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McDaniel, Matthew Grant. "De Anima, DNA." Lynchburg, Va. : Liberty University, 2010. http://digitalcommons.liberty.edu.
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GIUFFRIDA, Pietro. "Movimento, anima, intelletto. Dal De anima al De motu animalium di Aristotele." Doctoral thesis, Università degli Studi di Palermo, 2014. http://hdl.handle.net/10447/91226.
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Kitunen, S. (Sakari). "Die Anima in Eschenbachs Parzival." Master's thesis, University of Oulu, 2014. http://urn.fi/URN:NBN:fi:oulu-201405291608.
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In meiner Pro-Gradu -Arbeit untersuche ich die Darstellung und Entwicklung des Jungschen Animabegriffes im Parzival von Wolfram von Eschenbach. Ich werde die in Parzival vorkommenden Charaktere als Anima- und Animus-Figuren analysieren und untersuchen, wie die Interaktion zwischen ihnen die Entwicklung des Helden beeinflusst. Viele Werke, die das Thema Frauen bzw. Weiblichkeit im Mittelalter behandeln, gehen oft davon aus, dass die Frauen in der mittelalterlichen Literatur als Objekte behandelt worden sind. Diese Arbeit will diese Darstellung umkehren und untersuchen, inwiefern die weiblichen Figuren als einflussreiche Subjekte hervortreten. In der Charakteranalyse dieser Arbeit wird die Literaturpsychologie von C. G. Jung, aber auch andere Forschungsliteratur zu diesem Thema eingesetzt. Die in dieser Arbeit verwendeten psychologischen Begriffe sind so vorgestellt, wie sie von Jung definiert worden sind. Der historische Hintergrund wird mithilfe von verschiedenen Werken der Geschichtswissenschaft, zum Beispiel das Lexikon des Mittelalters, erläutert. Bei dem Analysieren des Themas „Weiblichkeit im Mittelalter“ wird Forschungsliteratur von Verena Maier-Eroms, Robert Scheuble und anderen Forschern verwendet. Anfangs wird die Parzival-Geschichte Eschenbachs referiert und die wichtigsten Begriffe definiert. Auch der Begriff „Minne“ wird erläutert. Danach werden die weiblichen Charaktere und Symbole in der Perspektive der Literaturpsychologie und der Frauenforschung analysiert. Die Ergebnisse zeigen, dass in der mittelalterlichen Literatur die Frauen und die weiblichen Wesenszüge eines Mannes nicht immer unterschätzt worden waren, und dass der Stand der mittelalterlichen Frau nicht unbedingt schlecht war. Die Arbeit zeigt auch, dass die Minne ein Instrument der Macht für die mittelalterlichen Frauen sein konnte<br>Pro-Gradu -työssäni tutkin C. G. Jungin Anima-käsitteen havainnollistumista Wolfram von Eschenbachin Parzival -teoksessa. Analysoin kirjan Anima- ja Animus-hahmoja, sekä niiden välisen vuorovaikutuksen merkitystä kirjan sankarin kehitykselle. Useat keskiajan naisia tai naisellisuutta tutkivat teokset esittävät naiset keskiaikaisessa kirjallisuudessa pelkkinä objekteina. Työni tarkoituksena on muuttaa tätä käsitystä ja tutkia, kuinka keskiaikaisen kirjallisuuden naishahmot voivat esiintyä myös tarinan kannalta vaikutusvaltaisina hahmoina. Kirjan hahmoanalyysin pohjana käytetään C. G. Jungin kirjallisuuspsykologiaa, sekä muita aihetta käsitteleviä tieteellisiä tutkimuksia. Työssä esiintyvät psykologiset käsitteet on selitetty Jungin omien selitysten mukaisesti. Historiallisen tiedon taustalla ovat useat historiantutkimuksen teokset, kuten esimerkiksi das Lexikon des Mittelalters. Verena Maier-Eromsin, Robert Scheublen, sekä muiden alan tutkijoiden teokset ovat naisia ja naisellisuutta käsittelevien aiheiden lähteinä. Ensiksi työssä referoidaan Wolfram von Eschenbachin Parzival pääpiirteittäin, sekä tärkeimmät käsitteet selitetään. Myös termi „Minne“ selitetään. Tämän jälkeen naishahmoja ja -symboleita analysoidaan kirjallisuuspsykologian ja naistutkimuksen valossa. Tulokset osoittavat, että naisia ja miehen naisellisia luonteenpiirteitä ei keskiajalla aina aliarvioitu, eikä keskiaikaisen naisen asema ollut yksiselitteisesti huono. Työssä osoitetaan myös, kuinka Minne toimi keskiaikaisten naisten vallan välineenä
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Spirit, Congregation of the Holy. "Anima Una: Building on a Rock." Congregation of the Holy Spirit, 2009. http://digital.library.duq.edu/u?/spiritanbook,17949.
