud in respect of backdated assessments, and Inland Revenue have accused Mr Russell of fraud in relation to backdated documents. Mr Russell commented during one of our interviews when challenged about document backdating that “the only difference between an honest person and a dishonest one is often a date.” This thesis attempts to provide the reader with not only an overview of the litigation associated with Mr Russell, but also seeks to provide an insight into the person of Mr Russell. The Russell tax template was held to be a tax avoidance structure by the Privy Council in 2001. I did not intend to debate the merits of the Russell template with Mr Russell.
One of the least known postures of Inland Revenue’s Compliance Model is that of the ‘game player’. It would appear that Mr Russell has many tendencies attributed to a person classified under this framework to be a classic game player. This thesis attempts to provide an in-depth overview of perhaps Inland Revenue’s most litigious taxpayer and asks whether Inland Revenue are now on ‘track’ to a conclusion. This thesis considers Mr Russell’s contribution to tax jurisprudence by looking at his journey over the last 30 years, giving the reader an insight into the life of Mr Russell.
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Levet, Marie-Cécile. "Le paysage dans l'oeuvre romanesque de George Sand." Clermont-Ferrand 2, 2006. http://www.theses.fr/2006CLF20016.
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Cette thèse étudie le paysage dans l'oeuvre romanesque de George Sand en l'examinant d'un point de vue typologique puis phénoménologique et enfin symbolique. Le premier point a cherché à discerner les données géographiques et humaines proposées par le paysage romanesque, l'accent étant mis non sur leur rapport à une référence extradiégétique mais sur la manière dont ils sont construits littérairement. La seconde partie tente de démontrer combien le paysage sandien est marqué par un regard variant selon l'espace et le temps, art des jardins et rôle de la mémoire étant des exemples privilégiés de ces variations. La troisième partie analyse les structures symboliques du paysage romanesque placé sous le signe de l'antithèse mais surtout de la synthèse, le paysage sandien étant pensé, somme toute comme une ouverture au monde qui permet d'être soi
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Willems, Sandrine. "L'instant retrouvé: temps et mouvement dialectique chez Georges Bataille." Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212668.
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Le, Thanh Duc. "Georges Mathieu (1921-2012) : catalogue et étude de son œuvre." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080130.
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.../Traditional french painter georges mathieu is the french father of lyrical abstraction. Born in 1921, he enjoyed great fame in the years 1950-1980 and continued his many activities until his death in 2012. this is the adventure of this painter, alternately revered and controversial, for which we must conduct chronological study of the painted work. the establishment of the comprehensive catalog raisonné serves as a prerequisite for aesthetic analysis of his work. The media image of the painter and the character is very well known, but it is sketchy and hides her bulimia artistic productions, energy-time-space-speed, his vehemence in performance, his defense of traditional arts and crafts french and commitment to rehabilitate and safeguard techniques and ancestral know-how as part of a heritage policy. In the euphoric context of post-war and liberation, georges mathieu, after a degree in philosophy and english, decided to become a painter without initial training in fine arts. He chose the pictorial record of the non-figurative art, his gestures and signs. he explains this choice by a desire to break with mediocrity, to stave off a degrading materiality, and recover freedom usurped. mathieu has mastered multiple facets of art: writer, layout artist, sculptor, architect. This painter, among a constellation of artists, gallerists, critics, has become a spokesman vehement non geometric abstraction around artists such as soulages, wols and hartung. After i graduated in 1996 at the national school of fine arts in hanoi, traditional lacquer option, i followed for five years an academic teaching visual arts (in french tradition since my country is a former french colony) and a master of development, still in the plastic arts. In 2005 i joined the national education as a teacher at the school of fine arts in ho chi minh city (former saigon), open city that seemed to me to western influences of modern art or contemporary. I moved to france in 2008 and i decided to direct my thesis to a problematic centered on the non-figurative painting, so abstract, but not geometric, lyrical inspiration, informal or expressionist postwar. Georges Mathieu benefiting, to date, no catalog raisonné, i decided to call the thesis '' georges mathieu, catalog and study of his work. '' In 1947, mathieu aged 25, joined paris. he met famous painters wols, hartung, soulages, hantaï, atlan, zao wou-ki, vieira da silva, manessier, poliakoff and others. if Mathieu is the inventor of lyrical abstraction is also because qu'angliciste, who will make known american painters such as pollock, tobey, de kooning. director of public relations and quarterly editor united states lines paris review on behalf of a shipping company. it writes articles with the contribution of intellectuals and illustrious artists such as john cage, pierre boulez, frank lloyd wright, claude levis-strauss lupasco, roland barthes, carl jung. meanwhile, Mathieu continued to paint, and sells very early his first paintings. outside the partisan approach, 60 years after his first picture, two years after his death, we have enough distance to see the extent of his repertoire and his pictorial innovations. besides painting, mathieu enthusiasm for graphic arts, decorative and craft art. in this extension there is a growing interest for the development of a bold cultural policy, notably through his writings. Today we know less Georges Mathieu, while each held in the 1970s a piece of 10 francs in his hand, and saw the logo 2. Antenna is time to rehabilitate the painter and give him place in the pantheon of painters abstraction. [...]
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Roumette, Julien. "Le temps mode d'emploi : problématiques et écriture du temps dans les romans de Georges Perec." Paris 7, 1999. http://www.theses.fr/1999PA070012.
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La représentation du temps est au centre de l'écriture romanesque de Georges Perec. Son étude permet de distinguer et de mettre en perspective trois romans principaux qui forment comme un triptyque, chacun explorant de façon privilégiée une dimension temporelle et son approche psychologique : dans Les choses, l'avenir et les désirs des personnages ; dans Un homme qui dort, le présent et la possibilité de l'habiter ; dans La vie mode d'emploi, le passé et la mémoire. Chacun de ces romans est étudié selon trois axes complémentaires : en premier lieu, leurs structures narratives et les distorsions qui affectent la représentation du temps de l'histoire dans le récit ; le jeu des temps verbaux, et en particulier les effets autour du discours rapporté, ensuite, en montrant comment ils ménagent dans chaque œuvre des itinéraires de lecture, des chemins que le lecteur est invité à suivre (sont notamment étudiés l'imparfait dans Les choses ; le conditionnel, le futur et le présent dans les trois textes) ; la thématique et les problématiques temporelles, enfin. Ces trois dimensions de la représentation du temps se combinent dans chaque roman de façon cohérente autour de la problématique de l'éphémère et de l'éternel qui sert de fil directeur à cette étude. Dans Les choses, les personnages sont progressivement dépossédés de leur rêve d'une vie idéale qui échapperait au temps. Dans Un homme qui dort, le désir d'intemporalité se traduit par une volonté de désengagement de la vie, le personnage tentant sans parvenir à s'y maintenir, de se réfugier dans un présent sans profondeur ni tension. La disparition relègue cette problématique à un rôle très secondaire : la représentation du temps y relève d'autres logiques et d'autres images. Dans La vie mode d'emploi, elle est au centre de la réflexion esthétique sur le rôle et la possibilité de la création artistique, le tableau rêvé par Valène étant l'expression d'une vision qui embrasserait en même temps l'éphémère et l'éternelThe figuration of time holds a central position in Georges Perec's novels. Three of these seem particularly relevant to a study of time in his work, each being mainly focused on a specific dimension of time and its psycho-existential approach: the future and the paradoxes of desire in Les choses - Things (a story of the sixties) -; nestling in the present in Un homme qui dort - A man asleep; the remembrance of the things past in La vie mode d'emploi - Life: a user's manual. Each novel is approached under three complementary lights: 1) its narrative structure and the distortions of the history by its narration ; 2) the gamut of tenses; the use of reported speech to warp the verbal texture according to the tense perspective of its element and open meaningful routes to guide and misguide the reader and control his readings of the 'facts' thus constructed; tenses and perspectives are thus coupled - Les choses with what this tense the French call 'l'imparfait', the three novels with 'present', 'futur' and 'conditionnel', to use the characterization of French grammarians; 3) finally, thematics and temporal topics. Perec's works rest on a representation of time based on a conflictual coexistence of the search for instants of eternity on the one side and the crushing sense of the fleeting ruthlessness of time. The characters of Les choses are gradually deprived of their dreams and dispossessed of the idealization that should wing them above the 'realities of life'. The will for eternity prompts Un homme qui dort to withdraw from his own true life into an empty, apathetical persistence in living without memories. Such worries recede in La disparition - A void-, which is devoted to other modes of absence but become central again in La vie mode d'emploi focused on the feasibility of an aesthetic transmutation of tenses and time; Valène's paintings foreshadow the marriage of fleeting time and eternity
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Millen, João Bosco de Camargo. "Atlas Mnemosyne: temporalidade na perspectiva de Georges Didi-Huberman." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20464.
