Dissertationen zum Thema „Charles“
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1
Soleiman, Achwak. „Charles Sorel romancier“. Grenoble 3, 1991. http://www.theses.fr/1991GRE39038.
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Charles sorel est un polygraphe. Cette etude propose une analyse analytique de l'ensemble de ses oeuvres romanesques, en envisageant chaque roman, pour en degager ses differentes caracteristiques. Les romans sont etudies selon l'ordre chronologique de leur production, en trois parties: - la premiere partie qui represente la periode des essais romanesques de sorel, comprend: - l'histoire amoureuse de cleagenor et de doristee (1621). - le palais d'angelie (1622). - les nouvelles francoises (1623). Le romancier commence tot a faire paraitre ses facultes, en contribuant a fixer en particulier un genre encore balbutiant: la nouvelle francaise. La deuxieme partie est l'etape florissante de sa carriere romanesque avec: -l'histoire comique de francion (1623-1633). - l'orphize de chrysante (1626). -le berger extravagant (1627-1628). Dans cette periode l'auteur a donne son chefd'oeuvre l'histoire comique de francion qu'on peut considerer comme comique unique dans son temps. La troisieme partie est celle du declin, avec: -la vraye suite des advantures de la polyxene (1634). - la solitude et l'amour philosophique de cleomede (1640). -la maison des jeux (1642). -nouveau recueil des pieces les plus agreables de ce temps (1644). - polyandre, histoire comique (1648). - le parasite mormon, histoire comique (1650). Sorel donne a la litterature francaise un nouvel elan, il ouvre la porte du realisme en essayant de combattre les invraisemblances qui regnaient dans la production litteraire de l'epoqueCharles sorel is an polygraph. This work propose an analyse of all his novels, in considering every novel appearing by its different characteristics. The novels are studied by their chronologic order of their production in three parties: the first party wich shows the novels essays period of sorel, is composed: - l'histoire amoureuse de cleagenor et de doristee (1621). - le palais d'angelie (1622). - les nouvelles francoises (1623). The novelist starts to appear earlier by its characteristics in contributing particularly a fixed syllabus which is still an earlier trial. The second party is the succesful step of his novels carrier with: l'histoire comique de francion (1623-1633). - l'orphize de chrysante (1626). - le berger extravagant (1627-1628). In this period, the author had given his prosperious work : l'histoire comique de francion wich can be considered as unique of this period. The third party is one of declination with: -la vraye suite des advantures de bla polyxene (1634). - la solitude et l'amour philosophique de cleomede (1640). - la maison des jeux (1642). - nouveau recueil des pieces les plus agreables de ce temps (1644). -polyandre, histoire comique (1648). - le parasite mormon; histoire comique (1650). Sorel give to the french literature a new push, he open the door of reality in trying to struggle the invraisemblance which are spread in the literaraire production of the century
2
Ochsner, Beate. „Charles Nodier : Digressionen /“. Heidelberg : C. Winter, 1998. http://catalogue.bnf.fr/ark:/12148/cb36991997j.
3
Fantina, Richard. „Charles Reade's Sensational Realism“. Scholarly Repository, 2007. http://scholarlyrepository.miami.edu/oa_dissertations/60.
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Sensation fiction, which flourished in England from the 1850s to the 1880s, was viewed by Victorian establishment figures as a threat to prevailing social values. This dissertation focuses on the work of Charles Reade, who along with Wilkie Collins and Mary Elizabeth Braddon, was among the most well-known sensation novelists. While several novels by Collins and Braddon have been rediscovered by scholars since the 1980s, Reade's fiction remains neglected. With its explicit critique of the emerging regimes of power/knowledge in the fields of medicine, criminal justice, and sexual mores, Reade's work anticipates Michel Foucault's theories elaborated a century later. Although previous readings of Victorian fiction have drawn on the ideas of Foucault in an attempt to identify sensation novels as cultural productions complicit with a developing bourgeois hegemony, I argue that these novels represent a narrative genre that challenges and resists these disciplinary constraints. In addition, Reade's work provides a rare glimpse of alternative sexualities and gender identities in nineteenth-century fiction that can be read in light of feminist and gender theory. This dissertation recovers the fiction of Charles Reade as a body of work that anticipates recent trends in literary and cultural theory and that speaks to us today with an uncanny familiarity.
4
Carpentier, Godeleine. „Charles J. Kickham, écrivain“. Paris 3, 1987. http://www.theses.fr/1987PA030178.
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Les époques de crise délaissent volontiers l'art pur pour la propagande mais l'intérêt que suscite la littérature au service d'une cause est souvent éphémère, et le nom même de ce type d'écrivain est vite oublié. Kickham n'a pas sombré dans l'oubli et sa mémoire est toujours honorée dans son pays natal. Des circonstances exceptionnelles ont attiré l'attention sur l'oeuvre littéraire de cet homme dont l'histoire personnelle suit de près l'histoire de l'Irlande et celle des mouvements révolutionnaire de son époque. Sa production poétique ne se caractérise ni par la continuité dans le temps, ni par une quelconque maturation sur le plan esthétique. Le poète s'y révèle l'héritier d'une tradition populaire et nationale dans les thèmes comme dans la forme. Ses oeuvres en prose, au contraire, dont la production est quasi continue de 1857 à la mort de l'écrivain, évoluent selon un schéma qu'une lecture chronologique met parfaitement en évidence. Des premiers récits de "faits divers" authentiques, dont le mode narratif est proche de celui de la littérature orale, aux oeuvres majeures qui leur succèdent, l'écrivain s'oriente délibérément vers une forme de plus en plus littéraire où la recherche d'effets esthétiques prend une part croissante. Toute cette oeuvre est centrée sur une description de l'Irlande rurale à une période d'importantes mutations. Kickham évoque son pays sous ses divers aspects, géographique, ethnologique, sociologique et politique. Nationale par ses thèmes, c'est une oeuvre qui est aussi intensément nationaliste. Écrivain engagé, Kickham a subordonné son inspiration à une finalité politique et idéologique. Dans son oeuvre comme dans sa vie, il a incarné le sentiment national populaire irlandaisIn times of crisis, writers readily swing away from pure art to propaganda. Yet the interest raised by propagandist literature is often short-lived and these writers soon fall into oblivion. Kickham, however, has not known such a fate and he still lives on in the irish memory mainly through a handful of ballads and his famous knocknagow. Unusual circumstances have drawn attention to the work of this writer whose personal history closely follows the history of ireland and of the revolutionary movements of his times. His poetical career falls largely into three well-separated productive periods. Yet there is no clear development or maturation in his poetry which follows the popular and national literary tradition, both in form and content. Unlike his verse work, kickham's prose, regularly published from 1857 to the writer's death, follows a recognisable pattern of development. From the first tales based on fact and told mostly in the manner of the oral story-teller, to the later major works, one can find clear signs of a shift towards a more sophisticated literary tradition together with a growing concern for aesthetic effectiveness. Kickham's principal subject-matter is ireland. His description of post-famine ireland covers a wide range of aspects - geographical, eth- nological as well as sociological and political - and is all the more valuable as it deals with a time of great changes in irish society. Not only national in its themes, kickham's work, written from a poli- tical and ideological standpoint, is also intensely nationalist. In his work as in his life, kickham embodies the popular irish nationalist spirit
5
Carpentier, Godeleine. „Charles J. Kickham, écrivain“. Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37603636r.