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Anima Una No. 62 -- March 2009 -- Contents – Introduction -- (p. 3) -- I. Implementation of the Chapter of Torre D’Aguilha 2004 -- 1.1 A General Synthesis of Responses -- (p. 5) -- 1.2 Justice, Peace and the Integrity of Creation -- (p. 8) -- II. Consolidation of the Congregation -- 2.1 Mission Appointments -- (p. 11) -- 2.2 Organisation of the Congregation: Unions of Circumscriptions, Pluri-National Circumscriptions, SRL 184.1 -- (p. 16) -- 2.3 Spiritan Presence in Latin America, Asia, Africa -- (p. 18) -- 2.4 Financial Matters -- (p. 23) -- III. Belonging to the Congregation -- 3.1 Spiritual Renewal of the Congregation -- (p. 29) -- 3.2 Spiritan Life and Vocation -- (p. 31) -- 3.3 Questions linked to Formation -- (p. 36) -- 3.4 Lay Associates -- (p. 41) -- IV. Preparations for the 2012 Chapter -- 4.1 General Orientations -- (p. 50) -- 4.2 Other Comments and Ideas from the EGC 2008 -- (p. 51)
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Nogueira, Gisela Gomes Pupo. "A viola con anima: uma construção simbólica." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-15052009-140811/.
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As pesquisas históricas sobre as violas brasileiras foram delimitadas pelas referências textuais e iconográficas ao instrumento musical e à sua utilização na produção musical, particularmente da segunda metade do século XVIII ao início do XIX, com pequena citação de César das Neves em s eu Cancioneiro de Músicas Populares, cujo primeiro volume é datado de 1893. Usualmente confundida com alaúdes, cistros e violões, a literatura histórica deixa lacunas sobre a descrição do instrumento. Fato é que, não raro, os violeiros brasileiros de hoje ignoram se tratar de uma guitarra barroca. A primeira parte desta pesquisa investiga, através de fontes primárias e secundárias, a utilização da viola no Brasil desde os tempos de Anchieta, consagrando-se como o instrumento de cordas dedilhadas mais antigo ainda em uso na produção cultural do país, bem como sua classificação como instrumento da família das guitarras; trata da construção simbólica de uma viola rural, com forte ênfase no preconceito àqueles que a tocam e da sua ascensão e declínio a partir das investidas de Cornélio Pires na indústria fonográfica. Analisada através dos códigos da escrita em Tablaturas e Alfabeto Musical, a Musicologia Histórica é utilizada como ferramenta para pesquisar a linguagem elitista do instrumento à época colonial e, ao mesmo tempo, popular no Reino de Portugal, visto que não há qualquer documentação musical brasileira que legitime sua utilização no Brasil daquele período. Com base nas publicações portuguesas da produção musical brasileira, é possível reconstituir modinhas e lundus nesse instrumento, como relatado por inúmeros viajantes, a partir de um mapeamento dos recursos idiomáticos utilizados na Europa Ocidental e, particularmente, em Portugal, expondo a riqueza de linguagem, enquanto instrumento das elites, e seu empobrecimento, a partir do vínculo com o universo rural, que marcou até mesmo sua denominação mais popular utilizada atualmente na mídia em geral viola caipira ou sertaneja.<br>The historical researches on the Brazilian violas were limited by textual and iconographical references to the musical instrument and its musical production, particularly from the second half of the 17th century to the beginnings of the 18th, except from a small reference found in Cancioneiro de Músicas Populares by Cesar das Neves, published first in 1893. Usually confused with lutes, citterns e classical guitars, the historical Brazilian literature shows gaps on the description of the musical instrument. In fact, the violeiros (Brazilian baroque guitarists) often do not acknowledge the instrument as abaroque guitar. The first part of the present work seeks the musical production on the viola in Brazil since Pe. Anchieta arrival, through primary and secondary sources, being considered the earliest plucked string instrument brought to Brazil which remains in use until now, as well as its classification in the plucked stringed instrument families; also, treats its history from the symbolic view of a peasants instrument, emphasizing the prejudice to its performers, as well as its ascension and decline after Cornelio Pires investment son the record industry. The Historical Musicology analyzed from the specific notation in Tablatures and Alfabeto Musical, is here used as a tool to investigate the language from the artistic music written for this kind of guitar during the Portuguese colonization, and in the same time, its popular production in Portugal, since there is no musical manuscripts from Brazil to demonstrate its use here in that period. Based on Portuguese editions of Brazilian music, its possible to recreate modinhas and lundus on the violas, as told by several travelers who described details of our culture, showing the richness of the artistic language, when used as a musical instrument of the dominant classes, and its decline to a poor language, while getting the vinculum to the peasant working classes, marking its most popular denomination on the general medias - viola caipira or sertaneja.