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This work objective is to investigate the temporality matter as well as its relation to the expographic presentation mode of the images so-called Atlas Mnemosyne, brought to pass by the philosopher George Didi-Huberman, in accordance to the project initiated by the historian Aby Warburg. There are, in the realm of art, elements that enable us to assert that Didi-Huberman comprehends the images as the exposition basis, which, as a matter of fact, are the timing and also the anachronism in its constituent mode. As for the author’s understanding, the phenomenological dimension world be the basis that should be taken into account when it comes to the images relation, thought of as elements of the unconsciousness dimension and its expression, and in its waken the anachronism in the fundaments. We have as an aim, in this work, to analyze how the relation mode would be translated by means of some discourse which could fit the dialectic movement that would come about due to the temporality-subject-image-art relation. To reach this goal, the investigation pathway has as basis the method called kaleidoscopic, where the these concepts relation analysis are possible with the Merleau-Ponty’s thoughts as well as others modern thinkers, from and of which the author utilizes to delineate his thought construction, as an example, Aby Warburg, Erwin Panofsky, Sigmund Freud, Walter Benjamin and others. Thus, we have sought to point out how Mnemosyne Atlas can be considered a paradigm to those that look on the epigraphic images as a fundamental resource, propitiating the review of the production, exposition and curadory
O presente trabalho tem o objetivo de investigar a questão da temporalidade e sua relação com o modo de apresentação expográfico das imagens intitulado Atlas Mnemosyne, preconizado pelo filósofo George Didi-Huberman, em fidelidade ao projeto iniciado pelo historiador da Arte Aby Warburg. Se existem, no âmbito da Arte, elementos que nos permitem enunciar o que Didi-Huberman compreende como base de exposição das imagens, esses se constituem, de fato, na temporalidade e no modo anacrônico que a constituiria. Na compreensão do autor, a dimensão fenomenológica seria a base a ser considerada na relação com as imagens, tidas como elementos da dimensão do inconsciente e de sua expressão e, por isso, fundamentadas de modo anacrônico. Visamos ainda, com este trabalho, a analisar como o modo de relação poderia ser traduzido por algum discurso que procura acomodar o movimento dialético que se daria na relação entre sujeito-temporalidade-imagem-Arte. Para atingir esse intento, o percurso da investigação tomou como base o método denominado caleidoscópico, em que as análises das relações desses conceitos se tornaram possíveis com as contribuições do pensamento de Merleau-Ponty e outros interlocutores do pensamento moderno e contemporâneo que esse autor utiliza para delinear a construção de seu pensamento, como, por exemplo, Aby Warburg, Erwin Panofsky, Sigmund Freud, Walter Benjamin, entre outros. Por derradeiro, procuramos fundamentar como o Atlas Mnemosyne pode ser considerado um paradigma para aqueles que têm, na expografia das imagens, um recurso fundamental, permitindo revisar as experiências de produção, exposição e curadoria
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Buder, Christian. "Le concept de temps dans l'oeuvre de Hegel." Paris, EHESS, 2007. http://www.theses.fr/2007EHES0075.
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Le travail présenté est une reconstruction du concept de temps dans l'œuvre de Hegel. Cette reconstruction ne commence pas par la Logique et n'a pas pour but de montrer des erreurs dans la philosophie de la nature par rapport à la Logique. Ce travail commence dans la Philosophie de la nature (où Hegel présente explicitement le concept de temps) pour exposer ensuite plusieurs modes dans lesquels le temps apparaît. Le temps est aussi bien dans la nature que dans l'histoire, il apparaît aussi bien dans des processus « naturels » que dans les manifestations de l'esprit comme la conscience. Il ne suffit pas de concentrer notre analyse sur la conception de la Nature chez Hegel pour présenter le concept du temps et il ne suffit pas non plus de présenter le temps d'une manière séparée, d'une part dans la Nature et d'autre part dans l'Histoire. Il faut aussi répondre à l'exigence hégélienne d'établir un seul système. Cette exigence relève d'une problématique qui est la base de sa philosophie : comment rendre compréhensible et visible la contradiction.
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Tăutu-Ruhen, Eugène Dumitru. "Art et esprit dans la philosophie de Hegel : essai de synthèse." Poitiers, 2005. http://www.theses.fr/2005POIT5008.
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Nous sommes avertis, par Heidegger, dans son « Acheminement vers la parole » , 1976, p. 276, « Toute pensée qui déploie le sens est poésie ». C'est le point de départ pour son interprétation phénoménologique sur la « Critique de la raison pure ». L'essai de synthèse esthétique est construit sur celui-ci. L'art du verbe aufheben assume l'assomption, l'histoire de l'humanité où l'Esprit devient par l'homme une œuvre d'art, le prix du sacrifice, le seul attribué à priori à l'âme. Réponse ou mise en demeure de l'Être, Délivrance ou Résurrection, elle est la seule qui peut créer Temps de Vie et Vie en elle-même, par éclaircissement tragique. Passage, dépassement de l'Esprit sur la mort ou synthèse tragique, la réponse est la question murée. Comprendre l'immortalité de l'âme, avoir la clairvoyance de l'agnelle « Miorita », dire, faire, accomplir « Oui ! », dans tous les printemps de l'homme, à la Vie, à l'Amour Universel, avec toute la faim et la soif de la Vérité. Le sens est donné à la fin, par le poème « De l'Être de la sagesse », la septième réponse imaginaire du roman épistolaire « le pèlerin de Bordeaux ». Le point 3 de la trilogie, la foi de la pure intellection et sa réponse imaginaire est composé en cinq chapitres (I) pareil avec le titre du point 3 de la trilogie ; (II) esprit tragique et /ou consubstantialité ; (III) entre le nombre d'or et la philosophie de l'esprit ; (IV) phénoménologie et/ou tautologie et (V) le poème « De l'Être de la Sagesse » qui est le seul présenté, pour mettre au monde et prendre sur soi la réponse imaginaire de la foi, dans le cœur de recueillement innig keimen (Hölderlineen), par la Réponse à la révélation d’Hypérion et à la Phénoménologie de l'Esprit, par la réponse à son Être en soi, De l’Esprit (Exil et Retour) à La Sagesse de la TerreAccording to Heidegger, in his book : « On the Way to language », 1976, p. 276, “Any thought which deploys sense is poetry”. This is the starting point in his phenomenological interpretation und testimony of “The criticism of pure reason”. His attempt of an aesthetic synthesis stems from this starting point. The art of the verb aufheben recognises the Assumption of humanity, its History where “the spirit through mankind becomes art”, the price of sacrifice, a priori the only price given the soul. Whether a response from the Being or a demand, whether a Deliverance or a Resurrection, the soul is the only thing that can either create a lifespan or life itself thanks to its tragic enlightening. Is death a transition (by transcendentalism?), the overtaking of the spirit, or tragic summary? The answer lies trapped within the question. One needs to understand the immortality of the soul, one needs to be as clear sighted as the ewe “Miorita”, with a positive ness in word, in action an in accomplishment, saying “Yes” in all our ages, yes to life , yes to universal love, with a craving hunger and thirst for the Truth. We are given the meaning at the end with the poem “About the Being of Wisdom” which is the seventh imaginary answer to the epistolary novel “Bordeaux's Pilgrim”. Third point of trilogy : “THE FAITH OF THE INTELLECTUAL PURITY UND THE IMAGINARY ANSWER” continence five titres : (I) (le titre for the third point of trilogy); (II) THE TRAGIC SPIRIT UND/OR THE CONSUBSTANTIALITY; (III) INTO THE NUMBER OF QUANTITY IN GOLD UND THE PHILOSOPHY OF SPIRIT; (IV)THE PHENOMENOLOGY UND/ OR THE TAUTOLOGY; (V) the poem “ABOUT THE BEING OF WISDOM”, the only text of trilogy present, for to bring into the world und to take on oneself the answer imaginary of faith, by heart to germinate hölderliniens imaginary answer, by The answer at The Hyperion Revelation und at The Phenomenology of Spirit, by the answer in the to by of faith, of Spirit (the exile und the return) at Earth's Wisdom
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Rodriguez, Penagos Juan Manuel. "Temporalité et Psychose : une étude de trois cas." Paris 7, 2005. http://www.theses.fr/2005PA070070.
