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1
Maurud, Müller Hélène. "Filiation et écriture de l'Histoire chez Patrick Modiano et Monika Maron." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00713803.
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Ce travail se propose d'étudier le rapport entre la filiation et l'écriture de l'Histoire chez deux écrivains contemporains : le Français Patrick Modiano et la romancière allemande Monika Maron. Chez ces auteurs, le " roman familial " constitue un accès privilégié à l'Histoire. Après avoir replacé les deux écrivains dans leurs paysages littéraires respectifs et précisé des notions utiles comme l'autobiographie, l'autofiction et le roman familial, le travail s'attache à dégager les figures de la filiation dans les deux œuvres en confrontant les données biographiques à leurs transpositions romanesques. Une étude des structures narratives montre ensuite que le passé et l'Histoire n'interviennent pas seulement au niveau thématique mais influencent jusqu'à la forme du récit. Un intérêt tout particulier est porté aux modalités d'une écriture de l'Histoire qui se révèle complexe, entre objectivité historique, fantasme et fiction. L'approche par la filiation confère à l'écriture de l'Histoire une forte dimension mémorielle. La question de l'identité se pose alors en termes d'héritage familial et historique. En cela, Patrick Modiano et Monika Maron s'inscrivent dans l'ensemble plus large d'une littérature " générationnelle " de la seconde moitié du XXe siècle.
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Wenke, Monika [Verfasser]. "Aspects of Inner Emigration in Hannah Höch 1933 - 1945 / Monika Wenke." Tuebingen : Otto Kroymann, 2012. http://d-nb.info/1024851672/34.
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Wenke, Monika [Verfasser]. "Aspects of Inner Emigration in Hannah Höch 1933 – 1945 / Monika Wenke." Tuebingen : Otto Kroymann, 2011. http://d-nb.info/1038089247/34.
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Purcell, Brigid. "The Dislocated Subject : A Critical Study of theProse Narratives of Monika Maron,1981-2002." Thesis, University of East Anglia, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502145.
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Monika Maron's prose fiction has attracted considerable critical interest not only in Germany but also in academic circles in Europe and the UK and in the USA. The overwhelming majority ofthe secondary literature is in German and considers Maron's oeuvre predominantly in the categories ofGDR-and feminist writing. My thesis acknowledges these readings but proposes that a more comprehensive view of this author's work may be achieved by adding a humanistic reading ofthe central Maronian figure as a representative ofthe 20th century postwar generation, a reading which is broadly based on a Lacanian psychoanalytical framework and is presented in English. The sense ofpersonal dislocation and alienation expressed repeatedly in Maron's fiction is examined in five thematic areas: the notion ofa central lack in the Maronian figure's life; a quest for selfhood in a postmodern context; explorations of the surreal; love and death; and memory and memoir. The focus ofmy analysis is a composite 'Maronian Protagonist' such as has been proposed to some extent by Antje Dollmann and Elke Gilson, among others; this protagonist develops in age and varies in preoccupations from the debut novel Flugasche (1981) through to the last one included in this study, Endmoriinen (2002), but she remains essentially the same person, one based closely on Maron's own personality and biography. My thesis shows that the existential malaise exhibited by this character is influenced by, but essentially independent of, external factors and that this widespread phenomenon exemplifies the unassuageable desire described by Lacan, desire whose existence is defined by a deeply rooted sense of loss and lack.
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Wenke, Monika [Verfasser]. "Aspects of Inner Emigration in Hannah Höch 1933 – 1945 / Monika Wenke. University of Cambridge." Tuebingen : Otto Kroymann, 2011. http://nbn-resolving.de/urn:nbn:de:101:1-201202285556.
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Schober, Claudia [Verfasser], Anton [Akademischer Betreuer] Landersdorfer, and Monika [Akademischer Betreuer] Nickel. "Die Berichte der Seelsorger des Bistums Passau nach Ende des Zweiten Weltkriegs (1945) / Claudia Schober ; Anton Landersdorfer, Monika Nickel." Passau : Universität Passau, 2017. http://d-nb.info/1137379650/34.
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Böhm, Dorothee Verfasser], and Monika [Akademischer Betreuer] [Wagner. "Sakrale Inszenierungen des Profanen : die Rezeption des christlichen Reliquiars in der Kunst nach 1945 / Dorothee Böhm. Betreuer: Monika Wagner." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2015. http://d-nb.info/1065805470/34.