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Gévaudan, Amand. "Cassiodore, De Anima : introduction, traduction,et notes." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30054/document.
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Le De anima marque un tournant dans la vie de Cassiodore, aristocrate romain, né vers 484, dont la famille s'était mise au service des rois Goths. Ayant terminé son parcours politique, il a fait ce qu' il a appelé sa« conversion » qui l'amènera à fonder le monastère de Vivarium et à s'y retirer. C'est au moment de ce changement de vie qu'il écrivit un traité sur l'âme et ses vertus, réflexion anthropologique, psychologique et morale, qui s'appuyait sur des écrits philosophiques, des écrits physiologiques empruntés à la tradition médicale, mais aussi sur les écrits scripturaires et l'œuvre de saint Augustin. C'est un traité plein de dévotion ; cherchant à connaître son âme, Cassiodore veut arriver à la connaissance de Dieu, et cet itinéraire de l'âme à Dieu constitue le cœur du traité. Cassiodore a christianisé le précepte de Socrate « nosce te ipsum » , et a suivi la démarche de saint Augustin : deum et animam scire cupio.La seule traduction française, à peu prés complète (il manque le chapitre XII et la prière finale), que nous avons, est de Stéphane de Rouville ; elle date de 1874. Il nous a paru intéressant de proposer une nouvelle traduction de ce texte, de le commenter et de l'annoter. C'est le but de ce travail.Mots clés :Âme, antiquité tardive, Saint Augustin, Écritures Saintes, Littérature au Moyen Âge<br>The De anima marks a turning point in the life of Cassiodorus, an Roman aristocrat, born around 484, whose family was at the service of the kings Goths. When he ended his political career, he made what he called his« conversion » which will bring him to create the the monastery of Vivarium where he retired. At this change of his life, he wrote a treaty on the soul and its virtues, an anthropological, psychological and moral reflection, which leaned on philosophic and physiological writings borrowed from the medical tradition, but it also leaned on scriptural writings and on the writings of saint Augustin. It is a treaty full of devotion seeking to find your soul. Cassiodore wants to attain the knowledge of God, and this route of the soul to God constitutes the heart of the treaty. Cassiodore christianized the rule of Socrates « nosce te ipsum », and followed the approach of saint Augustin : deum and animam scire cupio.The only french translation, almost complete (the chapter XII and the final prayer are missing), that we have, is of Stéphane de Rouville from 1874. It seems interesting to us to propose a new translation of this text with our comments and annotations. It is the purpose of this work.Key words : soul, late antiquity, saint Augustin, Holy Writings, Literature in the Middle Ages
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Spirit, Congregation of the Holy. "Anima Una: Living the Vow of Poverty Today." Congregation of the Holy Spirit, 2008. http://digital.library.duq.edu/u?/spiritanbook,17894.