6
Gustin-Gomez, Clémentine Fumaroli Marc. „Charles de la Fosse /“. Dijon : Faton, 2006. http://catalogue.bnf.fr/ark:/12148/cb409695642.
7
Schulze, Klaus-Heinrich. „Charles Dickens'ds child-novels“. reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106165.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1981.Made available in DSpace on 2013-12-05T19:28:26Z (GMT). No. of bitstreams: 1 321773.pdf: 11274676 bytes, checksum: 56a3b5622939ef146127d901a00a1704 (MD5)
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JUBAULT, RICHARD. „L'hysterie chez charles dickens“. Rennes 1, 1992. http://www.theses.fr/1992REN1M098.
9
Ravignat, Mathieu G. „Charles Fourier and Charles Taylor, romantic expressivism and the socialist philosophy of labour“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ58498.pdf.
10
Key, Nancy Martin. „A narrative history of Lake Charles Little Theatre, Lake Charles, Louisiana, 1927-1982“. Lake Charles, La. : McNeese State University, Frazar Memorial Library, Dept. of Archives and Special Collections, 2008. http://library.mcneese.edu/depts/archive/FTBooks/key.htm.
11
Reed, Marc Allen. „An historical and stylistic examination of Charles Chaynes' Concerto pour trompette and Deuxième concerto pour trompette with an interview of the composer /“. connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3924.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 6, 2005, Mar. 6, 2006, Nov. 3, 2006, and June 18, 2007. Includes bibliographical references (p. 57-59).
12
Keck, Thomas. „Der deutsche "Baudelaire"“. Heidelberg : C. Winter, 1991. http://catalogue.bnf.fr/ark:/12148/cb36655749r.
13
Robinet, Jean-Charles. „Minéralogie, porosité et diffusion des solutés dans l'argilite du Callovo-Oxfordien de Bure (Meuse, Haute-Marne, France) de l'échelle centimétrique à micrométrique“. Poitiers, 2008. http://theses.edel.univ-poitiers.fr/theses/2008/Robinet-Jean-Charles/2008-Robinet-Jean-Charles-These.pdf.
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A l’échelle mésoscopique (~cm-µm), la diffusion des solutés ioniques dans l’argilite du Callovo-Oxfordien de Bure (Meuse/Haute Marne, France) dépend de l’organisation spatiale de la porosité et des minéraux (principalement argiles, carbonates et quartz). L'obtention de cartes minérales 2-D (microscopie électronique) ou 3-D (microtomographie de rayons X) est rendu possible par le développement de techniques de segmentation spécifiques. Les cartes de porosité obtenues par la méthode 3H-PMMA sont clairement corrélées à la minéralogie. Elles démontrent que les porosités locales (~µm) et globales (~cm) dépendent principalement de la teneur en minéraux argileux, les quartz et les carbonates pouvant être considérés comme non poreux. La diffusion des solutés a été modélisée à partir de la distribution spatiale 3-D réelle des minéraux et de la porosité. Cette approche a permis de quantifier le rôle des minéraux non poreux sur la géométrie des chemins de diffusion dans l’argilite. Le facteur de géométrie des chemins de diffusion a été corrélé à la teneur et la morphologie des minéraux non poreux. Les résultats obtenus ont mis en évidence une anisotropie de diffusion due à l’orientation préférentielle des grains de quartz et de carbonates dans le plan de sédimentation. A partir de méthodes de cartographies élémentaires, la distribution spatiale de l’ion Cu2+ et des minéraux a été acquise à l’échelle mésoscopique après une expérience de diffusion. Les résultats expérimentaux confirment les liens existant entre diffusion et minéralogieIn Bure Callovo-Oxfordian argillite (Meuse/Haute Marne, France), the spatial organisation of porosity and minerals (mainly quartz, carbonates, and clays) controls the solute diffusion at mescoscopic scale (~cm-µm). New developments in the field of image analysis were devoted to extract mineral maps from 2-D (scanning electron microscopy) and 3-D (X-ray microtomography) imaging techniques. The porosity maps provided by the 3H-PMMA method demonstrate that porosity and mineral distributions are clearly correlated. The local (~µm) and global (~cm) porosity depend mainly on clay mineral content, carbonates and quartz being unporous. Solute diffusion was modelled from actual 3-D mineral and porosity spatial distribution. Using this numerical approach, diffusion pathways were quantified according to the mineral distribution. The geometry factor was correlated to the fraction and the morphology of unporous mineral. A diffusion anisotropy due to the preferential orientation of carbonates and quartz was also underlined by this approach. In an experimental way, Cu2+ diffusion and mineral was visualised and quantify at mescoscopic scale from elemental mapping methods. These techniques provide various relationships between Copper distribution and mineralogy
14
Quigley, S. V. „Charles Brasch, a visual poet : A study of natural imagery in Charles Brasch's poetry“. Thesis, University of Canterbury. English, 1991. http://hdl.handle.net/10092/7061.
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In the field of post-war New Zealand literature, Charles Brasch is a prominent figure. Surprisingly little has been written on a man who edited the first successful literary periodical in this country, who was a generous patron and supporter of the arts, and who was a prolific writer in both prose and poetry. He is best known for his twenty-year-long editorship of Landfall; as a poet he has received less recognition than perhaps he deserves. In researching this study, I have discovered that the general impression of his poetry is of a verse which is rather narrow in scope; for it is the work of his first two volumes which has received most critical attention, and on the whole this is descriptive 'landscape poetry' which deals, superficially at least, with nationalist concerns. I feel, too, that in recent decades there has been a tendency to view the Landfall generation, European and male-dominated as it was, in a rather negative light - an inevitable reaction, perhaps, to the widely promoted reputation in the forties, fifties and early sixties, of these writers as the initiators of an established New Zealand culture. This, too, is a possible reason why Charles Brasch, even more European-orientated than most of his contemporaries, has been somewhat neglected in the literature of the 1970s and 1980s.
It is the aim of this study to place Brasch's writing back in a realistic perspective, regardless of literary vogue, and to present it neither as solely 'landscape' nor solely 'indigenous' poetry but rather as work of a universal and timeless relevance. It is largely due to Brasch's constant reference to the unchanging absolutes of nature that his poetry transcends any categorical boundaries of nationality or era; and it is the different ways in which this natural imagery is used throughout the course of Brasch's writing that are the main focus of this work.