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Dans cette thèse nous mettrons en discussion la problématique autour de la temporalité et de la psychose partant d'un contexte spécifique, c'est-à-dire, d'un écrivain (Juan Rulfo), un mathématicien (Georg Cantor) et un cas clinique. Nous analyserons les formations de l'inconscient et l'historicité, à partir de l'oeuvre de chacun de ces trois sujets dont les dimensions délirantes sont fondamentales, ainsi que leurs productions. A partir de l' analyse de chaque sujet, nous pourrons aborder leurs disciplines comme un système formel capable de nous permettre de penser leur spécificités comme une temporalité, par rapport à la psychoseIn this research, we will debate the question about the time psychological phenomenon, in relation within the psychotic state. We begin with one specific context - a novelist (Juan Rulfo), a mathematician (Georg Cantor) and a patient. We will analyse the unconscious formations, and also the way they relate to time, from the work of each of these three cases. We will discuss each one, to consider their fields as a formal System of knowledge, that can allow us to make specific remarks about their relation to time and psychosis
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Coelho, Isabel Lopes. "Quem matou o autor foi o crítico: a resenha literária em Critique e Les Temps Modernes." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-08022010-113814/.
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Análise das revistas de cultura Critique e Les Temps Modernes por meio das resenhas sobre Henry Miller e Charles Baudelaire. A dissertação comenta o surgimento das publicações e suas influências (a poética de Georges Bataille e a filosofia de Jean-Paul Sartre). Apresenta o campo intelectual das revistas e editoras no pós-guerra francês (1945-46). Sugere uma reflexão e um vocabulário para definir este novo crítico, um leitor especializado que, pelo ato da escrita, desenvolve a crítica. Também comenta a resenha como gênero, e as referências estruturalistas e sartrianas em ambas publicações.Analysis of French culture magazines Critique and Les Temps Modernes, through the reviews on the authors Henry Miller and Charles Baudelaire. The text comments the appearance of the publications and its influences (Georges Batailles`s poetics and Jean-Paul Sartre`s philosophy). It presents the intellectual field of the magazines and publishing houses in the French post-war period (1945-46). It suggests a thought and a vocabulary in order to define the new critic character, a specialized reader that writes and produces critic. Finally, comments the genre review and Structuralism and Sartrian references on both magazines.
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Voskresenskaya, Valeriya. "Figures de la temporalité dans l'herméneutique de Hans-Georg Gadamer." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30016/document.
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Le présent travail a pour but d’élucider, sous le nom de « figures de la temporalité », les modalités du temps telles qu’elles se présentent dans l’herméneutique de Gadamer. Notre point de départ réside dans l’idée que la compréhension est événement, et qu’en elle quelque chose du passé vient « parler » au présent, par-delà toute distance temporelle. Liée à la structure événementielle de l’expérience du comprendre, la thématique du temps s’impose à chaque grand axe de la pensée gadamérienne, que ce soit l’ontologie de l’œuvre d’art, le rapport à la tradition ou la constitution langagière et dialogique de notre être-au-monde.Pour expliciter la participation du temps aux structures essentielles de l’expérience herméneutique, nous revisitons trois sphères fondamentales de celle-ci, mises en lumière par Gadamer dans Vérité et méthode. Nous commençons par l’analyse de la temporalité éminente de l’œuvre d’art en tant qu’elle fait apparaître la problématique de l’interprétation temporelle du sens. Nous l’élargissons ensuite à la totalité de l’expérience herméneutique, en l’interrogeant à partir des notions de présence et d’historicité. Ce qui nous conduit enfin à mettre en lumière l’inachèvement constitutif de l’expérience du sens, saisie dans son essence dialogale. Le temps représente pour nous moins un objet de recherche qu’une grille de lecture, permettant de mettre au jour le caractère temporel et historique de l’être du sens et la finitude de l’expérience du comprendre. Nous espérons montrer, par notre recherche, que le dégagement de la question du temps chez Gadamer pourrait fournir un élément essentiel à la compréhension de l’ensemble de sa pensée et contribuer à l’éclaircissement du concept herméneutique de véritéThe present work aims, under the name of “figures of temporality”, to elucidate the modalities of time as they appear in Gadamer’s hermeneutics. Our point of departure lies in the idea that understanding is an event, and that something of the past in it comes to “speak” to the present, beyond any temporal distance. The theme of time is linked to the event structure of the experience of understanding and is presented in each major axis of Gadamerian thought, such as the ontology of the work of art, the relationship to tradition or the linguistic and dialogical constitution of our being-in-the-world.To explain the participation of time in the essential structures of hermeneutical experience, we revisit its three fundamental spheres, highlighted by Gadamer in Truth and Method. We begin with the analysis of the eminent temporality of the work of art insofar as it reveals the problematic of the temporal interpretation of meaning. Then we extend it to the totality of the hermeneutical experience, by questioning it through the notions of presence and historicity. It leads us finally to show the unclosed character of the experience of meaning, grasped in its dialogical essence. Here time is less a research object than a grid of reading, making it possible to reveal the temporal and historical character of the being of meaning and the finitude of the experience of understanding. Our research is intended to show that the emergence of the question of time in Gadamer could provide an essential element for the comprehension of his entire thought and contribute to the clarification of the hermeneutical concept of truth
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Malabou, Catherine. "L'avenir de Hegel ou : de la plasticité temporelle en dialectique." Paris, EHESS, 1994. http://www.theses.fr/1994EHES0317.
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Le propos general de la these consiste a affirmer "l'avenir" de la philosophie de hegel a l'encontre des interpretations qui ont conclu a sa cloture dans un present intemporel. Il s'agit avant tout d'apporter une contribution a la discussio n ouverte par heidegger dans une note celebre au 82 de sein und zeit quant a la conception hegelienne du temps et au rapport entre "temps" et "esprit". Il convient pour ce faire d'instruire le plus largement possible le dossier de ce debat (heidegger, kojeve, koyre, derrida. . . ) sur la temporalite hegelienne et son rapport a u "temps vulgaire". "l'aveni r" dont il est question ici n'est pas le futur entendu comme simple moment du temps, "non encore present", mais la struc ture d'anticipation qui, originairement, ouvre au sujet la distance qui lui permet d'entrer en rapport avec ce qu'il n'est pas, et, en ce sens, avec l'evenement. Cette structure est decrite par heidegger comme "transcendance" ou encore "ouverture d'horizon". L'elaboration progressive du concept de "plasticite" (utilise par hegel dans phenomenologie de l'esprit, la preface a la science de la logique de 1831 et dans les differentes vorlesungen) permet de montrer qu'une telle structure est immanente a la conception hegelienne de la subjectivite. La "plasticite" designe a la fois la reception et la donation de forme, et permet ainsi de caracteriser "l'auto-determination" du sujet, c'est-a-dire la mani ere dont il donne forme a ses propres determinations, ou accidents, et les recoit par la meme. Ce vis-a-vis du sujet avec lui-meme, qui le pose comme instance synthetique, est decrit par hegel comme mouvement de la "substance-sujet. " le corps de la these s'attache a en montrer le deploiement en proposant une lecture de trois moments de la philosophie de l'esprit de l'encyclopedie des sciences philosophiques : l'anthropologie, la religion revelee, la philosophieThe general aim of this dissertation is to assert the "future" of hegel's philosophy against interpretations which have maintained its closure in a timeless present. Above all, this argument contributes to heidegger's open discussion regarding the hegelian conception of time and the relation between "time" and "mind", which is found in the famous note to the 82nd paragraph of being and time. This argument is constructed largely through reference to the debate on hegelian temporality and its relation to "ordinary understanding of time" involving heidegger, kojeve, koyre and derrida among others. The "future" in question here is not the future seen as a simple passing of time "not-yet-present", but rather as the structure of anticipation which, originally, opens a distance up to the subject that permits it to enter into a relation with what it is not, and consequently with the event. This structure is described by heidegger as "transcendence" or "the opening of the horizon". The progressive elaboration of the concept of "plasticity" (used by heg el in phenomenology of spirit, the preface to science of logic (1831) and in various vorlesungen) indicates that such a structure is immanent to the hegelian conception of subjectivity. Plasticity refers to both the reception and the giving of form, and thus it allows for the characterisation of the "auto-determination" of the subject, that is to say the manner in which the subject gives form to its determinations or accidents, and in turn receives them. The subject's encounter with itself, seen as a synthetic process is described by hegel as the movement of the "substance-subject". The body of this thesis follows the unfurling of this movement through a reading of three moments (anthropology, religio n and philosophy) of philosophy of mind in the encyclopedia of philosophical sciences
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Ohike, Sotaro. "Georges Bataille et les lieux de la pensée : De l'Histoire de l'œil à la Somme athéologique." Thesis, Université de Paris (2019-....), 2019. http://www.theses.fr/2019UNIP7158.