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"Information Documentation" (I/D) is now "Anima Una" -- Anima Una No. 61 -- December 2008 -- I. The Vow of Poverty as a Means to Overcome Poverty -- 1.1 Intolerable Situations of Poverty -- (p. 2) -- 1.2 In the Light of the Gospel and Our Founders -- (p. 3) -- 1.3 The Struggle Against Poverty -- (p. 5) -- 1.4 Where Are We? -- (p. 8) -- 1.4.1 On a Personal Level -- (p. 8) -- 1.4.2 On a Community Level -- (p. 8) -- 1.4.3 At Circumscription Level -- (p. 8) -- II. Taking the Vow of Poverty to be Like Christ -- (p. 9) -- 2.1 How do People Look Upon Us? -- (p. 9) -- 2.2 Evangelical Self-emptying -- (p. 11) -- 2.3 Choosing to Live in Simplicity -- (p. 12) -- 2.4 Where Are We? -- (p. 13) -- 2.4.1 On a Personal Level -- (p. 13) -- 2.4.2 On a Community Level -- (p. 14) -- 2.4.3 On a Circumscription Level -- (p. 14) -- III. Taking the Vow of Poverty So As To Live together As a Congregation -- (p. 15) -- 3.1 Between Individualism and Sharing -- (p. 15) -- 3.2 Sharing Was Necessary From the Beginnings of the Church -- (p. 16) -- 3.3 Efforts at Realising Interdependence -- (p. 19) -- 3.4 Where Are We? -- (p. 22) -- 3.4.1 On a Personal Level -- (p. 23) -- 3.4.2 On a Community Level -- (p. 23) -- 3.4.3 On a Circumscription Level -- (p. 23) -- IV. Forming Oneself in the Vow of Poverty -- (p. 24) -- 4.1 From Enthusiasm to Learning to Live As a Spiritan -- (p. 24) -- 4.2 "Sell What You Have and Give To the Poor" -- (p. 25) -- 4.3 From Dependence to Responsibility -- (p. 27) -- (p. 28) -- 4.4 Where Are We? -- (p. 28) -- 4.4.1 On a Personal Level -- (p. 28) -- 4.4.2 On a Community Level -- (p. 28) -- 4.4.3 On a Circumscription Level -- (p. 29) -- V. Mary, Mother of the Poor -- (p. 30)
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Spirit, Congregation of the Holy. "Anima Una: Living the Vow of Obedience Today." Congregation of the Holy Spirit, 2010. http://digital.library.duq.edu/u?/spiritanbook,17992.
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Anima Una No. 63 -- October 2011 -- Contents -- Introduction -- (p. 3) -- I. Obedience -- Learning to Listen -- (p. 5) -- 1.1 Dialoque of the Deaf and Constructive Dialogue -- (p. 5) -- 1.2 Looking at the Obedient Christ -- (p. 6) -- 1.3 Learning to Listen -- (p. 7) -- 1.4 So Where Are We At? -- II. Obedience, School of Liberty -- (p. 12) -- 2.1 Fulfilment and Individual Liberty -- (p. 12) -- 2.2 A Look at the Renunciation Practiced by Claude Poullart des Places -- (p. 13) -- 2.3 Obedience and Freedom -- (p. 15) -- 2.4 So Where Are We At? -- (p. 20) -- III. Obedience: The Path of Communion -- (p. 21) -- 3.1 Obedience Face to Face with Individualism and Authoritarianism -- (p. 21) -- 3.2 Father Libermann, a Catalyst of Communion -- (p. 22) -- 3.3 The Vow of Obedience Favours the Growth of Unity and Communion -- (p. 24) -- 3.4 So Where Are We At?-- (p. 31) -- IV. Obedience at the Service of Mission -- (p. 32) -- 4.1 The Mission That Has Been Received and Personal Projects -- (p. 32) -- 4.2 Mary’s “Yes” -- (p. 33) -- 4.3 Passion for Mission -- (p. 34) -- 4.4 So Where Are We At? -- (p. 38)
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Silva, Fernanda Pereira Augusto da. "Senso-percepção no de anima b de Aristóteles." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/5582.