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Böhm, Dorothee [Verfasser], and Monika [Akademischer Betreuer] Wagner. "Sakrale Inszenierungen des Profanen : die Rezeption des christlichen Reliquiars in der Kunst nach 1945 / Dorothee Böhm. Betreuer: Monika Wagner." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2015. http://nbn-resolving.de/urn:nbn:de:gbv:18-71365.
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Liu, Yu-Chun. "Image restoration : an examination of denial strategy in media coverage during the first three months of the Clinton-Lewinsky scandal." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1347731.
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This thesis analyzes President William Jefferson Clinton's self-defense during the first four months of 1998. The study focuses on Clinton's denial of the sex scandal with White House intern Monica Lewinsky when the story broke out in the Washington Post on January 21, 1998. William L. Benoit's theory of Image Restoration is used to examine each strategy's distribution. Benoit's framework consists of identifying strategies used by denial to clarify and repair a positive image despite negative public accusations.The study employed a content analysis as the research methodology. There were a total of 1,392 sentences contained in twenty-four articles from the Washington Post, only articlesfrom the Post were included in the initial search. Research was conducted using microfilm of the Washington Post full-text articles during the time period of interest: January 21, 1998 to April 20, 1998. The dependent variables were the number of sentences devoted to the amount of the Washington Post coverage given to the strategies utilized by Bill Clinton, Hillary Clinton, Clinton's staff, Clinton' s lawyer, Clinton's friends, the media, Al Gore, and the Democratic Party. Meanwhile, the sentences were coded on the basis of image restoration theory and strategy categories defined by Benoit.The data showed the strategy of denial was employed at the highest rate among all strategies during the three selected time periods. Specifically, the denial strategy was used the most frequently with 348 quotations (25%). In the short run, Clinton's popularity among followers was not damaged, but in the long run, he faced impeachment proceedings. Therefore, the strategy of denial is not always a clarification action. This study indicates that the strategy of denial merely complicates and prolongs the whole process; therefore twisting Benoit's original definition.Department of Journalism
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Grucza, Monika [Verfasser]. "Bedrohtes Europa : Studien zum Europagedanken bei Alfons Paquet, André Suarès und Romain Rolland in der Periode zwischen 1890 und 1914 / Monika Grucza." Gießen : Universitätsbibliothek, 2011. http://d-nb.info/1063111730/34.
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Matte, Monica Menezes. "Repercussões teciduais pulmonares em deiferentes modelos de sepse em ratos / Monica Menezes Matte ; orientador, Sérgio Luiz Rocha." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2011. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1945.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2011Bibliografia: f. [37]-41
Introdução: a sepse é a resposta sistêmica a infecção grave que atinge gravemente os pulmões e múltiplos órgãos, podendo levar à morte. Objetivo: avaliar a quantidade de células polimorfonucleares (PMN) e a espessura do septo alveolar em pulmões de ratos
Introduction: the pulmonary sepsis is a systemic response to severe infection, which severely reach the lungs and multiple organs and can lead to death. Objective: assassing the amount of polymorphonuclear cells (PMN) and the thickness of the aleolar sept
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Béland, François. "F.D. Monk, le Parti conservateur fédéral et l'idée d'un Canada pour les canadiens (1896-1914)." Master's thesis, Université Laval, 1986. http://hdl.handle.net/20.500.11794/29137.
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Wright, Brian F. "How the Electric Bass Became the Norm: An Alternative History of American Popular Music, 1951-1964." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case151084623256552.
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Molina, Cobo M. Carmen. "El mercado de operaciones dobles sobre deuda del estado española: descripción y comportamiento de los tipos de interés (1991-2007)." Doctoral thesis, Universitat Rovira i Virgili, 2011. http://hdl.handle.net/10803/66103.
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En la tesis se analiza el comportamiento de los tipos de interés cruzados en las operaciones dobles realizadas con Deuda del Estado a medio y largo plazo durante el periodo que abarca desde enero de 1991 hasta diciembre de 2007. Se analiza en este segmento, en primer lugar, el cumplimiento de la teoría de las expectativas racionales (TER) utilizando como metodología el análisis de cointegración; y en segundo lugar se valora la existencia de diferenciales significativos entre la rentabilidad de los dos tipos de operaciones dobles que se pueden realizar en el mercado español: las operaciones con pacto de recompra o repos y las simultáneas. Ambos análisis se han planteado para todo el periodo de estudio y para la muestra segmentada considerando como punto de corte el 1 de enero de 1999, fecha en que se inicia la política monetaria única en la zona euro y se redenomina a euros la deuda pública, con el objetivo de detectar si todo ello ha podido influir en el comportamiento de los tipos de interés cruzados en operaciones dobles sobre Deuda del Estado a medio y largo plazo.