There is a marked development in the way landscape is included throughout Brasch's six volumes, which constitute the main corpus of his poetical work: the specific concrete locations of the first three volumes give way to the symbolic imagery of the fourth and fifth, while in the sixth there is a partial return to the real. These shifts mirror the changes in the poet's preoccupations over several decades of writing, and, if only for this reason, I feel it is vital to view Brasch's work as a unified whole rather than to take a piecemeal approach. In order to outline this broad development, the divisions in this study are made according to volumes, in chronological order.
A focus on landscape is, for Brasch, not often an end in itself, but instead provides him with the means of objectively expressing his own intensely private world, thereby commenting on the central facts of all human experience. This study presents my opinion that such a use of landscape imagery not only results in work of a strikingly visual impact, but also creates poetry of a timeless depth and quality, making it as enduring as the natural world around which it is centred.
15
Zabalevičiūtė, Edita. „Charles Baudelaire — modernus miesto poetas“. Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_171228-84955.
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Magistro darbo „Charles Baudelaire —modernus miesto poetas“ objektas — eilėraščiai proza rinkinyje „Paryžiaus Splinas“(Le Spleen de Paris“). Tikslas — atskleisti Ch. Baudelaire‘o eilėraščių proza žanrinius ypatumus, išryškinti paraleles bei skirtumus su eilėraščių rinkiniu „Blogio gėlės“ („Les Fleurs du Mal“). Žanriniu aspektu eilėraštis proza nėra susilaukęs didelių tyrinėjimų. Apie lietuviškojo eilėraščio proza ištakas bei pirmuosius bandymus rašė V. Daujotytė, V. Kubilius. Apie prancūziškuosius — A. Athys, M. Sandras, P. Labarthe ir kiti. Baudelaire‘as laikomas vienu šio žanro pradininkų prancūzų literatūroje, jo eilėraštį proza tituluoja „miesto kūdikiu“. Šiame darbe į eilėraštį proza žvelgiama semantiniu aspektu, akcentuojama miesto tema kūryboje. Darbą sudaro: įvadas, penkios dalys, kuriose aptariama eilėraščio proza išskirtinumas, erdvės, laiko ypatumai, Paryžiaus Splino kaip neišgydomos ligos, apimančios miestietį, simptomai ir būdai pabėgti nuo jo, nagrinėjama Dievo ir šėtono kova.
Baudelaire‘o požiūris į miestą yra prieštaringas. Jis Paryžių suvokia kaip destrukcijos šaltinį, tačiau visada pirmenybę teikia būtent miestui, civilizacijai, o ne gamtai. Eilėraščių proza kalbantysis — kūrėjas, poetas. Jis patas analizuoja jausenas Splino apimtame mieste, ieško būdų kaip pasveikti nuo šios ligos. Baudelaire‘as — prieblandos poetas, kurio eiliuotuose eilėraščiuose naktis lydima mirties ženklų, o eilėraščiuose proza suteikia subjektui atgaivą, išsilaisvinimą nuo nerimo... [toliau žr. visą tekstą]The object of the master work “Charles Baudelaire – a modern poet of the city” is poems prose in the collection “The Spleen of Paris” („Le Spleen de Paris“). The aim is to reveal genre peculiarities of Ch. Baudelaire‘s poems prose, to expose parallels and differences with the collection of poems “The Flowers of Evil“ („Les Fleurs du Mal“). The poem prose has not been studied widely. V. Daujotyte, V. Kubilius wrote about the sources and the first attempts with a Lithuanian poem prose. A. Athys, M. Sandras, P. Labarthe and others wrote about French ones. Baudelaire is considered as one of the initiators of this genre in French literature. His poem prose is titled “the baby of the city”. The poem prose is seen semantically in this work, emphasizing on the theme of a town in works. The work consists of: the introduction, five parts, where exclusiveness , spaces, peculiarities of the time, symptoms of the Spleen of Paris as an incurable disease covering the town, the ways helping to escape from it, the fight between God and Satan are analysed. The conclusions are drawn at the end of the work. The town is contradictory from Baudelaire’s point of view. He perceives Paris as the source of destruction, however he prefers the town, the civilisation to the nature. The speaker of poems prose is a creator, a poet. He analyses feelings in the city covered by the Spleen and looks for means helping to recover from this disease. Baudelaire is a poet of the twilight. The night is followed by... [to full text]
16
Latour, Philippe. „Charles Mingus, Jazz and Modernism“. Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117176.
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The purpose of this thesis is to explore the diverse discourses of modernism in jazz at mid-century in relation to the work of Charles Mingus. What was meant by modern jazz in Mingus' time? How was his music, as well as his life as a jazz musician and composer, affected by discourses of modernism? Modernism was used in the jazz field as a discourse to elevate jazz from its role as entertainment music into a legitimate art form. In its transfer from European art music to African-American jazz, the concept of aesthetic modernism retained most of its signification: it was associated with the notions of progress, of avant-gardism, and, eventually, of political militancy; and all these notions can be found in multiple forms in Mingus' work. This thesis defines the concept of modern jazz as it was used in the jazz press in the 1950s and 1960s in relation to the critical discourse around Afro-modernism as well as in relation with Mingus' conception of himself as a composer.L'objectif de ce mémoire est d'explorer les différents discours sur le modernisme et le jazz des années 1950 et 1960 en relation avec l'œuvre de Charles Mingus. Que signifiait le terme modern jazz à l'époque de Mingus? Comment la musique de ce dernier, ainsi que sa carrière comme musicien de jazz et compositeur, furent affectées par les discours sur le modernisme? Ces discours furent utilisés dans le monde du jazz pour légitimer celui-ci en tant que forme artistique. Dans son passage de la musique « sérieuse » européenne au jazz afro-américain, la notion de modernisme artistique a conservé la majeure partie de sa signification : association avec les idées de progrès, d'avant-gardisme, et aussi de militantisme politique. Toutes ces idées se retrouvent sous différentes formes dans l'œuvre de Mingus. Ce mémoire définit le concept de modern jazz tel qu'il était utilisé dans le discours journalistique des années 1950 et 1960, et y relie le discours académique sur le modernisme afro-américain, afin d'évaluer comment Mingus interagit avec ceux-ci.
17
Rose, Caroline. „Charles Kingsley as scientific mediator“. Thesis, Lancaster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418851.
18
Malcolmson, Catherine Margaret. „Constructing Charles Dickens, 1900-1940“. Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/27742.