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Previous issue date: 2011-03-11<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The analysis of sense-perception is fundamental for understanding Aristotle‟s cognitive proposal as well as for the efficiency of the cognition complex. To understand it, one shall begin by studying the relationship between body and soul as integrated parts of hylomorphic theory constituting concepts matter, form, act and potency. Hylomorphism is a mereological theory: the functioning of the whole is secured by the analog functioning of each of its parts. The sense-perceptive faculty is the first to distinguish an animal. It must be understood according to hylomorphic theory. The sense-perception occurs in act when sense which as potency is able to receive sensitive forms follows the motion of the medium resulting from the act of the perceived. Therefore sense-perception consists in receiving the sensitive form without the matter. Once the process is through, the perceiving becomes equal in form to the perceived. But only the sensitive perception of its proper can be infallible, for it connects perception and perceived in act. Imagination, on the other hand, is a movement which comes from the act of sensitive perception. It is a full complex of operations designed to connect sensations to thoughts. Such positive function is balanced by another, a negative one which sets the conditions and possibilities of truth and falsity. "Passive" and "productive" thoughts act on imagination. While the former absorbs the products of the synthesis between sense-perception and imagination, the latter's goal is to make sure the final product of the cognition displays reality as it is, resulting in a perfect cognitive act.<br>A análise da senso-percepção é fundamental para a compreensão da proposta cognitiva de Aristóteles, bem como para a eficiência do complexo da cognição. Para compreendê-la é necessário começar pelo estudo da relação entre corpo e alma, integrados nos conceitos constitutivos da teoria hilemórfica, a saber: matéria, forma, ato, potência. Mas o hilemorfismo é uma teoria mereológica: o funcionamento do todo é assegurado pelo funcionamento análogo de cada uma das partes. A faculdade senso-perceptiva é a que primeiro caracteriza o animal e deve ser compreendida segundo a teoria hilemórfica. A senso-percepção ocorre em ato quando o sentido que, enquanto potência, é capaz de receber formas sensíveis é movido conforme o movimento do meio, advindo do ato do percebido. Por isso, a senso-percepção consiste em receber a forma sensível sem a matéria. Ao final desse processo, o percipiente torna-se igual à forma do percebido. Mas apenas a senso-percepção dos próprios pode ser infalível, porque conecta dois atos: da percepção e do percebido. Já a imaginação é um movimento decorrente do ato da percepção sensível. É um complexo de operações cuja função é ligar a sensação ao pensamento. Essa função positiva é compensada por outra, negativa , de estabelecer as condições de possibilidade do engano e da falsidade. Sobre ela incidem os dois pensamentos: passivo e produtivo . Enquanto o primeiro capta os produtos da síntese da senso-percepção e imaginação, ao segundo cabe a função de garantir que o produto final da cognição reproduz a realidade tal como ela é, consumando o ato cognitivo perfeito.
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Silva, Thiago Quirino da. "O projeto hilemórfico do De Anima de Aristóteles." reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/167587.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Filosofia, Florianópolis, 2016<br>Made available in DSpace on 2016-09-20T04:01:14Z (GMT). No. of bitstreams: 1
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Previous issue date: 2016<br>Esta dissertação tem por objetivo propor um ensaio interpretativo para os problemas suscitados pelo emprego da explicação hilemórfica à investigação sobre a alma apresentada no De anima de Aristóteles. Embora estabeleça em suas primeiras considerações o objetivo teórico de evitar tanto o fisicalismo pré-socrático quanto o dualismo platônico, assumindo que as afecções da alma são determinações realizadas na matéria, este critério inicial parece não ser empregado igualmente para as diferentes faculdades da alma. Defenderemos, então, que mesmo postulando uma definição geral de alma, Aristóteles permite sua coexistência com as diferentes definições próprias a cada uma das diferentes faculdades, com vistas a salvaguardar suas peculiaridades. Assim, não obstante as discordâncias entre os estudiosos, o tratamento dispensado à percepção cumpre satisfatoriamente os critérios do hilemorfismo, apresentando-a como um fenômeno da alma ligado ao corpo. Por outro lado, a teoria noética destoa daqueles critérios quando atribui ao intelecto qualidades como separado, eterno e imortal. Procuraremos mostrar que esta aparente quebra doutrinária não é uma inconsistência teórica, mas antes o reconhecimento do caráter singular da faculdade intelectiva. Ademais, quando postula o intelecto como separado, o filósofo não pretende uma separação absoluta, mas apenas que a atividade do intelecto não necessita diretamente de um órgão corpóreo, o que não implica uma separação inclusive das demais partes da alma. <br><br>Abstract : This dissertation aims to offer a interpretative essay for the problems caused by the employment of hylomorphic explication to the research about the soul presented in Aristotle's De anima. Even though he establish in its first remarks the theoretical aim to avoid both the presocratic physicalism and the platonic dualism, taking that the attributes of the soul are determinations realised in matter, this initial criterion seems not employed equally for the different faculties of the soul. We will hold then that even postulating a general definition of soul, Aristotle allows its coexistence with the different proper definitions for each different faculties, in order to preserve its peculiarities. So, despite the disagreements among scholars, the treatment given to perception carries out satisfactorily the hylomorphism criteria, presenting the perception as a phenomenon of the soul attached to the body. On the other hand, the noetic theory diverges from those criteria when he gives to intellect qualities as a separate, eternal and immortal. We will try to show that this apparent doctrinal rupture is not a theoretical inconsistency, but is rather the recognition of the special character of the intellectual faculty. Moreover, when he postulates the intellect as being separate, the philosopher intends not an absolute separation, but only that the activity of the intellect needs not directly of a bodily organ, what does not imply a separation even from other parts of the soul.