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Les œuvres de Georges Bataille touchent à presque tout le domaine des sciences humaines, mais ne se rattachent jamais en propre à aucune de celles-ci. Une inquiétude étrange l’empêche de s’établir dans un espace cohérent, l’espace achevé et clos de la voix unique. D’où vient cette inquiétude, par quoi perpétuellement se distancent l’une de l’autre sa pensée et son écriture, sa parole et son objet ? En quoi consiste cette dynamique implosive qui à la fois interrompt l’écriture bataillienne et commande sa prolifération, en deçà même d’une apparente audace interdisciplinaire ou d’une contestation des disciplines ? Telles sont les questions qui nous accompagneront dans la présente étude, et nous permettront de mettre au jour un parcours singulier, depuis le premier roman de Bataille jusqu’à la trilogie de La Somme athéologique, parcours jalonné de différents sites, où chaque fois la pensée de notre auteur se met en rapport avec des lieux insituables, inaccessibles à l’appréhension de la connaissance. Une première partie de notre travail, centrée sur l’Histoire de l’œil, la revue Documents et Le Bleu du ciel, situe la pensée du premier Bataille dans son rapport à un dehors irréductible qui lui donne sa structure. Notre étude met alors au jour la difficulté particulière qu’il y a pour Bataille à trouver le lieu commun susceptible de lui faire partager son écriture avec le temps qui lui donne naissance. Notre deuxième partie traite de certains textes à nos yeux fondamentaux datant de la période de la deuxième guerre mondiale, dans lesquels se font jour des tentatives variées et mouvementées de donner lieu à la communication avec les autres. L’espace-temps exceptionnel de la guerre informe ce développement de la pensée de Bataille, en constituant à la fois un fonds ontologique qu’il partage avec les autres, et le moment critique où sa pensée se penche profondément vers le motif du sacrifice. Mais en marge de ce faste sacrificiel, nous décèlerons un autre chemin vers une éthique bataillienne de la communication fondée sur la pensée de l’immanence, sur le lieu ouvert des êtres égauxThe works of Georges Bataille affect almost all the fields of the humanities but never relate to any of them. A strange worry prevents him from putting himself in a consistent space, the completed and confined one of a single voice. Where does this worry come from? Why are his thoughts and writings, his words and object, constantly distanced from one another ? What is this implosive dynamic, which interrupts Bataille’s writing and controls its spread, even beyond an obvious interdisciplinary boldness or challenge of disciplines? These are the questions that will be tackled in this study. They will allow us to highlight a single journey from Bataille’s first novel to the trilogy of Summa Atheologica, a story full of different settings where each time our author’s thought process puts himself in touch with unlocatable places, inaccessible to the apprehension of knowledge. The first part of our work, based on the Story of the Eye, the magazine Documents, and Blue of Noon, relates the author’s thinking to an irreducible exterior that gives it its structure. Our study then brings to light the special difficulty that Bataille has in finding commonalities between his writing and the times he lived in. The second part deals with some fundamental texts from the period of the Second World War, in which varied and eventful attempts to communicate with others are highlighted. The exceptional space-time of war gives more details about Bataille’s thought, constituting at the same time an ontological fund that he shares with others and the critical moment when his thought leans deeply towards the motif of sacrifice. However, on the sidelines of this sacrificial splendor, we find another way of understanding Bataille’s ethic of communication based on the theory of immanence and on the open place of equal beings
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Bosch, Francesco Bruno Perrota. "Informes." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-13062017-131543/.
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Tudo inicia com o verbete de um dicionário não convencional. A revista Documents, na qual se publicava o Dictionnaire Critique, era editada pelo escritor francês Georges Bataille quando ele escreveu sobre o informe: um termo que \"serve para desclassificar\"; um vocábulo que não existe para dar significado a determinadas coisas, mas para instigar \"tarefas\"; uma noção antagônica a toda \"sobrecasaca matemática\"; uma disrupção ao academicismo \"que geralmente demanda que cada coisa tenha sua forma\". Esta dissertação fundamenta-se na acepção batailliana, destrinchando nuances, revisitando múltiplas leituras feitas a posteriori, buscando compreender o verbete em meio a todo conjunto do Dicionário Crítico, e, por fim, aceitando a diversidade e as contradições da rede de relações que Bataille instituía. Alicerçado nesse verbete acerca do informe, estabeleço uma operação crítica de observação do mundo, a qual irradia uma série de questões para além daquelas enfrentadas à época pelo grupo surrealista da Documents. Informes, no plural, apresenta um campo de diálogo entre trabalhos artísticos, projetos arquitetônicos, obras literárias. A crise do ideal de forma não é unívoca. O informe lança uma ilimitada multiplicidade de questões; nesta dissertação, apresentam-se algumas delas em um labirinto que põe em contato o Partially Buried Woodshed de Robert Smithson, o Tent Pile do Formlessfinder, a Endless House de Frederick Kiesler, o apartamento de A Espuma dos Dias, o Gutter Corner Splash e as espirais de Richard Serra, a crise da arte como ciência europeia por Edmund Husserl, os Sacchi de Alberto Burri, o vão livre do Masp e o pré-artesanato nordestino pela ótica de Lina Bo Bardi, a Torsione de Giovanni Anselmo somada a tantos outros trabalhos da dita Arte Povera, o Monumento a Bataille de Thomas Hirschhorn, o Merzbau de Kurt Schwitters, o Vortex do Raumlabor, o empilhar de telhas de Wang Shu, a entropia que se ausenta em O ateliê vermelho de Henri Matisse, o estúdio de Rémy Zaugg projetado pelo Herzog & de Meuron, a Mesa de Nelson Felix, o Fun Palace de Cedric Price, o Granby Four Streets do Assemble, os inacabados prisioneiros de Michelangelo. Essa polifonia consubstancia-se nos dezenove ensaios que se seguem. Tal como uma entrada de dicionário, cada texto é autossuficiente; entretanto, suas questões ricocheteiam ao longo da dissertação. Inspirado no Dictionnaire Critique e no livro Formless: A User\'s Guide, de Yve-Alain Bois e Rosalind Krauss, faço um emaranhado de heterogêneas rela- ções a partir de diferentes autores, artistas, arquitetos. Não há uma mesma unidade nem métrica para os ensaios: as estruturas textuais são diversas, os tamanhos são distintos, e sua leitura também não se faz exigente em ordem sequencial.. Há uma metalinguagem entre o informe e o (não)formato deste Informes. O que se intenta é o enfrentamento às convenções, ao status quo, ao senso comum. Uma busca deste mestrando para não ver o mundo como conjunto de formas, as quais obrigatoriamente devamos nos enquadrar. Afinal, já dizia Bataille, \"o universo é algo como uma aranha ou um escarro\".Everything begins with an entry of an unconventional dictionary. The magazine Documents, in which the Dictionnaire Critique was published, was edited by the French writer Georges Bataille when he wrote about the formless: a term that \"serves to bring things down\"; a word that does not exist to give meaning to certain things, but to instigate \"tasks\"; an antagonistic notion to any \"mathematical frock coat\"; a disruption to academicism that \"generally requiring that each thing have its form\". This dissertation is based on the bataillian sense of the formless, unraveling nuances, revisiting multiple readings made a posteriori, seeking to understand the entry in the midst of all set the Critical Dictionary, and, finally, accepting diversity and contradictions of the network of relationships that Bataille instituted. From this entry on the formless, I establish a critical operation for observing the world, which radiates a number of issues beyond those that the Surrealist group faced at the time of Documents magazine. Formlesses, in plural, present a field of dialogue between artistic works, architectural projects, literary writings. The crisis of the ideal of form is not univocal. Formless launches unlimited and multiple questions, which, on this dissertation, present themselves in a labyrinth that put in contact the Partially Buried Woodshed by Robert Smithson, the Tent Pile by Formlessfinder, the Endless House by Frederick Kiesler, the apartment of L\'Écume des Jours, the Gutter Corner Splash and the spirals by Richard Serra, the crisis of art as a European science by Edmund Husserl, the Sacchi by Alberto Burri, the great span of Masp and the northeastern pre-crafts from the perspective of Lina Bo Bardi, the Torsione by Giovanni Anselmo together with many other of the Arte Povera, the Monument to Bataille by Thomas Hirschhorn, the Merzbau by Kurt Schwitters, the Vortex by Raumlabor, the stacking of tiles of Wang Shu, the absence of entropy in The Red Studio by Henri Matisse, the atelier of Rémy Zaugg designed by Herzog & de Meuron, the Mesa by Nelson Felix, the Fun Palace by Cedric Price, the Granby Four Streets by Assemble, the unfinished prisoners of Michelangelo. This polyphony is embodied on the following nineteen essays. Like a dictionary entry, each text is self-sufficient; however, their issues ricochet throughout the dissertation. Inspired by the Dictionnaire Critique and the book Formless: A User\'s Guide, of Yve-Alain Bois and Rosalind Krauss, I make a tangle of heterogeneous relationships from different authors, artists, architects. There is neither unity nor metric on the essays: the textual structures are diverse, their sizes are different, and it is not necessary to read them in a sequential order. There is a metalanguage between the formless and the (non)format of this Formlesses. What I attempt is to confront the conventions, the status quo, the common sense. A search of this graduate student for not to see the world as a set of forms, in which we must necessarily fit in. After all, as Bataille had already said, \"the universe is something like a spider or spit\".