En el segundo capítulo Relaciones de equilibrio a largo plazo en el mercado de operaciones dobles con Deuda del Estado, hemos contrastado si se cumplen las tres implicaciones de la formulación de la teoría de las expectativas racionales (TER) de Campbell y Shiller (1987, 1991) expuestas en Hall, Anderson y Granger (1992), en el mercado de operaciones dobles con Deuda del Estado a medio y largo plazo durante el periodo que abarca desde enero de 1991 hasta diciembre de 2007. Se han considerado los tipos de interés cruzados en estas operaciones con vencimientos a 1 día, 1 semana, 1 mes, 3 meses y 6 meses. Se han llevado a cabo dos tipos de análisis; en primer lugar, el univariante, destinado a contrastar que los tipos de interés son series integradas de orden 1 y que los spreads de tipos al contado con diferente vencimiento son series estacionarias. Por otra parte, llevamos a cabo un análisis multivariante, consistente en la contrastación del rango de cointegración de cinco tipos de interés spot. Según la Teoría de las Expectativas Racionales de la estructura temporal de los tipos de interés, el rango de cointegración debería ser cuatro.
Así, en cuanto al cumplimiento de la teoría de las expectativas racionales analizado en este capítulo, concluimos que en las operaciones simultáneas con Bonos y Obligaciones del Estado, en la fase posterior al inicio de la última fase de la Unión Económica y Monetaria, el período 1999 a 2007, se obtienen evidencias favorables a ésta. Así, al detectarse en el sistema de 5 tipos de interés analizados una única tendencia estocástica común, ya que el rango de cointegración es 4, se puede intuir que la dinámica de los tipos de interés en el mercado de operaciones simultáneas puede quedar bien explicada a partir de modelos unifactoriales de la estructura temporal de los tipos de interés, donde únicamente se contemplen movimientos paralelos de la misma. Por el contrario, en las series de tipos de interés cruzados en operaciones repo con Bonos y Obligaciones del Estado no hemos hallado evidencias favorables al cumplimiento de la TER en ninguno de los períodos analizados.
En el tercer capítulo Análisis del diferencial entre operaciones dobles en el mercado de Deuda del Estado, nos hemos planteado, por las similitudes existentes entre las operaciones con pacto de recompra y las simultáneas, si el mercado las valora de forma similar o si por el contrario, se incluye una prima de rentabilidad en alguna de ellas. Los resultados obtenidos nos indican la existencia de un sobrerendimiento significativo de las simultáneas frente a las repo en todos los vencimientos del mercado. Este diferencial es creciente a medida que aumenta el plazo de las operaciones dobles hasta el vencimiento 1 mes, para todos los períodos analizados; y en general, éstos presentan mayor volatilidad a medida que aumenta el vencimiento de la operación. Esta sobrerentabilidad que hemos hallado en los tipos de interés de las operaciones simultáneas puede venir explicada por la existencia de primas de liquidez: al analizar el volumen de negocio realizado a través de repos y simultáneas en el mercado de Bonos y Obligaciones del Estado no segregados hemos comprobado que el volumen negociado en las operaciones repo supera al de las simultáneas en plazos a 1 día, que a su vez, es el vencimiento que aglutina el mayor volumen de negocio. Finalmente, estos resultados no parecen haberse visto afectados por la adopción de la moneda única; ya que no hemos encontrado diferencias significativas en el comportamiento de los diferenciales.
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Creissels, Anne. "Le travail du mythe dans l'art contemporain : la différence des sexes en question." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0057.