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Otal, Milan. "Philopon et la tradition exégétique du De Anima." Electronic Thesis or Diss., Montpellier 3, 2019. http://www.theses.fr/2019MON30097.
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Sous le nom de Jean Philopon nous sont parvenus deux commentaires au De anima, l’un en grec, l’autre dans une traduction latine médiévale. Ces deux ouvrages nous permettent de rendre compte de la gnoséologie telle qu’elle était enseignée dans l’école néoplatonicienne d’Alexandrie à l’aube du VIe siècle. Ils jettent aussi un éclairage nouveau sur la transmission des textes et permettent de questionner la méthode exégétique de leur auteur. Nous avons donc sélectionné dans ces commentaires trois sections qui concernent la connaissance rationnelle (le Prologue, le Livre III et le De intellectu) et en fournissons une traduction. Nous y avons joint des notes qui montrent le lien avec les autres œuvres de Philopon et sa lecture d’Ammonius, ainsi qu’un commentaire sous forme d’introduction. Ces trois textes permettent en effet de mettre en relief, au sein d’une même tradition exégétique, les innovations philosophiques, notamment dans le traitement original de la faculté représentative ou de la partie attentive de l’âme rationnelle (προσεκτικόν) qui traverse toutes ses autres activités cognitives et vitales. Il s’agit avant tout de rendre accessible une pensée peu connue de la fin du paganisme, influente aussi bien dans le monde byzantin (Michel Psellos), arabe (al-Kindi) que latin (Thomas d’Aquin)<br>Two commentaries of De anima written by the author known as Jean Philopon have reached us, one in Greek and the other in a Latin translation from de Middle Ages. The two texts allow us to explain how gnosiology was taught in the Neoplatonic School of Alexandria at the dawn of the 6th century. They also shed a new light on the transmission of the texts and on the exegetical method used by their author. Therefore, we have selected three sections among the transmitted commentaries that deal with rational knowledge (Prologue, Book III and De intellectu). Besides, we have offered a new translation for each of them. We have added notes in order to show the relations with further texts written by Philopon as well as with his reading of Ammonius, and we introduce them with the help of an extensive commentary. Indeed, these three texts let us grab philosophical innovations which appear inside a whole exegetical tradition, including those about the representative faculty and about the attentive part of the rational soul (προσεκτικόν) which goes through all of the soul's cognitive and vital activities. Our contribution mainly aims at exposing this unique thought that used to be influential at the end of the pagan era in the Byzantine (Michel Psellos), Arabic (al-Kindi) and Latin world (Thomas d'Aquin), as well as making it accessible to a broader audience
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Kye, Hee-seng. "The third voice : anima as drama in Mozart's operas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2015. http://hdl.handle.net/10722/212609.
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This thesis investigates the processes through which the characters and their relationship, and the drama take shape in Mozart’s operas. In his mature operas, there are moments when music seems to say something that is not in harmony with what the words express. This discrepancy suggests that Mozart tells us, through music (vocal or instrumental), the characters’ most private thoughts that are not revealed in the text alone. I call this innermost part of the psyche that is in contact with the unconscious ‘anima’, a concept borrowed from Jungian psychology. Through anima, Mozart narrates his version of drama that is distinct from the librettist’s or the literary source on which his opera is based. That is, the drama Mozart creates and recounts is in the music.