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Dutra, Daniel Iturvides. "Literatura de ficção-científica no cinema : a transposição para a mídia fílmica de A Máquina do Tempo de H. G. Wells." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/21566.
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Esta dissertação realiza uma análise do livro A Máquina do Tempo, escrito por H.G. Wells em 1895, e sua transposição fílmica homônima realizada por George Pal em 1960 dentro do escopo do gênero ficção-científica. São analisadas as mudanças que foram realizadas no processo de transposição da literatura para o cinema. Este trabalho discute inicialmente as características do gênero ficção-científica na literatura, como o gênero se diferencia de outros gêneros como a literatura fantástica, por exemplo, e quais são os elementos que compõem a identidade do gênero ficção-científica. Em um segundo momento investigamos os problemas que o gênero ficção-científica apresenta quando transposto a mídia cinematográfica. Entre os fatores investigados estão como a verossimilhança funciona na literatura de ficção-científica e como o leitor se relaciona com ela. Também se analisou como o gênero utiliza o conhecimento científico para criar seus universos ficcionais, e as mudanças que os realizadores fílmicos às vezes precisam fazer para tornar o universo literário ficcional aceitável ao espectador em termos de verossimilhança, considerando que o que é verossímil na literatura não é necessariamente verossímil no cinema, especialmente na literatura de ficção-científica, um gênero que possui uma ligação íntima com a ciência e o progresso. Para finalizar essa pesquisa analisa a relação entre o gênero ficção-científica e o cinema no que diz respeito aos problemas que o gênero apresenta ao cinema em termos de tecnologia. Em outras palavras, o gênero literário ficção-científica traz aos realizadores fílmicos problemas e desafios que exigem a pesquisa e o desenvolvimento de novas tecnologias e técnicas visando resolvê-los.The present work analyzes the book The Time Machine, written by H.G.Wells in 1895, as well as its transposition into a homonymous movie made by George Pal in 1960 as part of the science fiction genre. This work initially discusses the characteristics of the science fiction genre in literature, the way the genre differs from others such as the fantastic literature, for instance, and the fundamental elements of the science fiction genre. It then investigates the problems the science fiction genre presents when transposed to film media. Among the investigated factors are the problem of verisimilitude in science fiction literature and how the reader responds to it. This includes discussing the way the genre uses scientific knowledge to create its fictional universe, and the changes, in terms of verisimilitude, moviemakers need to consider when the fictional literary text is transferred into film. What sometimes is plausible in literature not always seems plausible in movies, especially in regard to science fiction literature, a genre that has a intimacy with science and progress. To conclude, this research analyzes the relation between the science fiction genre and film concerning the challenges the genre presents when transposed into another medium in terms of technology. These challenges require research and the development of new procedures for the cinematographic medium.
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Pelletier, Christian. "Du temps du possible : de l'infini à l'existence." Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26851/26851.pdf.
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Papageorgiou, Georgios. "Hearing through the body : expression and movement in music." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/2f76046e-dbb2-eb50-8421-08959d9b300b/8/.
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This thesis engages with complex issues of musical expression and movement, and their relation, on the one hand, to musical structure and, on the other hand, to embodied musical experience. It aims to fill a gap in music theory and analysis: most methods overemphasise abstract conceptualisation of structural relations at the expense of the more dynamic, intuitive aspect of musical experience. As a solution, it offers a specific analytical method that can be used to explore dynamic aspects of music as experienced through the whole body. Drawing mainly on nineteenth-century piano music, I analyse aspects of structure in both composition and performance in terms of expressive and motional qualities, revealing the relationship between musical and physical movement. Expressivity in music derives its meaning, at least partly, from the embodied experience of music: performers shape expression through their whole body while listeners react to it in a comparable way, albeit less overtly. Two related systems of graphic notation are introduced, which provide a non-verbal means of representing expressive movement and at the same time encourage an immediate, visceral relationship to the music. The first notation captures the animated quality of expressive movement by analogy with the motion of a bouncing ball, while the second breaks down the expressive musical flow into discrete gestural patterns of specific motional character. While the ultimate value of this method lies in the analytical process it instigates, it also provides a novel theoretical framework that sheds light on the interaction, as well as integration, between structures such as metre, rhythm, harmony and voice-leading, which are traditionally studied mostly independently. In addition, it provides a useful tool for the study and communication of performance interpretation, based on data extracted from recordings in the form of tempo and dynamic fluctuation graphs.
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Margel, Serge. "Le reste et le temps : étude sur la représentation temporelle de l'étant chez Aristote, Hegel et Heidegger." Paris, EHESS, 1992. http://www.theses.fr/1992EHES0328.
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Ce travail, qui porte essentiellement sur la question du temps chez res, , ), gthned by his correspondence aristote, hegel et heidegger, a pour enjeu majeur la delimitation du res, , ), gthned by his correspondence champ metaphysique a partir duquel s'est forme le concept traditionnel res, , ), gthned by his correspondence de temps. - en suivant de pres l'interpretation heideggerienne de nnel res, , ), gthned by his correspondence l'histoire de la metaphysique, et donc en interrogeant sa conception res, , ), gthned by his correspondence du rapport historial entre l'etre et le temps, ou le sens de l'etre res, , ), gthned by his correspondence se voit toujours deja determine par l'horizon du temps, nous essaye- res, , ), gthned by his correspondence rons de comprendre, dans un premier livre, comment s'articule, d'aris- res, , ), gthned by his correspondence tote a hegel, cette inevitable predetermination temporelle, et dans res, , ), gthned by his correspondence un second livre nous tacherons d'analyser en quoi les presuppositions res, , ), gthned by his correspondence metaphysiques d'une telle predetermination, bien que fortement depla- res, , ), gthned by his correspondence cees, se retrouvent dans le texte de heidegger. Que fortement depla- res, , ), gthned by his correspondenceThe object of this study on the question of time in aristotle, hegel res, , ), gthned by his correspondence andheidegger is to determine the metaphysical boudaries which limit res, , ), gthned by his correspondence the traditional concept of time. - we will follow closely the heideg- res, , ), gthned by his correspondence gerian interpretation of the history of metaphysics and will analyse res, , ), gthned by his correspondence his conception of the historial relation between being and time inse res, , ), gthned by his correspondence which the meaning of being is always already determined by the horizon res, , ), gthned by his correspondence of time. From there, we will try to understand in the first book how res, , ), gthned by his correspondence this inevitable temporal predetermination is concieved by aristotle res, , ), gthned by his correspondence and hegel. In the second book, we will attempt to analyse how the me- res, , ), gthned by his correspondence taphysical presuppositions of this predetermination can befound, albeit res, , ), gthned by his correspondence stronly displaced, in heidegger's work. Rmination can befound, albeit res, , ), gthned by his correspondence
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Buffier-Morel, Martine. "Le temps des femmes et des hommes : un point de vue reliant le travail et le hors travail, dans le contexte de la RTT." Paris 1, 2004. http://www.theses.fr/2004PA010503.