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Comment la notion de différence des sexes, qui structure notre rapport au monde et à l'autre, pourrait-elle ne pas travailler les domaines de l'art et du mythe ? Loin d'en être absente, cette question est implicitement - et parfois explicitement - au cœur des structures mythiques et artistiques. Postuler un travail du mythe dans l'art contemporain oblige à évaluer le liens et les écarts entre rapports sexués et figurations de ces rapports. Une approche anthropologique et sociale paraît nécessaire pour prendre en compte le sens produit par les œuvres mais aussi ce qu'une société véhicule d'images identificatoires. L'art et les mythes sont-ils sexués ? Leur prétention à l'universalité suffit à installer le doute. Modes d'expression «libre», ne doivent-ils pas précisément être interrogés ? Outils d'instauration et de perpétuation d'un système de pensée dominant, ne pourraient-ils cependant être le lieu d'une appropriation et d'une possible déconstruction ?How does gender differences, wich structures our relationship to the world and to the other, could not shape the fields of art and myth ? Far from being absent, this implicitly - and sometimes explicitly - is at the heart of mythical and artistic structures. Postulating a "work" of the myth in contemporary art requires an evaluation of the links and the gaps between gender relationships and its representations. A social and anthropological approach seems necessary to take into consideration the meaning that works of art produce as well as identificatory images conveyed by society. Do art and myths have a gender ? Their claim to universality is sufficient to instill doubt. As "free" modes of expression, should they not be questionned ? As institution and perpetuation tools of a dominant thinking system, could they not however also be the place for an appropriation and possible deconstruction ?
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Evzonas, Nicolas. "Le désir érotique dans l’œuvre d’Alexandre Papadiamantis." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040053/document.
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Perçu pendant fort longtemps comme un saint anaphrodite et « castré » avant d’être reconnu comme l’écrivain le plus sensuel des Lettres grecques modernes, Alexandre Papadiamantis (1851-1911), auteur prolifique de près de cent quatre-vingt nouvelles et de trois romans et trésor national hellène, est un artiste antinomique qui ne cesse d’intriguer la critique et de susciter des débats contradictoires. Le présent travail propose une lecture de son œuvre complète axée sur un sujet controversé dont aucune étude systématique n’a été entreprise, malgré un siècle de surabondante critique littéraire : le désir érotique, que nous entendons essentiellement comme le rapport à un objet de convoitise explicitement ou implicitement désigné comme tel, humain ou inhumain, vivant ou inanimé, suscitant un certain nombre de réactions physiques et/ou psychiques et sollicitant un réseau complexe de sens, de sensations, de méditations, d’excitations et de significations représentées par le biais des mots. Une telle définition emphatise l’imbrication de la pulsion et du langage et distingue le désir de l’amour, ce dernier constituant plutôt une stase du désir, un arrêt et une fixation sur l’« autre ». Notre objectif est de comprendre comment l’érotisme ainsi défini s’exprime dans les textes, quels en sont les enjeux psychologiques, les interconnexions avec les techniques narratives, les choix stylistiques et les particularités linguistiques et quelles transformations littéraires il subit dans l’œuvre, en somme, quels sont sa destinée mythique, son aboutissement idéologique et son apothéose thématique, en somme son issue dans l’écritureViewed for ages as an anaphrodite and « castrated » saint before being recognized as the most sensual writer in modern Greek literature, Alexandros Papadiamantis (1851-1911), prolific author of approximately one hundred and eighty short stories, and three historical novels, and deemed to be a Hellenic national treasure, is an antinomic artist who keeps intriguing critics and arousing open debates. The present thesis offers a reading of his complete work based on a controversial subject of which no systematic study has been undertaken before, despite a century of numerous literary comments : erotic desire, defined as the connexion with an objet of lust explicitely or implicitely defined as such, human or inhuman, alive or inanimated, and which rises a number of physical and/or psychological reactions, a complex network of meanings, sensations, meditations, actions and fantasies represented through words. This definition emphasizes the interweaving of drive and language and discerns between desire and love, the latter being rather a stasis of desire, and a fixation on the « other ». Our goal is to understand how eroticism thus defined is expressed throughout the texts, to point out the psychological issues associated with it, its interconnections with the narrative techniques, stylistic choices and linguistic particularities and the literary transformations it undergoes throughout the Papadiamantian opus, that is to say its mythic destiny, its ideological culmination and its thematic apotheosis, in short its outcome in writing
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Guerra, Serres Laura. "Corps malade, corps créateur : fragmenter, rassembler, réparer." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H314/document.