The present thesis proposes music analysis as a way into reading the characters’ anima. I analyse select scenes from Le nozze di Figaro (1786), Don Giovanni (1787), Così fan tutte (1790), and La clemenza di Tito (1791), and examine four ways in which anima is manifested in musico-dramatic elements. I start with the most natural elements in which anima may be found in opera, asides and soliloquies, and explore musical manifestations of these silent voices. I also redefine ‘tempo’ in specifically operatic ways and show how the timing and pacing of musical elements evoke dramatic meaning. I then consider the connections between anima and Schenkerian idea of background as a way of understanding the relationship of the couples in Mozart’s operas. Finally, I demonstrate how ‘form’ in opera takes life of its own and defines the drama as musical expectations are fulfilled or frustrated. I conclude by discussing the implications of anima in opera studies, suggesting that it allows us to hear the innermost voice of Mozart’s characters spoken through music—the third voice.<br>published_or_final_version<br>Music<br>Doctoral<br>Doctor of Philosophy
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Queiroz, Rossana Baptista. "Gera??o de anima??es faciais personalizadas em avatares." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2010. http://tede2.pucrs.br/tede2/handle/tede/5145.
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Previous issue date: 2010-03-19<br>Neste trabalho, ? apresentado um modelo para a gera??o de anima??es faciais personalizadas em avatares. O modelo inclui duas abordagens de controle param?trico da face do avatar: baseado em scripts de a??es faciais em alto-n?vel ou usando a t?cnica de Anima??o Dirigida por Performance(PDA). A abordagem de controle por script permite a gera??o de anima??es com express?es faciais, fala sincronizada e comportamento dos olhos interativamente pela descri??o em alto-n?vel dessas a??es faciais. A abordagem de controle por Anima??o Dirigida por Performance permite refletir as express?es faciais do usu?rio em seu avatar, considerando como entrada um pequeno conjunto de pontos caracter?sticos providos por algoritmos de Vis?o Computacional. O modelo ? baseado no padr?o MPEG-4 de Anima??o Facial, estruturado usando uma hierarquia dos par?metros de anima??o, proposta para a abordagem de PDA. Essa estrat?gia permite a gera??o de anima??es nas regi?es da face onde n?o houver dados supridos por Vis?o Computacional. Para deformar a face, usa-se Fun??es de Base Radial e Fun??es de Cosseno. Essa abordagem ? computacionalmente barata e permite a anima??o dos avatares em tempo-real. Foi desenvolvido um framework de anima??o facial extens?vel capaz de animar facilmente faces parametrizadas de acordo com o padr?o MPEG-4 em aplica??es interativas. Tamb?m foram desenvolvidas algumas aplica??es interativas como estudo de caso das potencialidades do modelo e realizada uma avalia??o preliminar com usu?rios, de maneira a avaliar qualitativamente as abordagens de controle. Os resultados mostram que o modelo proposto pode gerar anima??es variadas e com resultados visuais satisfat?rios.
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Silva, Fernanda Pereira Augusto da. "O problema do pensamento no de anima de Aristóteles." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9582.