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La thèse à partir d'une approche anthropologique du salariat, étudie la construction du temps des femmes et des hommes entre travail et hors travail. En s'inscrivant dans le paradigme propre à Gurvitch, d'une articulation des temps selon le seul principe possible d'une hiérarchisation, elle soumet l'interface travail/famille à un questionnement des effets sociaux des politiques. La montée des politiques temporelles conjuguée au renforcement de la légitimité du référentiel égalitaire de genre dans l'action publique, a engendré une production normative qui est interrogée sur les vingt dernières années. Le point de vue considère que les politiques d'égalité professionnelle, en associant le seul temps plein au " bon modèle " de cumul emploi/famille, ont produit une norme d'activité exigeante, potentiellement discriminante. Une comparaison européenne sert à éclairer le cas français. Le niveau de l'entreprise introduit l'interdépendance entre temps publics et temps privés
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Casanova, Pierre. "Le temps dans le poème." Toulouse 2, 1997. http://www.theses.fr/1997TOU20056.
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Comment le poème peut-il dire le temps, non en se confrontant à ce mouvement au gré d'un récit qui en ferait son thème ou la clef de chacune de ses images, mais en s'accordant à ses rythmes différents par lesquels tel événement est éclairé, telle date projetée à la mémoire ? Ce qui implique de préciser à la lecture de poèmes de Bataille, Char, Michaux et Celan, ces termes : image, événement, date, mémoire. Tenter de dire le temps, de faire du poème le lieu d'une date, d'un événement, s'exposer ainsi à ce qui ne se transcrit pas sinon en se modifiant radicalement est l'enjeu de ces textes. En chacun, c'est la langue, qui se réinventeHow can the poem express the time, not by facing this movement through a story where time would be the theme or the key to each of its images, but by getting in time with various rhythms giving light to such event, such date recalled to the memory. Which implies, through the reading of Bataille, Char, Michaux and Celan's poems, to precise these terms: image, event, date, memory. Attempting to say the time, to make of the poem the place of a date, an event, leads to transcribe o thing that cannot suffer transcription except by a radical modification, such is the stake of these texts. In each one it is language invented all over again
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Sauder, Christopher. "Mouvements et modalités : l’interprétation et la transformation de la dunamis et de l’energeia chez Hegel et chez Heidegger." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040099.
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En enchâssant notre étude dans la conceptualité aristotélicienne de l’accomplissement processuel de l’être, nous voulons ouvrir une voie qui permette de renouveler le dialogue manqué entre Hegel et Heidegger. En effet, nous voulons démontrer que les divergences fondamentales entre les deux philosophes allemands quant au mouvement, à la modalité et au temps se laissent comprendre à partir de leurs interprétations, adaptations et transformations des notions de puissance et d’acte. Dans un premier temps, nous mettons en contraste les deux modèles – celui des actes immanents et celui des mouvements transitifs – de la puissance et de l’acte chez Aristote, qui nous serviront ensuite à éclairer la divergence entre les interprétations de Hegel et de Heidegger. Dans un second temps, nous examinons les interprétations de ces termes dans les nombreux cours donnés par les deux philosophes sur le Stagirite. Nous nous tournons ensuite vers les pensées propres des philosophes afin de démontrer leur dépendance envers la conceptualité cinétique d’Aristote, aussi bien que les limitations qu’ils y trouvent et qui les amènent à la trahir. Il s’avère que Hegel, porté vers l’antériorité et l’immanence de l’acte compris comme le mouvement circulaire et intemporel de la dialectique, aboutit à une modalité qui ressemble à celle des Mégariques. Heidegger, de son côté, comprend le discours aristotélicien de la production comme une proto-phénoménologie, mais le trouve cependant insuffisant pour conceptualiser le mouvement essentiel du Dasein, à cause de son orientation téléologique. Néanmoins, Heidegger demeure aristotélicien dans son insistance sur le lien entre le mouvement (de l’ouverture) et le tempsThis study constructs a dialogue between Hegel and Heidegger, within the framework of the Aristotelian conceptuality of the processual fulfilment of being. The fundamental divergences between the two German philosophers concerning movement, modality and time are analyzed in terms of their interpretations, adaptations, and transformations of the notions of potentiality and actuality. I begin by developing two contrasting conceptions of potentiality and actuality – immanent acts and transitive movements – that serve to mark out the different trajectories of interpretations made by Hegel and Heidegger. I then turn to an analysis of the numerous lecture courses both philosophers gave on Aristotle. Finally, I show how certain of their fundamental philosophical breakthroughs rely on the kinetic conceptuality of the Stagirite, even if the limitations of those Aristotelian paradigms ultimately force Hegel and Heidegger to transgress them. It turns out that Hegel, taking his point of depart from the priority and immanence of energeia, understood as the circular and atemporal movement of the dialectic, ends up with a theory of modality bearing close resemblance to that of the Megarians. Heidegger, on the other hand, understands the Aristotelian production discourse as a proto-phenomenology, which he nevertheless finds insufficient for conceptualizing the essential movement of Dasein, due to its overriding teleological orientation. Nevertheless, Heidegger remains Aristotelian in his insistence on the intrinsic relation between the movement of phenomenological appearing and time
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Authier, Raphaël. "Concevoir l’historicité. L’histoire et les différentes formes de temporalité chez Hegel et Schelling." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL047.
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La « philosophie de l’histoire » de l’idéalisme allemand, si l’on entend par là un ensemble de thèses permettant de découvrir un sens de l’histoire, a fait l’objet de nombreux travaux, en particulier celle de Hegel. Mais la réflexion des penseurs idéalistes sur l’histoire ne s’est pas limitée à l’interprétation des événements historiques passés. Une large part a consisté au contraire à élaborer un concept d’histoire dont l’extension ne se limite pas aux transformations sociales et politiques des groupes humains (mais qui concerne l’ensemble des productions humaines, voire la nature elle-même), et dont la compréhension ne recoupe pas l’usage de cette notion dans la conscience commune. Il nous a semblé que l’originalité de Hegel et de Schelling résidait notamment dans la richesse qu’ils attribuent à ce sens ontologique de l’histoire (conçue comme Geschichte et non comme Historie). Notre travail a consisté à interroger précisément la manière dont Hegel et Schelling ont élaboré un tel concept, qu’il vaudrait mieux qualifier d’événementialité ou d’historicité, pour le distinguer de la connaissance ou du récit de ces événements. Nous avons proposé ainsi de clarifier le sens du concept d’histoire par une comparaison des différentes formes de temporalité (temps naturel, temps de la conscience, histoire, durée, éternité) et de leur rôle respectif dans les systèmes de Hegel et de Schelling, de façon à souligner le caractère central du problème de l’historicité au sein de ce corpus, et à suggérer de quelle façon sa compréhension a déterminé le positionnement ultérieur des philosophes « post-idéalistes » (de Marx et Kierkegaard à l’idéalisme britannique ou à l’École de Francfort)Many scholars have treated the “philosophy of history” developed by German idealists as a set of arguments designed to find a purpose in history. Yet the idealist thinkers did not limit their investigation to the interpretation of past historical events. On the contrary, a significant part of their work is dedicated to outlining a concept of history that is not limited to social and political transformations affecting human groups, but instead includes the totality of humanity’s creations, and even nature itself. This concept of history differs, sometimes radically, from how the term “history” is, and has been commonly understood. The source of the difference is Hegel and Schelling’s focus on such a rich ontological meaning of the notion of history (taken as Geschichte, as opposed to Historie). This thesis traces how Hegel and Schelling developed this concept, which might be more aptly characterised as historicity, to distinguish it from the knowledge or the chain narration of past events. It thus clarifies the meaning of the concept of history by comparing different forms of time (natural time, psychological time, history, duration, eternity) and their respective roles in Hegel’s and Schelling’s systems. This comparison is intended to underline the centrality of the problem of historicity in German idealism, and to suggest how its understanding has shaped the development of “post-idealist” European philosophy (from Marx and Kierkegaard to British idealism or to the Frankfurt School)
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Ruta, Marcello. "La deuxième voie du post-kantisme : temporalité et éternité dans la philosophie de Schopenhauer et Schelling." Strasbourg, 2010. https://publication-theses.unistra.fr/public/theses_doctorat/2010/RUTA_Marcello_2010.pdf.