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Le travail de recherche en Arts Plastiques propose de questionner et d’expliciter le processus qui conduit de l’expérience de la maladie à celle de la création. Comment le geste créateur se trouve-t-il activé, transformé par la maladie ? Le travail plastique articulé à l’écriture, tente de vérifier l’hypothèse suivante : c’est à travers le processus de fragmentation (Heinz Kohut), de rassemblement (Anne-Sophie Le Poder) et de réparation (Jeanine Chasseguet-Smirgel) que le corps, devenu créateur, se dépasse tout en reprenant chair, devient autre, traversé par ses propres peurs et douleurs, réparé ou reconstruit par leur passage. La première partie (fragmentation), qui interroge la notion d’espace, analyse des œuvres de Louise Bourgeois et Yayoï Kusama. La fragmentation du corps et sa représentation permettent-elles de figurer la manière dont l’expérience de la maladie s’incarne, s’incorpore dans la création, sans pour autant l’illustrer ? La seconde partie explore le rassemblement comme geste de conciliation avec le corps. Dans le travail de Mona Hatoum, Chiharu Shiota, ou Niki de Saint Phalle, comment le geste de rassemblement devient-il un sang qui soude (Agamben), tout en mettant à l’épreuve du regard la faille du temps ? Dans la troisième partie (réparation), la réflexion se poursuit avec les œuvres de Rebecca Horn, Berlinde de Bruyckere, et la pièce chorégraphique Körper de Sasha Waltz. Sont développées les questions de la mémoire, et de l’altérité dans le processus qui lie corps malade et corps créateur. Dans la singularité de leur plasticité, les matériaux deviennent des lieux pour réécrire le corps dans son expérience de la douleur, sans pour autant la figurerThe research in Arts suggests questioning and clarifying the process from the illness experience to creation. How is the creative gesture activated, transformed by the illness? The plastic work associated with the writing tries to verify the following hypothesis: it’s through the process of fragmentation (Heinz Kohut), of gathering (Anne-Sophie Le Poder) and mending (Jeanine Chasseguet-Smirgel) that the body, now a creator, surpasses itself while resuming flesh, turns itself into something different, through its own fear and pain, repaired or reconstructed by their passage. The first part (fragmentation), whith the notion of space, analyses Louise Bourgeois and Yayoï Kusama’s works. Does the fragmentation of the body represent the way the experience of the illness is embodied, incorporated into creation, without illustrating it? The second part explores gathering as a gesture of conciliation with the body. In Mona Hatoum, Chiharu Shiota, or Niki de Saint Phalle’s works, how does this gesture become a blood which welds (Agamben), while making us looking at a hole in time? In the third part (Repair), the reflection goes on with Rebecca Horn and Berlinde de Bruyckere ‘s works, and the choreographic play "Körper" by Sasha Waltz. Questions related to the illness and creative body will be linked to memory and otherness. In the peculiarity of their plasticity, materials become places to rewrite the body in its experience of pain, without representing it
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Chatagnier, Juliane Camila [UNESP]. "O gênero em questão: crítica e formação nos Bildungsromane The Secret Life of Bees, de Sue Monk Kidd, e Sapato de salto, de Lygia Bojunga." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/122242.