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This thesis examines the popular and cultural legacy of Charles Dickens in the period 1900-1940. During this period Dickens was largely ignored or derided within the academy but his works remained consistently marketable to a popular audience. The thesis explores Dickens’s mass cultural appeal, assessing what the term ‘Dickensian’ represented in the early decades of the twentieth century and evaluating Dickens’s role as a national figure. This thesis engages with recent scholarship in the fields of Dickens criticism, heritage studies and material culture to explore a popular appreciation of Dickens which is characterised by its language of feeling and affect. The first chapter situates Charles Dickens’s literary standing and cultural legacy in the light of both critical and popular responses to his work. The chapter charts the development of the Dickens Fellowship and examines the role of this literary society in constructing and promoting a selective public image of Dickens. Chapter Two examines the motivations behind different forms of collecting, and suggests that collecting can be understood as a form of popular engagement with Dickens’s writing. The chapter contends that Dickensian collecting differs significantly from broader collecting practices and can be viewed as a more generous model of collecting. The idea of collecting as a popular response to Dickens is extended in Chapter Three which takes as its focus one particular form of book collecting: the practice of grangerization. Grangerization is characterised as an alternative reading practice through which the experience of reading a text could be extended. Two further alternative reading practices are explored in Chapters Four and Five. Chapter Four demonstrates how in founding the ‘Dickens House Museum’, the Dickens Fellowship aimed to create a permanent memorial site for Dickens. The chapter highlights the language of feeling utilised in the promotional material for the museum and argues that the items selected for display were designed to produce an emotional and imaginative response in the museum’s visitors. Chapter Five considers how readers expressed their engagement with Dickens’s works through literary pilgrimages to sites from his novels. The chapter suggests that these pilgrimages represent an active reading of Dickens’s novels, which offer readers a participatory experience of immersion in the world of the narrative. It argues that this kind of immersive experience is generated by the strong affective responses of many readers to Dickens’s writings.
19
Smith, Julian Patrick. „The poetry of Charles Bukowski“. Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:5866.
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BALBY, LUIS FERNANDO GONCALVES. „THE TRAGIC IN CHARLES BUKOWSKI“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24610@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Esta dissertação pretende lançar luz sobre a escrita poética de Charles Bukowski pela relação por ela estabelecida com a filosofia trágica de Nietzsche lida, a sua vez, com o auxílio da obra Nietzsche e a filosofia de Deleuze. Tal aproximação entre a atividade do poeta e o pensamento dos filósofos sustenta-se nas referências comuns pelos conceitos de força, corpo, vontade, potência e arte. Sendo assim, a perspectiva de análise da dissertação afasta-se das noções de biográfico e auto ficcional normalmente atribuídas a Bukowski — de onde sua escrita é avaliada reativamente a partir das categorias da metáfora, da antítese e da representação — para, de um ponto de vista ativo e paradoxal, tomar sua poesia como sintoma e registro reais da vontade do artista, vontade pensada pelos desdobramentos das tensões força-corpo propostas por Nietzsche. Dos devires impostos por tal tensão de forças, a pesquisa acompanhará a metamorfose da arte de Bukowski como sintoma de um corpo ora engajado nas radicais vivências de um niilismo que afirma a negação, ora manifestando-se pela dupla afirmação de Dionísio: a arte como potência da diferença, como poder de afirmar a afirmação.
This dissertation aims to shed light over the poetic writing of Charles Bukowski through its relation with Nietzsche s tragic philosophy, which, in its turn, follows the guidance of Deleuze s Nietzsche and Philosophy. This approach between the poet s activity and the philosophers thought holds up based on the common references provided by the concepts of force, body, will, power and art. Thus, this dissertation s analytical perspective differs from the biographical and self-fictional notions normally assigned to Bukowski — where his writing is reactively assessed by the categories of metaphor, antithesis and representation — to depart from a both active and paradoxical point of view that takes his poetry as a concrete symptom of the artist s will, which is conceived by the developments of the force-body tensions proposed by Nietzsche. From the becomings imposed by such tension of forces, the research will follow the metamorphosis in the art of Bukowski as a symptom of a body at times engaged in the radical experiences of a nihilism that affirms the denial, sometimes manifesting Dionysus double affirmation: art as a power of the difference, as the power that affirms the affirmation.
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Mello, Fabrício Mateus de. „O indivíduo em Charles Taylor“. Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6730.
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Na presente dissertação estudaremos a noção de indivíduo na obra de Charles Taylor: sua concepção de Self e do Bem, sua análise sobre o individualismo na filosofia e implicação deste na teoria política. Taylor é considerado um filósofo comunitarista. Filósofos liberais afirmam que a ontologia social de Taylor é comunitarista por causa de sua crítica ao atomismo. Essa crítica de Taylor ao atomismo consiste justamente na concepção de que o pensamento atomista se torna a negação do próprio indivíduo, visto que a sociedade é parte integrante da formação individual. Taylor também se preocupa com a natureza do indivíduo e sua identidade relacionada à noção de Bem. Isso não significa que Taylor seja um filósofo liberal, mas indica que sua ontologia social exige uma abordagem mais cuidadosa, com atenção ao que Taylor afirma sobre o indivíduo e a sociedade. Neste sentido, o objetivo dessa dissertação é compreender em que consiste a ontologia social de Taylor a partir de sua noção sobre o indivíduo e sua posição no debate liberal-comunitário, com base nas obras publicadas de Taylor e seus comentadores dentro da temática do indivíduo em Taylor.
In this dissertation, we will study the notion of individual in Charles Taylor's work: his conception of Self and Good, his analysis of the individualism in the philosophy and its implication in political theory. Taylor is considered a communitarian philosopher. Liberal philosophers claim that Taylor's social ontology is communitarian because of his criticism of atomism. This Taylor’s criticism to atomism consists precisely in conception that this atomism thinking becomes the negation of the individual himself, since society is an integral part of individual formation. Taylor also worries about the nature of the individual and his identity related to the notion of Good. This does not mean that Taylor is a liberal philosopher, but indicates that his social ontology requires a more careful approach, with attention to what Taylor asserts about the individual and the society. In this sense, the purpose of this dissertation is to understand what Taylor's social ontology consists of, from his notion about the individual and his position in the liberal-community debate, based on Taylor’s work and his commentators in the thematic of individual in Taylor.
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Hungerford, Yael Levin. „Charles S. Peirce's Conservative Progressivism“. Thesis, Boston College, 2016. http://hdl.handle.net/2345/bc-ir:107167.