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La thèse est structurée en quatre chapitres : un premier chapitre, dans lequel on essaie de reconstruire une bibliographie sur Schopenhauer et Schelling. Comme on le montrera, ces deux auteurs ont été toujours mis en relation presque instinctivement, à cause d’une certaine affinité terminologique (par exemple l’utilisation de la notion de volonté) et de l’irrationalisme qui, à partir au moins de Windelband, leur a été imputé. Nonobstant tout cela, il n’y a pas une riche bibliographie où la relation entre les deux auteurs est analysée en profondeur. La situation change depuis quelques années seulement, changement qui a trouvé dans le congrès tenu a Fribourg sous la direction de L. Hühn en 2005 son expression accomplie. Un deuxième chapitre où on analyse la relation entre temporalité et éternité dans les pensées de Kant et Hegel : ce chapitre est décisif pour ce qui concerne la thèse historico-philosophique du travail, parce que c’est ici qu’on fonde l’hypothèse d’une deuxième (non hégélienne) voie du post-kantisme. Les deux derniers chapitres analysent la relation entre temporalité et éternité dans les pensées de Schopenhauer et Schelling. Dans ce dernier cas, on a pris en compte la production médiane de Schelling (de 1809 à 1821). Le travail se clôt par une conclusion qui résume le contenu du travailThe thesis is divided into four chapters : a first chapter, which attempts to reconstruct a bibliography on Schopenhauer and Schelling. As it will be shown, these authors have always been linked almost instinctively, because of a common terminology (e. G. . By using the concept of Will) and the irrationalism that labelled their thoughts, at least since Windelband. In spite of all that, there is not a rich bibliography where the relation between the two authors is deeply analysed. The situation changed only in recent years, a change that has found in the congress held in Freiburg under the direction of L. Hühn in 2005 its full expression. A second chapter, which explores the relationship between temporality and eternity in the thoughts of Kant and Hegel : this chapter is decisive in relation to the historical-philosophical thesis of the work, because it is here that the hypothesis of a second (non-hegelian) way of post-kantianism is founded. The last two chapters discuss the relationship between temporality and eternity in the thoughts of Schopenhauer and Schelling. In the latter case, we took into account the median production of Schelling (from 1809-1821). The work ends with a conclusion which summarizes the content of work
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Felip, Ordis Olga. "Desmuntant la Secció Alemanya : Exposició Internacional de Barcelona de 1929 : Arquitectura de Ludwig Mies van der Rohe i Lilly Reich." Doctoral thesis, Universitat Politècnica de Catalunya, 2019. http://hdl.handle.net/10803/665101.
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Apart from the many interpretative contributions that the recent historiography has contributed to the state of the art in regards to the participation of the German Section at the International Exposition of Barcelona in 1929, this doctoral thesis offers an objective perspective of the events that took place between the first attempts of partition by the German government in October of 1927 and the final liquidation in autumn of 1930.
A representation that is developed in three volumes - Space and Time, Architecture and Diconstructing the German Section - in a sequence that reconstructs the totality of the interventions of Ludwig Mies van der Rohe and Lilly Reich, in a new circular and open route in The Mountain of Montjuïc.
Purpose intent is to calibrate the participation and significance of figures such as Georg von Schnitzler, as well as the authorship of Ludwig Mies van der Rohe and Lilly Reich in a temporary suspension of the work of art similar to the words of Marcel Duchamp: in advance, in retard. Towards the definition of a method where the legacy of the history of architecture offered to Mies and Reich an inventory for the definition of a new order within the 8 existing Palaces while the two ends -the 2 pavilions- where the autonomous object should circulate.Al marge de les nombrosíssimes contribucions interpretatives que la historiografia recent aporta com a l’estat de l’art sobre la participació de la Secció Alemanya a la Exposició Internacional de Barcelona de 1929, la present tesis doctoral ofereix una mirada objectiva dels fets que van esdevenir entre les primeres temptatives de partició per part del govern alemany d’octubre de 1927 i la liquidació final a la tardor de 1930. Una narració que es desplega en tres volums -Espai i Temps, Arquitectura i Desmuntant la Secció Alemanya- en una seqüència que reconstrueix la totalitat de les intervencions de Ludwig Mies van der Rohe i Lilly Reich, en un nou recorregut circular i obert per la Muntanya de Montjuïc. La intenció és calibrar la participació i pes de figures com Georg von Schnitzler, així com l’autoria de Ludwig Mies van der Rohe i Lilly Reich en una suspensió temporal de l’obra d’art similar a les paraules de Marcel Duchamp: in advance, in retard. Cap a la definició d’un mètode a on el llegat de la història de l’arquitectura va oferir a Mies i Reich un inventari per la definició d’un nou ordre dins dels 8 Palaus existents alhora que els dos extrems -els 2 Pavellons- a on l’objecte autònom hauria de transitar.
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Wang, Chunming. "Liberté et souveraineté : le problème de l'expérience chez Sartre et Bataille." Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30041/document.
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Dans ce travail de thèse, nous cherchons à faire dialoguer Sartre et Bataille dont la confrontation dans les années quarante et cinquante a la signification, à notre sens, d’une rencontre entre deux pensées de l’expérience et de l’existence que nous proposons d’appeler respectivement « pensée de la liberté » et « pensée de la souveraineté ». Il s’agit, dans un premier temps, d’esquisser comment ces deux pensées ont pu se rencontrer sous forme de confrontation et, pour ce faire, de restituer l’horizon à partir duquel elles ont pu se formuler : si Sartre a reproché à Bataille d’avoir confondu dans L’expérience intérieure l’attitude scientifique et l’attitude existentialiste et d’avoir décrit ainsi une expérience nullement intérieure, c’est qu’en adoptant une méthode phénoménologique pour décrire la rencontre concrète de l’existence par elle-même en tant qu’existence temporelle, il entend par « expérience » ce que les phénoménologues allemands appellent « Erlebnis » et ce qui est dans son essence une sphère d’immanence radicalement infusionnable avec d’autres sphères du même type, tandis que l’expérience intérieure telle que Bataille la définit culmine précisément dans une fusion de l’intérieur et de l’extérieur que celui-ci considère d’ailleurs comme exigence fondamentale d’une phénoménologie de l’esprit développée et en vue de laquelle il exige une existence immédiate, sans délai, enfoncée dans l’instant. L’enjeu d’une telle divergence sur le sens de l’expérience et, corrélativement, de l’existence est d’autant plus profond que ces deux penseurs ont tous pour dessein d’établir une morale à ceci près qu’il s’agit, pour l’un, d’une morale de la souveraineté dont le sens est paradoxalement hypermoral et, pour l’autre, d’une morale de la liberté qui ne peut être atteinte qu’au terme d’une conversion radicale. En quoi consistent-elles ces deux morales ? Comment sont-elles accrochées à deux pensées différentes voire opposées de l’expérience et de l’existence ? Telles sont les deux questions auxquelles nous tenterons, en dernière instance, de répondre pour mieux mesurer l’enjeu de la confrontation entre Sartre et Bataille et, par là, établir un dialogue qui est de prime abord improbableIn this dissertation, we seek to construct a dialogue between Sartre and Bataille whose confrontation in the forties and fifties should be considered, in our view, as an encounter between two ways of thinking experience and existence that we would like to call, respectively, « thinking of liberty » and « thinking of sovereignty ». We are going to, firstly, outline how these two thinkings could encounter with each other in a confrontational way and, for this purpose, to restore the horizon from which they were able to formulate themselves : if Sartre criticized Bataille for confusing, in The inner experience, the scientific attitude with the existentialiste one and, therefore, describing an experience which is not inner at all, that’s because in adopting a phenomenological method to describe the concrete encounter of existence – which is temporal – by itself, he understood « experience » as what the German phenomenologists called « Erlebnis », namely a sphere of immanence which is radically infusionnable with other spheres of the same type, while the inner experience as Bataille defined it culminates precisely in a fusion of the inner and the exterior that he considered as the fundamental demanding of a developped phenomenology of mind in responding to which he required an immediate existence, that is to say an existence without daly, immerged in the instant. What’s at stake in such a divergence on the meaning of experience and, correspondingly, of existence has much further implications in that both of these two thinkers had the very intention to establish the morality except that for one, it’s a morality of sovereignty whose meaning is paradoxically hypermoral while for the other, it should be a morality of liberty that can only be reached through a radical conversion. What could we learn from these two moralities ? How are they linked to two different, even opposite ways of thinking experience and existence ? These are the two questions that we will try, finally, to respond in order to better measure the stakes of the confrontation between Sartre and Bataille and thus to establish a dialogue which seems prima facie improbable
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Tranchant, Thibault. "Raison et création : le constructivisme et l’institutionnalisme postmétaphysiques de Cornelius Castoriadis." Thesis, Rennes 1, 2019. http://www.theses.fr/2019REN1S040/document.