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O objetivo desta dissertação é discutir conceitos sobre gênero, presentes em algumas teorias e críticas pontuais e analisar dois romances contemporâneos: o norte-americano The Secret Life of Bees (2002), de Sue Monk Kidd, e o brasileiro Sapato de salto (2006), de Lygia Bojunga. Pretende-se cotejar o modo como cada escritora apresenta o processo de formação das protagonistas e, visto que esses romances são considerados Bildungsromane femininos, verificar como a forma do romance influencia na construção do gênero nas personagens principais das obras supracitadas. A formação das protagonistas será avaliada de acordo com as perspectivas críticas adotadas em que o sujeito é performativo e reivindica posições como marca da própria identidade. Considerando que as obras estão inseridas na contemporaneidade, procura-se mostrar que a mulher não assume mais uma posição inferior ao homem. A tradição misógina e machista é rompida nos romances, conforme propõe Butler, no momento em que as autoras dão voz e vez ao sexo (até então tido como) frágil, instaurando, assim, um discurso da ruptura. Como aparato crítico-teórico, utilizar-se-ão as perspectivas de Beauvoir (1974), Wittig (1982), Hollanda (1994) e Butler (1990; 2001; 2004), para questões do gênero; os trabalhos de Pinto (1990), Maas (2000) e Scwhantes (2007), para o estudo sobre o romance de formação tradicional ou feminino e as obras de Laclau (1990), Ortiz (1994) e Santos (2001), para a contextualização da contemporaneidade
The aim of this work is to discuss concepts about gender, present in some theories and specific criticisms, and analyze two contemporary novels: the American - The Secret Life of Bees (2002), by Sue Monk Kidd, and the Brazilian - Sapato de salto (2006), by Lygia Bojunga. It is intended to collate the way each writer presents the protagonists’ formation process and to check how the form of the novel influences on the gender construction of the main characters in both works, once these novels are considered feminine Bildungsromane. It is pertinent to emphasize that the protagonists’ formation will be evaluated according to the adopted critical perspectives in which the subject is performative and claims positions as a mark of identity. Whereas the works are embedded in contemporary times, it attempts to show that women do not assume an inferior position to men anymore. A misogynistic and sexist tradition is broken in the novels, as Butler proposes, at the moment the authors give the weaker sex their turn and voice, thus introducing a discourse of rupture. As critical- theoretical apparatus, the prospects of Beauvoir (1974), Wittig (1982), Hollanda (1994) and Butler (1990, 2001, 2004) will be used about gender issues; Pinto (1990), Maas (2000) and Scwhantes (2007) works will be the basis for the study of traditional and female Bildungsromane, and the works by Laclau (1990), Ortiz (1994) and Santos (2001) will contextualize the contemporaneity
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Fournier, Laure. "Les problèmes de la causalité mentale." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3058.
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Quel type de choses sont les raisons que nous donnons pour expliquer nos comportements ? Sont-ce des entités dans nos cerveaux causalement responsables de nos actions ? Sinon, doit-on accepter le dualisme cartésien ? Faut-il croire avec Davidson que les raisons sont des entités physiques pourtant impossibles à identifier en termes physiques ? Nous proposons une réponse alternative : les raisons sont des choses dont nous ne faisons pas l’expérience. Elles peuvent être dites guider nos actions, en vertu d’une cohérence que nous acquérons à travers le temps, en même temps qu’une identité personnelle claire. On défend donc ici la thèse wittgensteinienne selon laquelle les raisons ne sont pas des causes, et l’on cherche ce qu’elles sont positivement. Car il y a bien une différence, dans la réalité physique, entre agir pour une raison ou l’autre. Mais c’est une réalité que l’on recherche et construit, et non que l’on observe et nomme. En parlant de nos raisons, on parle avant de savoir, pour faire advenir quelque chose –quelque chose de physique, comme toute chose.On soutient ainsi contre Kim qu’il est possible de croire à la pertinence propre des raisons, tout en restant moniste, sans dommage pour la rationalité humaine.Tout ceci a d’importantes conséquences éthiques : l’évaluation des raisons et intentions n’est sensée que si elle est une tentative pour bien agir ; elle sera toujours non pertinente pour définir les actions passées, et cela remet gravement en cause la notion de mérite. Ainsi proposons-nous de concevoir la morale de façon dynamique, comme étant ce que l’on cherche toujours à rendre possibleWhat kind of things are the reasons we use to explain our behavior? Are they material entities in the brain, causing actions? Are they, as Davidson says, physical entities that we cannot identify in physical terms? Are we forced to accept Cartesian dualism? This thesis proposes another answer. Reasons are not experienced. They are sought through action and conceptualization. They may be said to guide our actions, but not as events which cause actions; rather, they serve, over time, to construct coherent behavior and stable personal identity.We defend here the Wittgensteinian thesis that reasons are not causes. We show that it is consistent with monism. The difference between acting for this or that reason does exist in reality, but it is a reality that we construct and pursue, not one that we experience and name. This is because when we give reasons, we speak before knowing, in order to make something exist.Thus we argue, against Kim, that it is possible to be a monist, to defend the importance of rational explanations, and to deny the possibility of reducing reasons to causes. Indeed, the knowledge necessary to do so would be far beyond the knowledge we require to speak the language of reasons.This conception of reasons as things that we seek rather than thing that we experience has important consequences in ethics. Namely, that the evaluation of reasons or intentions only makes sense when one attempts to act appropriately; it is irrelevant in defining past actions. This means that the very idea of merit is problematic, and that morality itself is something we must constantly work to make possible
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Saraiva, Catarina 1973. "Espelhos e reflexos." Master's thesis, 2012. http://hdl.handle.net/10451/6333.