Annotation:
Thesis advisor: Nasser BehnegarMy dissertation explores the epistemological and political thought of Charles S. Peirce, the founder of American pragmatism. In contrast to the pragmatists who followed, Peirce defends a realist notion of truth. He seeks to provide a framework for understanding the nature of knowledge that does justice to our commonsense experience of things. Similarly in contrast to his fellow pragmatists, Peirce has a conservative practical teaching: he warns against combining theory and practice out of concern that each will corrupt the other. The first three chapters of this dissertation examine Peirce’s pragmatism and related features of his thought: his Critical Common-Sensism, Scholastic Realism, semeiotics, and a part of his metaphysical or cosmological musings. The fourth chapter explores Peirce’s warning that theory and practice ought to be kept separate. The fifth chapter aims to shed light on Peirce’s practical conservatism by exploring the liberal arts education he recommends for educating future statesmen. This dissertation makes clear that Peirce was not a crude utilitarian or simply concerned with “what works.” He was, moreover, not anti-metaphysical. Peirce has much to instruct contemporary thinkers. His is an anti-skeptical but modest theory of reality that remains valuable to contemporary readers. His message of caution in the practical realm is sound. Finally, his call for what a university ought to be and the liberal arts education that will best groom students for a life of action is still an important message
Thesis (PhD) — Boston College, 2016
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Political Science
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Dee, Michael. „Roots of Charles Darwin's Creativity“. Thesis, Drew University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10103325.
Annotation:
Many concerns contributed to the creative success of Charles Darwin’s theorizing, including his humble character, reading Wordsworth, courting Emma for his wife, and considering the origins of creative thought in a material mind. Creativity is not straightforward; in Darwin’s case, it was fed by diverse interests, literary sensitivities, character traits, unusual introspection and even thoughts of marriage.
During the time frame of this study, the two important years between his return from the Beagle and his Malthusian insight that led to natural selection, Darwin twice read The Excursion and fell in love. While he thought hopefully of Emma, he was focused on reproduction to understand species transmutation and pondered evolved roots for emotions like love, thus linking his sexual and creative stimulation. Part of his drive to succeed was for Emma’s approval, to be a victorious naturalist and demonstrate that he would be a good provider. Emma appreciated Darwin’s humble character, a trait that also allowed him to question belief systems and intellectual conceits that restricted other naturalists. Darwin noted that many of his peers were blocked from understanding species transmutation by their intellectual vanities—like the idea that man was the crown of creation instead of just one species in nature’s panoply.
In the intellectual culture of Darwin’s time creationism was science, while scientists competed with poets for authority over explaining nature. Wordsworth epitomized creativity while asserting that The Excursion’s themes were man, nature and human life—parallel to Darwin’s. Wordsworth’s insights into human emotions, morality and creativity were important to Darwin, who needed to explain all human traits, physical, emotional and mental, as evolved from simpler animals. Darwin reflected on the roots of imaginative thought and proposed a process for thinking that he applied it to his own theorizing; from nascent generation of ideas through rigorous dialectic testing to solid conclusions, thus demonstrating thoughts in competition.
The strong correlation between the productivity of Darwin’s theorizing and his humility, poetry, Emma and considerations of creativity, offers new insights into the path of his theorizing, and perhaps into the origins of creativity itself.
24
Tipton, C. M. „Career perspective: Charles M Tipton“. BioMed Central, 2015. http://hdl.handle.net/10150/610312.
Annotation:
This invited autobiographical article pertains to 52 years as an exercise physiologist of which 16 years were devoted to being an active emeriti. Although the career pathway was circuitous in nature, once resolved, it included preparation of future exercise physiologists; reducing the health hazards associated with the "making of weight" by scholastic wrestlers; using animals (rats and dogs) as the model system with a myriad of experimental procedure for obtaining insights and understandings of various exercise training mechanism in one-G environments, and in simulated muG environments. From the results, we have concluded that (a) inactivity, as represented by immobilization, is the most undesirable physiological state an animal should experience and (b) movement, as represented by training, will have an intrinsic adaptive influence on select biological tissues that, in some situations, can be independent of autonomic and hormonal influences.
25
Cook, Peter. „Charles Dickens : the Romantic legacy“. Thesis, Anglia Ruskin University, 2017. http://arro.anglia.ac.uk/701688/.
Annotation:
This thesis investigates the relationship between the fiction of Charles Dickens and the work of canonical Romantic Period authors: William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, Mary Shelley, and John Keats, with a view to assessing the influence of these Romantic writers on Dickens’s novels and stories. The reason for the investigation is that, while other influences on Dickens: the eighteenth-century novel, popular culture, melodrama, and the sentimental tradition have been thoroughly investigated recently, the influence of the Romantics has been relatively neglected. Four topics are identified: Childhood, Time, Progress, and Outsiders, which together constitute the main thematic aspects of Dickens’s debt to the Romantics. The use of imagery as a structural, unifying device, rather than a decorative, pictorial addition, is also identified as a significant common feature. Close readings of key Romantic texts, and eight of Dickens’s novels, draw out comparisons and contrasts, indicating the ways in which Dickens appropriated and adapted Romantic tropes and devices. It was found that the influence of the Romantics on Dickens’s fiction is more extensive and important than has previously been recognised. Essentially, Dickens turns to these Romantic tropes and devices to express his responses to the exponential growth of industrial, technological culture, and its effects on personal life and relationships, that was happening as he wrote. The modern society that provoked these complex responses did not exist when the eighteenth-century authors that Dickens loved were writing. The Romantics, on the other hand, witnessed the dawn of this new social order, and experimented with ways of expressing it. Dickens found in them a basis on which to build. These findings demonstrate that the Romantic legacy needs to be taken into account far more seriously in order to arrive at a balanced, fully-rounded understanding of Dickens’s achievement.
26
Biggs, Ilze. „Ray Charles: a psychobiographical study“. Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002442.
Annotation:
Psychobiography is the formulation of an individual's narrative according to a psychological theory. Psychobiographical researchers face a number of challenges. One pertinent challenge is the limited amount of psychobiographical research conducted at academic institutions, including South Africa. Although a number of studies had been completed in the past decade, the impact of psychobiographical research remains negligible. Although much has been written about Ray Charles, none of the existing literature adopted a specific psychological focus. Charles developed from a young boy in a poverty stricken, racially segregated society into an exceptionally successful musician who worked productively until he died at the age of 73. He was selected as the subject on the basis of interest value, uniqueness and significance of life achievements. The primary aim of this study was to explore and describe the development of Charles according to Levinson's (Levinson, et. ai, 1978) theoretical framework. Levinson's theory of adult development identifies and describes the important changes that occur throughout the lifespan of an individual. A secondary aim was to provide an understanding of Charles within the social, economic and historical context in which he lived. The data collection and analysis was conducted according to Yin's (2003) 'analytic generalization'. The data was analysed according to three linked sub-processes proposed by Huberman and Miles (1994).
27
Smith, Alex. „Charles Tomlinson : poet of encounter“. Thesis, University of South Wales, 2001. https://pure.southwales.ac.uk/en/studentthesis/charles-tomlinson(6221e80a-b566-49f1-8daf-7f8958ab625d).html.
28
Girard, Georges. „Charles Péguy : écriture et idéologie“. Paris 7, 1991. http://www.theses.fr/1991PA070032.