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L'objet de cette thèse doctorale est la réponse poïétique et institutionnaliste offerte par Castoriadis au problème de la constitution d'une universalité pratique dans un contexte post-métaphysique. La thèse s'ouvre sur une définition de la philosophie politique comme projet d'objectivation institutionnelle de la raison et sur l'exposition du problème, pour cette discipline, engendré par la critique de la métaphysique et l'émergence d'une conception procédurale de la raison lors de la modernité. La thèse est ensuite divisée en deux parties. La première porte sur la philosophie de Castoriadis, c'est-à-dire sur sa critique de la pensée métaphysique, son ontologie et sa théorie de la connaissance. Nous y défendons la thèse interprétative que sa philosophie est un « pluralisme ontopoïétique constructiviste ». La seconde porte sur sa conception de la raison pratique, que nous interprétons comme « institutionnalisme post-métaphysique ». Nous concluons en explicitant les nouvelles médiations établies par Castoriadis entre philosophie et politique, sa conception de l'universalité pratique, et, par conséquent, la place qu'il occupe dans le temps long de l'histoire de la philosophie politique. Une perspective comparative a été privilégiée tout au long de notre argumentaire. Nous apprécions la singularité castoriadienne en la comparant avec des philosophies ayant partagé des problèmes communs et certains horizons thétiques, notamment l'héritage hégéliano-marxien et les philosophies de la différenceThe purpose of this doctoral thesis is to expose Castoriadis’ poïetical and institutional answer to the following question: how can we constitute a practical universality in a postmetaphysical context. Starting with a definition of political philosophy as the progressive and institutional objectification of reason, I first show how the modern radical critic of metaphysical thoughts and the modern emergence of a procedural conception of reason were both problematic for political philosophy. The thesis is then divided into two parts. The first part is devoted to Castoriadis’ philosophy and presents his own critics of metaphysical thinking, his ontology and his theory of knowledge. I then follow the interpretative thesis according to which Castoriadis’ philosophy can be characterized as an ''ontopoïetical pluralistic constructivism'' The second part is about his conception of practical reason, which I interpret as a “postmetaphysical institutionalism”. I conclude by showing that Castoriadis offers not only new mediations between politics and philosophy but also an original conception of practical universality in the history of political philosophy. Using a comparative method, I put forward Castoriadis’ thoughts through a comparison with other philosophies that share common problems and thesis, e.g. the Hegelian-Marxian tradition and the philosophies of difference
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Chan, Chi Ching, and 陳志清. "A Deconstructive Reading of George Herbert's The Temple." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/78601097492863783774.
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Peterson, Stephen S. ""Solomon's porch to the temple" : George Berkeley (1685-1753) and Anglican natural theology /." 2001. http://wwwlib.umi.com/dissertations/fullcit/9997180.
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Allen, Matthew. "The priest in The Temple: the relationship between George Herbert’s English poetry and The Country parson." Thesis, 1993. http://hdl.handle.net/2429/2024.
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This dissertation describes the relationship between George Herbert's two principal works, The Temple (1633) and The Country Parson (1651). The introduction discusses the main problems faced by readers of The Temple: its paradoxical religious statements, its apparent lack of unity, its variable poetic voice, and its place in literary history. Chapter 1 argues that The Temple and The Country Parson are complementary: that they may have been written together and considered companionpieces, that they are similar in form and content, and that they should be read together. Chapter 2 places The Country Parson in the genre of the clerical manual, and explains its distinctive form as the influence of various kinds of renaissance prose, including the essay, the professional handbook, the courtesy book, the prose character, and the moral resolve. Chapter 3 provides the first thorough analysis of the prose style of The Country Parson, a style which may be loosely characterized as a combination of Ciceronian and Senecan attributes, but is better thought of as "Anglican" or "poetic." Chapters 4 and 5 apply The Country Parson to the problems faced by readers of The Temple, and describe the Anglican spirituality, pastoral voice, and coherence of The Temple, along with its proper place in literary history.
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Chang, Ji-Ming, and 張冀民. "Constructing a Spiritual Tabernacle: the Trajectory of George Herbert’s Spiritual Growth in The Temple." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/m6bb9n.
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碩士國立東華大學
創作與英語文學研究所
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This thesis explores the trajectory of George Herbert’s spiritual growth as revealed in The Temple. It illustrates such trajectory of Herbert’s spiritual growth as a metaphorical construction of Herbert’s “real spiritual tabernacle” conforming to God’s will. When building it, Herbert exerts great efforts to integrate sufferings into more realizing the divine will and improving relationship with God. Chapter one separates “The Altar” as the prologue of The Temple since it epitomizes what the whole Temple mainly expresses: faithful dependence on God. Then Chapter Two unveils the misconceptions in young Herbert’s self-dedication to God and the result from them. The selected poems― “The Thanksgiving”, “The Reprisal”, “The Agony” clarify to us the cunning crux that Herbert is craving for flaunting his poetic talents to win the patrons’ favors rather than glorify God’s love. To rectify Herbert’s problematic attitude, we could see in Chapter Three that God lets him fall into a kind of oscillations between whether or not discarding earthly attractions. This chapter exemplifies “EmploymentⅠ”, “The Holdfast”, and the series of “Jordan” poems to visualize such mental wavering state. Chapter Four chooses “AfflictionⅠ”, “The Collar” and “The Cross” to present Herbert’s vehement emotions in response to the divinely-allowed excruciations and prove the painful experiences as a necessary “exterior communion” with God. Chapter Five and Six illustrate Herbert’s alternations after overcoming afflictions. The poems: “Repentance”, “Joseph’s Coat”, “The Pearl”, and “Matins”, reveal that Herbert willingly submits himself to God. The final discussed lyric, “Love Ⅲ”could be viewed as an epilogue of The Temple. It portrays Herbert’s “inner communion” with God. In this spiritual feast Herbert has learned to put pure faith in God’s agape and complete his real spiritual tabernacle.
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Dokurno, Karalyn. ""All the world in ev'ry corner": community, the individual and God in George Herbert's The Temple." 2012. http://hdl.handle.net/1993/8356.
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This thesis examines the interrelation of community, the individual and God in the work of the seventeenth-century poet and priest George Herbert. Through a close analysis of poems selected from the first two sections of Herbert’s book, The Temple, I explore the emphasis Herbert places on how various communities and individuals help one another to advance their relationship with God. Community is portrayed within The Temple as a guiding force for the individuals that exist within it, while at the same time various revered individuals act within Herbert’s poetry to lead the entire Christian community to God. Human community is additionally explored in Herbert’s poetry as an important construct in the eyes of God, not only because it was placed by Him to guide the more wayward members of humanity towards Him, but because of the desire He feels to be loved by the community He has created.
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Kimbell, Emily Nicole. "“For the Elevation of Women”: Recovering the Lost Voices of College Temple, 1853-1889." 2017. http://scholarworks.gsu.edu/english_theses/224.
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Recovering the lost voices of marginalized groups and integrating them into history helps reshape social constructs of the past, revitalize historiographical practices, and rethink spaces of exclusivity. Using an archival methodology and a feminist rhetorical lens, this thesis recovers the history of College Temple, a nineteenth-century women’s college located in Newnan, Georgia, and the women who attended the school, examining how the local space contributes to both rhetoric and composition’s larger historical narrative and modern practices. Though in existence a mere thirty-six years (1853-1889), College Temple provided its student with several contemporary opportunities, particularly within the realm of composition, contributing to their sense of agency and ethos. Exploring this contribution demonstrates the importance of the microhistory, serving as a call to further this type of research.
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Lapointe, Francis. "L'expérience éthique : essai pour une critique phénoménologique de l'éthique comme illustration du vivre-ensemble." Mémoire, 2008. http://www.archipel.uqam.ca/2033/1/M10533.pdf.
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En fait, nous pouvons résumer l'objectif général de cette méditation comme une exploration philosophique de trois questions précises: i-pourquoi avons-nous, dans notre vie quotidienne, à prendre position concernant une multitude de sujets (notre régime alimentaire, nos types d'amitié, nos choix politiques etc.)? ii- comment
vivons-nous, au-dedans de nous-mêmes, cette prise de position? iii- est-ce que cette expérience que nous faisons quotidiennement de l'éthique ne pourrait pas illustrer aussi la façon par laquelle nous nous regroupons en communauté? Ces trois questions ont été réfléchies et explorées par l'entremise de philosophes tels que Friedrich Nietzsche, Martin Heidegger, Emmanuel Kant, Michel Foucault, Gilles Deleuze et Georg Wilhelm Friedrich Hegel à propos respectivement de la vérité comme erreur nécessaire, du souci, de la faculté de juger, de l'esthétisme de l'existence, de la visagéité et du savoir absolu. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Éthique, Expérience, Deleuze, Hegel, Heidegger, Disposition, Affect, Dialectique, Vérité, Temporalité, Différence, Unité.