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Tese de mestrado, Pintura, (Variante Curricular I), Universidade de Lisboa, Faculdade de Belas Artes, 2012This dissertation is part of my Master‟s Degree in Painting (course variant I), at Faculdade de Belas Artes, Universidade de Lisboa. Its objective is to present a reflection on such concepts as body, identity, duplication, fragmentation or distortion, and how they mould a variety of approaches to the representation and construction of the feminine. Throughout the history of Western Art, the mirror, as an attribute of seduction, has accompanied the image of the woman. In contemporaneity in general and in contemporary art in particular, it appears as a postmodern deconstruction of classical archetypes that acquires the status of an art object, revealing a multitude of meanings and conveying the personal or collective experiences of the female subject. Within this context, and in accordance with contemporary artistic practices, a number of works by women artists who explore the mirror image‟s dimensional possibilities in a variety of techniques, such as sculpture, photography, performance, video and installation, will be analysed. The reflection carried out within the dissertation theoretical component will be warranted by the study‟s visual work section
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Arnez, Monika [Verfasser]. "Politische Gewalt und Macht in indonesischer Literatur von 1945 bis zur Gegenwart / vorgelegt von Monika Arnez." 2002. http://d-nb.info/965528235/34.
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Heitshusen, Valerie. "Universalism and targeting: The distribution of federal aid monies." Thesis, 1991. http://hdl.handle.net/1911/13499.
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The behavior of national legislators has made for interesting studies relating election goals and game theory strategies to the formation of coalitions on policy packages. These theories regarding behavior can become most useful when linkages are made to policy consequences. This study examines federal domestic aid programs in the 1980's in an attempt to identify the trade-offs between universalism and targeting as applied to federal policy outcomes. Tests for the presence of these outcomes are performed and the nature of the relationship between them is explored. The results show some support for the geographic widening of programmatic aid as a program ages, depending upon program characteristics. In addition, little progressive targeting is found to occur across programs, while this varies depending upon the type of aid recipient.
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Vieira, Nuno Miguel de Sousa 1971. "O ateliê - do mundo para o lugar : sala de exposição (1971-2015)." Doctoral thesis, 2015. http://hdl.handle.net/10451/24634.
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Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2016Anexo: "Uma vida inteira - peça de representação" disponível em suporte papel
A investigação conducente a esta tese desenvolve-se no interior de uma práxis artística que procura, em cada momento, estabelecer um vínculo profundo com uma realidade contextual que a motiva, circunscreve e abre em momentos sucessivos de exibição. Neste sentido, a pesquisa parte dessa prática artística com o fim principal de pensá-la no próprio processo que a gera e sustenta, procurando focar melhor e aprofundar as questões do enraizamento contextual da obra ou as relativas às necessidades de circulação a que os produtos criativos estão sujeitos nos dias de hoje, bem como a consequente possibilidade de desmaterialização de vínculos que estes sucessivos movimentos podem provocar nas obras. Sala de exposição – Parte II, obra artística central na investigação, tem como antecessora Sala de exposição, projeto que partilha como denominador comum o ateliê, que foi sempre o mesmo, e a sala de exposição, adicionada à própria obra. É esse ateliê, sediado numa antiga fábrica, o lugar de origem do processo gerador da obra e um seu constituinte. Mas, no enunciado desse lugar, considera-se também, uma sala de exposição, o local (onde na própria fábrica se expunham os objetos produzidos) como parte integrante da obra, que transita para os novos locais de visibilidade. Por outro lado, o ateliê é também o lugar ao qual todas as obras são devolvidas, física ou virtualmente, pelo que entender esse ateliê como lugar de regresso converte-o duplamente num referente contextual determinante para o estabelecimento da teia de relações que estrutura conceptualmente a obra em variadas situações de visibilidade. À procura de entendimento do papel na práxis criativa assumido pelo ateliê como lugar de regresso e da sala de exposição como lugar de alteridade, associa-se, complementarmente, a identificação de estratégias e metodologias criativas usados por outros artistas com propósitos idênticos, reforçando e problematizando a reflexão no interior do processo criativo.