Annotation:
Le texte de charles peguy ne cesse de souligner l'aspect discursif du sujet dans la langue. Et si la continuite du sujet peut proceder de la raison, elle n'est accessible qu'a travers une experience specifique. Une experience specifique que rien ne peut venir reduire a la definition qui la fonde. On ne peut recourir a un systeme de savoir pour temoigner de l'exces du sujet. Le signe implique la question du sujet dans la langue mais aussi du sujet de la science. La science ne peut assumer la contradiction inherente du sujet. Puisqu'elle se constitue d'une dimension universelle et rationnelle anterieure a la presence du singulier. D'ou une philosophie comme "methode d'art", un savoir conflictuel, libertaire, qui se laissera mesurer par ce qui excede toute mesure et mettra en cause tout discours positiviste sur le statut du sujet dans la langue, qu'il soit litteraire ou scientifiqueCharles peguy's text doesn't stop emphasizing the discursive aspect of the subject in the language. The continuity of the subject can proceed from reason but it can only be achieved through a specific experience. A specific experience that nothing can reduce to the definition it is founded upon. One can't resort to a system of knowledge in order to reveal the excess of the subject. The sign not only implicates the question of the subjct in the language but also the question of the subject in science. But science can't assume the contradiction inherent in the subject,since it is consituted of a universal and rational dimension prior to the presence of the single. Therefore a philosophy used as a "method of art", a conflicting, libertarian knowledge, that will let itself be measured by what is exceeding any evaluation and will question any kind of positivist discourse about the status of the subject in the language, either literary or scientific
29
Chantre, Benoît. „Charles Péguy : un style tragique“. Paris 10, 1990. http://www.theses.fr/1990PA100124.
Annotation:
Les trois ordres de Pascal (ordre des corps, ordre de l'esprit, ordre de la charité), fréquemment relus par Péguy, sont à l'origine du bouleversement de sa pensée et de son écriture : tel est le postulat de cette thèse, fondée sur une analyse attentive des textes de la période intermédiaire de l'oeuvre, qui va de 1905 à 1909. "rythmanalyse" - ou patient repérage des diverses "strates" de l'écriture -, le présent travail essaie de démontrer que Péguy élabore, à partir de la célèbre classification pascalienne, un art combinatoire, méthode de lecture et d'écriture, source et principe de la répétition qui fonde son style. Style tragique, car la répétition est effacement, écriture pathétique montée contre toute inscription, entre l'héroïsme et la sainteté, la "race" et la "grâce"Pascal's three categories (that of body, spirit and charity), frequently studied by Peguy, are at the origin of the radical changes in his thought and writing : that is the postulate of this thesis, based on a careful analysis of the middle period of his work, in the years between 1905 and 1909. Founded on a "rythmanalysis" - the minute dissection of the different "strata" of the writing - the present study tries to demonstrate that Peguy, on the basis of the famous categories of pascal, contrived a combinative art, a method of rea- ding and writing which is both the source and theoretical basis of the repetition on which his style reposes. It is a tragic style, for repetition signifies effacement, in pathetic writing which resists all classification, somewhere between heroism and sanctity, between "race" and "grace"
30
Seki, Kotaro. „L'incommunicabilité poétique chez Charles Baudelaire“. Clermont-Ferrand 2, 2000. http://www.theses.fr/2000CLF20014.
Annotation:
L'incommmunicabilité de la société moderne, qui est représentée sous diverses formes dans les oeuvres de Baudelaire n'est pas loin de la nôtre. Sa problématique créative nous donne donc très bonne occasion pour réfléchir sur le rapport entre la création poétique et l'acte communicationnel. Ce sujet sera examiné en 3 axes : l'incommunicabilité avec les femmes, les dieux, et avec les lecteurs. Dans la première partie, en recourant à la psychanlyse comme méthode analytique, le rapport entre la fonction du langage poétique et les symptômes classiques du domaine psychanalytique : fétichisme, sado-masochisme, voyeurisme ou border-line. . . Sera étudié. Les poèmes d'amour et les correspondances avec la mère seront l'objet principal de l'analyse. Nous découvrirons l'interaction contradictoire entre le texte poétique et le texte analytique. Dans la 2e partie, il s'agira du discours mystique et de la figure religieuse à l'époque déjà déchristianisée du poète. Qu'est-ce qui nous contrôle à l'époque sans dieu ? La réflection sur la communication diabolique dans les poèmes religieux, le mécanisme mystique des paradis artificiels et l'obsession idôlatre dans les critiques d'art de Baudelaire éclairciront quelque apparence infiniment "superficielle" de ce que nous ne cessons pas de croire. Enfin, à travers l'analyse minitieuse de la préface-lettre et du discours du double lien entre le poète et ses lecteurs des poèmes en prose, nous découvrirons la situation très difficile dans le milieu de l'imprimé à l'époque industrielle, à laquelle il devait faire face. On pourra observer l'une des origines de l'échec communicationnel dans le procès des "Fleurs du mal"
31
Cook, Peter. „Charles Dickens: The Romantic Legacy“. Thesis, Anglia Ruskin University, 2017. https://arro.anglia.ac.uk/id/eprint/701688/1/Cook_2017.pdf.
Annotation:
This thesis investigates the relationship between the fiction of Charles Dickens and the work of canonical Romantic Period authors: William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, Mary Shelley, and John Keats, with a view to assessing the influence of these Romantic writers on Dickens’s novels and stories. The reason for the investigation is that, while other influences on Dickens: the eighteenth-century novel, popular culture, melodrama, and the sentimental tradition have been thoroughly investigated recently, the influence of the Romantics has been relatively neglected.
Four topics are identified: Childhood, Time, Progress, and Outsiders, which together constitute the main thematic aspects of Dickens’s debt to the Romantics. The use of imagery as a structural, unifying device, rather than a decorative, pictorial addition, is also identified as a significant common feature. Close readings of key Romantic texts, and eight of Dickens’s novels, draw out comparisons and contrasts, indicating the ways in which Dickens appropriated and adapted Romantic tropes and devices.
It was found that the influence of the Romantics on Dickens’s fiction is more extensive and important than has previously been recognised. Essentially, Dickens turns to these Romantic tropes and devices to express his responses to the exponential growth of industrial, technological culture, and its effects on personal life and relationships, that was happening as he wrote. The modern society that provoked these complex responses did not exist when the eighteenth-century authors that Dickens loved were writing. The Romantics, on the other hand, witnessed the dawn of this new social order, and experimented with ways of expressing it. Dickens found in them a basis on which to build.
These findings demonstrate that the Romantic legacy needs to be taken into account far more seriously in order to arrive at a balanced, fully-rounded understanding of Dickens’s achievement.
32
Dickson-LaPrade, Daniel. „Charles Darwin’s Multimodal Scientific Invention“. Research Showcase @ CMU, 2016. http://repository.cmu.edu/dissertations/882.