The research conducing to this thesis has been developed inside an artistic praxis that demands, at each time, to establish a deep bond with a contextual reality that motivates, circumscribes and opens it at consecutive moments of exhibition. To this extent, the research stems from this artistic practice, aiming to consider it within the process that generates and sustains it, looking to focus and deepen issues of contextual rooting of the work or on those relating to the circulation needs creative products are subject to today, as well as the consequent possibility of dematerialisation of bonds these successive movements may bring to the works. Sala de Exposição – Parte II, an artwork key to this research, stems from Sala de Exposição, a project sharing as common denominator the studio, which was always the same, and the exhibition rooms that kept being added to the work itself. It is this studio, located on the premises of a former factory, the place of origin of the process generating the work and also its constituent. But, in that site’ statement, it is also considered an exhibition room, the place (where in the factory were exhibited the produced objects) integral to the work, which transits to the new sites of visibility. On the other hand, the studio is also the place to where all works come back, physically or virtually, and therefore understanding it as a place of return doubly turns it into a contextual reference determinant for the establishment of the web of relations that conceptually structures the work in varied visibility situations. To the search for an understanding of the role played in the creative praxis by the assumption of the studio as place of return and of the exhibition room as place of alterity, is associated the recognition of creative strategies and methodologies used by other artists with similar purposes, reinforcing and problematising the reflection within the creative process.
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Vieira, Ana Rita Sousa Gaspar. "O quotidiano deslocalizado : o desenho como mapa." Doctoral thesis, 2015. http://hdl.handle.net/10451/25108.
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Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2016A presente tese teórico-prática tem como questão central de investigação o modo como o desenho, entendido em sentido lato, edifica um mapa do quotidiano, que antecipa o território antes de coincidir com ele, em termos temporais e espaciais. Neste sentido, o desenho, enquanto médium, fixa o gesto, regista e situa o quotidiano, dando a ver a minha circunstância privada, entendida como ponto notável desse mapa. A vertente teórica da investigação aborda, no primeiro capítulo, conceitos fundadores, como os de rotinas táticas e estratégicas, apoiados nas análises de Michel de Certeau; o de repetição, contemplando acasos e desvios, que introduzem a deslocalização do quotidiano e a diferença criativa, enunciada por Gilles Deleuze; e o desenho como operação cartográfica, abstrata, mental e intuitiva, operacionalizada a partir das qualidades de númen e tenor, teorizadas por Philip Rawson. O segundo capítulo é dedicado ao trabalho da artista brasileira Fernanda Gomes, como caso de estudo que informa os conceitos de casa como matéria-prima do projeto artístico, de modus vivendi como modus operandi e de objet trouvé, enquanto elementos estruturantes na edificação do mapa referido, presente no meu projeto artístico. O projeto artístico Mapas Para Efetivar o Quotidiano, alicerça-se nestes conceitos para refletir sobre a domesticidade, a repetição e os automatismos diários, materializados nas obras Caderno Diário e Reunião. Do mesmo modo, articulando o branco do papel como superfície geradora e a autenticidade dos gestos ou a solidez dos objetos, constrói o mapa do meu quotidiano, fazendo do dia a dia a matéria-prima, assunto e programa do projeto artístico.
This theoretical and practical thesis has as its central research question the way drawing, understood in a broad sense, edifies a map of the everyday life, which anticipates the territory before coinciding with it, in spacial and temporal terms. In this sense drawing, as medium, holds the gesture, records and locates the everyday, making visible my own private circumstance, understood as a notable point of that map. The theoretical side of this research focuses, in the first chapter, on key concepts such as tactical and strategic routines, supported by the work of Michel de Certeau; repetition, contemplating chance and detours which introduce the relocation of the everyday and the creative difference, as enunciated by Gilles Deleuze; and drawing as cartographic operation, abstract, mental and intuitive, operationalised from the qualities of númen and tenor, theorised by Philip Rawson. The second chapter is devoted to the work of Brazilian artist Fernanda Gomes as case study informing the concepts of home as the artistic project’s raw material, of modus vivendi as modus operandi, and of objet trouvé as structuring elements in constructing the mentioned map, present in my artistic project. The project Mapas Para Efetivar o Quotidiano builds on these concepts to reflect on domesticity, repetition and daily automatisms, materialised in the works Caderno Diário and Reunião. Similarly, articulating the white of the paper as generating surface and the authenticity of the gestures and solidity of the objects, it builds the map of my everyday life, making the day-to-day the raw material, subject and program of the artistic project.