33
Haehnel, Gisela. „Charles Bovary : eine entwerte Romanfugur /“. Aachen : Shaker, 2001. http://catalogue.bnf.fr/ark:/12148/cb389958636.
34
Linsel, Knut. „Charles de Gaulle und Deutschland“. Sigmaringen : J. Thorbecke, 1998. http://catalogue.bnf.fr/ark:/12148/cb38832306v.
35
Seki, Kotaro. „L'incommunicabilité poétique chez Charles Baudelaire“. [Villeneuve-d'Ascq] : Diffusion Septentrion, Presses universitaires, 2002. http://books.google.com/books?id=UF9cAAAAMAAJ.
36
Vélikanov, Marie. „La sainteté chez Charles Péguy“. Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0103/document.
Annotation:
Cette thèse tente de répondre à deux questions principales : qui est le saint pour Péguy, et qu’est-ce que le saint, chez Péguy, fait au monde. Dans la première partie la réflexion est axée sur les saints (reconnus comme tels par l’Église), par, ainsi que les « saints » (selon un procédé de mise en relief littéraire, propre à Péguy) qui apparaissent dans les œuvres de Péguy. Nous tâchons d’y répondre à la question : qui est saint chez Péguy, qu’est-ce qui, selon cet auteur, fait d’un homme un saint, un Juste ? Péguy parle de figures d’exemplarité et réfléchit sur ses formes possibles : l’héroïsme, la sainteté, le génie. Il a sa propre liste de vertus (ce qui fait d’un homme un saint) qui sont parfois différentes des vertus traditionnellement attribuées aux saints catholiques. L’impact de son cheminement vers la foi sur sa philosophie de l’histoire mène Péguy vers un questionnement sur la sainteté même. C’est pourquoi la deuxième partie de cette thèse cherche la réponse à la question : que fait le saint au monde, dans le monde, pour le monde, comment le saint chez Péguy change le monde ? Il s’agit en somme de cerner le rôle de la sainteté dans le monde, y compris en tant que concept éthique revisité. Nous nous penchons aussi sur le ou les rôles que Péguy attribue au saint dans la société : solitaire parce que différent des autres humains, solidaire parce qu’agissant dans ce monde dans lequel il poursuit l’œuvre de l’IncarnationThe thesis aims at answering two main questions: Who is a saint from the point of view of Péguy. What does a saint do in the world.In the first part, the author approaches a set of questions: who is a saint? what makes a person saint or just for Péguy? To answer this, the author analyses the examples of saints in the works of Péguy, considering not only the saints recognised by church, but equally saints, specific to Péguy.Péguy portray saints as models for imitation, and he examines a diversity of forms these models could take: a saint, a hero, a genius. These «saint» created by Péguy possess a number of «virtues», sometimes radically different to those traditionally attributed to saints which makes them saint from the point of view of Péguy. Since the saint for Péguy is presented in direct connection with the world he lives in, the second part of the thesis answers the questions: what does a saint does in the world, for the the world, with the world. How a saint’s activity changes the world? In this part of the thesis, we approach the definition of the role of the sanctity in the world as imagined by Péguy. Péguy attributes two roles to a saint in the society: solitude and solidarity. A saint is lonely, because he is different from other human beings, but at the same time, a saint is united with the world in acting in the world in order to convey the incarnation, the embodiment of God in this world.For Péguy sanctity reveals itself as the new ethics instrumental in the construction of a new, harmonious city, which Péguy tries to build throughout his writings. This new ethics is supposed to revolutionise the current world, changing both morale and social paradigms
37
Ruyembe, Charles Enock Mulimba. „Practical linkages between cultural policy and education policy in promoting a creative workforce for youth in Tanzania“. Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/82090/1/Charles%20Enock%20Mulimba_Ruyembe_Thesis.pdf.
Annotation:
The broad aim of of this thesis is to contribute to understanding how the relationships between culture, employment and education can help Tanzania's young people secure jobs, and survive in the creative workforce so as to better their future. Based on a range of interviews and other data in Tanzania, the study considers how to integrate cultural expressions into arts education (education in art and education through art) as a tool for nurturing young people's creative talents for their future sustainable employment in Tanzania.
38
Gager, Valerie L. „Shakespeare and Dickens : the dynamics of influence /“. Cambridge [GB] : Cambridge university press, 1996. http://catalogue.bnf.fr/ark:/12148/cb358673157.
Annotation:
Texte remanié de: Th. Ph. D.--Birmingham (GB)--Shakespeare institute, University of Birmingham, 1991. Titre de soutenance : "So potent art" : Shakespearean influences upon the works of Charles Dickens.Contient une liste d'allusions à Shakespeare extraites de l'oeuvre de Dickens. Bibliogr. p.378-409. Index.
39
Talviste, Katre Claudon Francis Talvet Jüri. „Baudelaire et la poésie estonienne“. Créteil : Université de Paris-Val-de-Marne, 2007. http://doxa.scd.univ-paris12.fr:80/theses/th0252819.pdf.
Annotation:
Thèse de doctorat : Poétiques et échanges interculturels : Paris 12 : 2007. Thèse de doctorat : Poétiques et échanges interculturels : Université de Tartu : 2007.Titre provenant de l'écran-titre. Bibliogr. 439 réf.
40
McAbee, Donovan McAbee Donovan. „The many selves of Simic : an interdisciplinary approach to the poetry of Charles Simic ; Tannic acid sweetheart : poems /“. St Andrews, 2009. http://hdl.handle.net/10023/711.
41
Henery, James R. „A literary and theological analysis of selected novels by Charles Dickens for use in secondary schools and Christian education“. Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
42
Sadrin, Anny. „L'Être et l'avoir dans les romans de Charles Dickens“. Lille : Paris : Atelier national reprod. th. Univ. Lille 3 ; diffusion Didier Erudition, 1985. http://catalogue.bnf.fr/ark:/12148/cb36091112k.
43
Fréchuret, Maurice. „L'Oeuvre de Charles Maurin : un symbolisme du réel /“. Lyon : Université de Lyon II, 1986. http://catalogue.bnf.fr/ark:/12148/cb392899755.
44
Averill, Ron Averill Ron Averill Ron. „The use of quotation in 20th-century works by Ron Averill, Charles Dodge, and Charles Ives /“. Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/11408.
Annotation:
Thesis (D. Mus. Arts)--University of Washington, 1995.Score of Gdod kreasi baru : for trombone and computer-realized sound / by Ron Averill, in pocket. Compact disc contains: Painting legs on the snake / by Ron Averill. Vita. Includes bibliographical references (leaves [104]-108).
45
Hewitt, Glenn Alden. „Regeneration and morality : a study of Charles Finney, Charles Hodge, John W. Nevin, and Horace Bushnell /“. Brooklyn (N.Y.) : Carlson, 1991. http://catalogue.bnf.fr/ark:/12148/cb35602408f.
46
Owens, Thomas Clarke. „Charles Ives and his American context : images of "Americanness" in the arts /“. Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb376595061.
47
Cincunegui, Juan Manuel. „Charles Taylor y la identidad moderna“. Doctoral thesis, Universitat Ramon Llull, 2010. http://hdl.handle.net/10803/9226.
Annotation:
El propòsit principal d'aquesta tesi és analitzar críticament l'antropologia filosòfica de Charles Taylor.A la primera part abordem qüestions preliminars: les fonts, els fonaments teòrics i els elements metodològics del seu pensament.
A la segona part elaborem la seva teoria de la identitat. Això implica: (1) donar compte de la relació inextricable entre el jo de la persona i la seva orientació moral, i (2) per mitjà d'arguments transcendentals, articular una ontologia que determini els trets perennes de la naturalesa humana.
Una ontologia de la identitat exigeix l'articulació de les continuïtats i discontinuïtats entre els animals humans i no humans. És a dir, una filosofia de la biologia que aporti les intuïcions de l'aristotelisme al post-darwinisme. En línia amb Adaslair MacIntyre, intentem completar les aportacions realitzades per Taylor en el context de la seva filosofia de l'acció.
D'altra banda, identifiquem alguns dels trets distintius de l'agent humà (lingüisticitat, propòsit i dialogicitat), i abordem els desafiaments de (1) les versions que radicalitzen les conseqüències de la contingència del subjecte i (2) els reduccionisme que prosperen entre els filòsofs analítics. Per això hem confrontat a les interpretacions de Richard Rorty sobre Nietzsche i Freud, i a la posició quasi-budista de Parfit, l'hermenèutica forta de Charles Taylor i Paul Ricoeur.
A la tercera part, estudiem la dimensió històrica de la identitat humana. Això implica assenyalar les peculiaritats del anthropos modern. Per això, a més de contraposar al jo modern la versió premoderna de la nostra comuna humanitat, hem hagut d'enfrontar a la interpretació de Taylor sobre el sentit de les mutacions cosmovisionales, antropològiques i ètiques de la modernitat, les interpretacions que a aquestes mutacions concedeixen autors com Michel Foucault, Alasdair MacIntyre i Jürgen Habermas.
El propósito principal de esta tesis es analizar críticamente la antropología filosófica de Charles Taylor.
En la primera parte abordamos cuestiones preliminares: las fuentes, los fundamentos teóricos y los elementos metodológicos de su pensamiento.
En la segunda parte elaboramos su teoría de la identidad. Eso implica: (1) dar cuenta de la relación inextricable entre el yo de la persona y su orientación moral; y (2) por medio de argumentos trascendentales, articular una ontología que determine los rasgos perennes de la naturaleza humana.
Una ontología de la identidad exige la articulación de las continuidades y discontinuidades entre los animales humanos y no humanos. Es decir, una filosofía de la biología que aporte las intuiciones del aristotelismo al post-darwinismo. En línea con Adaslair MacIntyre, intentamos completar los aportes realizados por Taylor en el contexto de su filosofía de la acción.
Por otro lado, identificamos algunos de los rasgos distintivos del agente humano (lingüisticidad, propósito y dialogicidad); y abordamos los desafíos de (1) las versiones que radicalizan las consecuencias de la contingencia del sujeto y (2) los reduccionismos que prosperan entre los filósofos analíticos. Para ello hemos confrontado a las interpretaciones de Richard Rorty sobre Nietzsche y Freud, y a la posición cuasi-budista de Parfit, con la hermenéutica fuerte de Charles Taylor y Paul Ricoeur.
En la tercera parte, estudiamos la dimensión histórica de la identidad humana. Eso implica señalar las peculiaridades del anthropos moderno. Para ello, además de contraponer al yo moderno la versión premoderna de nuestra común humanidad, hemos tenido que enfrentar a la interpretación de Taylor sobre el sentido de las mutaciones cosmovisionales, antropológicas y éticas de la modernidad, las interpretaciones que a éstas mutaciones conceden autores como Michel Foucault, Alasdair MacIntyre y Jürgen Habermas.
The main purpose of this thesis is to critically analyze the philosophical anthropology of Charles Taylor.
The first part deals with preliminary issues: the sources, the theoretical and methodological elements of his thought.
In the second part we elaborate his theory of identity. This implies: (1) to account for the inextricable relationship between the self of the person and his moral orientation, and (2) by means of transcendental arguments, to articulate an ontology that determines the perennial features of human nature.
An ontology of identity requires the articulation of the continuities and discontinuities between human and nonhuman animals. That is, a philosophy of biology which provides insights from Aristotelianism to post-Darwinism. In line with Adaslair MacIntyre, we try to complete the contributions made by Taylor in the context of his philosophy of action.
On the other hand, we identify some of the distinctive features of human agency (language, purpose and dialogue) and tackle the challenges of (1) versions that radicalized the consequences of the contingency of the subject and (2) the reductionism that thrive among the analytical philosophers. So we confront the interpretations of Richard Rorty about Nietzsche and Freud, and the quasi-Buddhism of Parfit, with the strong hermeneutics of Charles Taylor and Paul Ricoeur.
In the third part, we study the historical dimension of human identity. That means pointing out the peculiarities of the modern anthropos. Therefore, in addition to contrast the modern self with the premodern version of our common humanity, we confront Taylor's interpretation of the meaning of the cosmological, anthropological and ethical mutations of modernity, with the interpretations that authors as Michel Foucault, Jürgen Habermas and Alasdair MaIntyre offer about these mutations.
48
Ho, Lai-ming Tammy. „Reading aloud and Charles Dickens's style“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B35512386.
49
Ferguson, Stewart Alfred. „The history of Lake Charles, Louisiana“. Lake Charles, La. : McNeese State University, Frazar Memorial Library, Dept. of Archives and Special Collections, 2006. http://library.mcneese.edu/depts/archive/ferguson.htm.
50
Tchir, Trevor. „Reason and language in Charles Taylor“. Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26540.
Annotation:
Charles Taylor's commitment to cultural integrity is at the base of his idealization of an inclusionary discursive community, which recognizes particular expressions of the good but also asks that agents participate in the articulation of universal ethical standards centering on the dignity and autonomy of each person. This thesis examines the extent to which Taylor's 'Best Account principle' is able to reconcile the two related demands of situated freedom, as presented by Hegel: those of expressive unity with nature and rational autonomy. It evaluates the 'Best Account principle' as a hermeneutic principle of rational justification by comparing it to the rival theories of procedural liberalism, naturalism, and relativism. It then examines how the expressive theory of language effectively elucidates the intersubjective powers of Taylor's principle, before assessing how Taylor's hermeneutics, inspired by Gadamer, might meet the challenges of political recognition and incommensurability.