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Previous issue date: 2016-03-30<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The problem of the line of thought in De Anima concerns the way the human being is capable of acknowledging nature in act in view of the intellectual/thinking faculty triggered by stimuli resulting from the activity of the sense perception faculty. The investigation is aimed initially towards indispensable concepts of Aristotle’s cognitive theory. Among them, how substance is understood (form, matter and the composite of both), the definition of soul and animate being. Such notions, along with those of actuality and potentiality, are indispensable for understanding the relationship between body and soul, integrating hylomorphism. The treatment of the faculties of the soul begins with an examination of the nutritive faculty and its relationship with what is identified as life, followed by an approach towards the sense perception faculty, in which the activity consists in the reception in act of the external object’s form without matter. As a result of such activity, the one who perceives becomes in act equal to the form of that which is perceived. Besides performing an investigation pertaining to the senses, the notion of meta-perception is also approached. An analysis of the imagination as a movement that derives from the act of sense perception and that is fundamental to enable thinking is developed. Finally, to research the intellectual/thinking faculty, sense perception faculty is contrastively taken as a paradigm to attribute qualities to the faculty related to thinking. This faculty presents two functions: patient/passive intellect and active/productive intellect. From the balance of sense perception elaborated by imaginative operation, thinking, through its activity, recognizes its object: universal/ intelligible form. The result of thinking is designated as science. And the human being can only achieve such result through primarily apprehending sensitive forms related to subjects.<br>O problema do pensamento no De Anima diz respeito ao modo pelo qual o ser humano é capaz de conhecer em ato a natureza mediante a atividade da faculdade intelectiva/pensamento a partir de estímulos resultantes da atividade da faculdade sensoperceptiva. A investigação é voltada inicialmente para conceitos imprescindíveis para a teoria cognitiva de Aristóteles. Dentre eles, os modos de entender substância (forma, matéria e composto), a definição de alma e de ser animado. Tais noções, juntamente com as de ato e potência, são indispensáveis para a compreensão da relação entre corpo e alma, integrando o hilemorfismo. O tratamento das faculdades da alma tem início com o exame da faculdade nutritiva e com a sua relação com o que é identificado como vida. A seguir, é desenvolvida a abordagem da faculdade sensoperceptiva, cuja atividade consiste na recepção em ato da forma sensível do objeto externo sem a matéria. Como resultado de tal atividade, aquele que percebe torna-se em ato igual à forma do percebido. Além de ser feita a investigação acerca dos sentidos, aborda-se também a noção de meta-percepção. Desenvolve-se a análise da imaginação como movimento decorrente do ato da sensopercepção e que se mostra fundamental para a possibilidade do pensamento. Por fim, para a pesquisa da faculdade intelectiva/pensamento, a faculdade sensoperceptiva é tomada contrastivamente como paradigma para a atribuição de qualidades à faculdade relativa ao pensamento. Essa faculdade apresenta duas funções: pensamento paciente/passivo e pensamento ativo/produtivo. A partir do saldo da sensopercepção elaborado pela operação imaginativa, o pensamento, através de sua atividade, reconhece seu objeto: a forma inteligível/universal. O resultado do pensamento é designado como ciência. E o ser humano só chega a tal resultado através, primeiramente, da apreensão de formas sensíveis relativas a particulares.
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D'Onofrio, Sandro. "El intelecto agente según el De Anima de Aristóteles." Bachelor's thesis, Pontificia Universidad Católica del Perú, 1996. http://tesis.pucp.edu.pe/repositorio/handle/123456789/5841.
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Nuestro trabajo consiste en un análisis textual desde los
presupuestos hermenéuticos de la unidad y la coherencia del
pensamiento aristotélico sobre el alma y dios. Para tal fin se
investigará, en primer lugar, cómo es que se habla del intelecto
a lo largo del De anima, y si se menciona su separación; luego,
en una segunda parte, se analizará la concepción de alma, según
se presenta en el texto, en vista al problema del intelecto o alma
humana; aquí mismo desarrollaremos la doble concepción de
acto-potencia que Aristóteles desarrolla para aclarar lo que es el
alma. En un tercer capítulo se verá en forma detallada cuál es la
concepción del intelecto agente y cómo actúa este, a base de las
metáforas del capítulo III.5; por último, analizaremos la
concepción de dios según el libro doce de la metafísica y la
relación que existe entre dios y el intelecto humano.<br>Tesis
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La, Grasta Patrizia <1990>. "Robert Musil: letteratura e filosofia tra "anima ed esattezza"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18616.
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Il presente lavoro prende avvio dall’analisi delle principali opere di Robert Musil, concentrandosi in particolare sui due romanzi dell’autore, I turbamenti del giovane Törless e L’uomo senza qualità, che vengono analizzati attraverso l’opera saggistica, al fine di individuare gli elementi di una filosofia della cultura. La finalità di questo studio è riuscire a mostrare come la prosa musiliana sia il prodotto di una costante riflessione filosofica sul proprio tempo che si trasforma in una originale filosofia del soggetto. La forma delle opere prese in esame è conseguenza di questa costante riflessione filosofica, un’analisi che unisce etica ed estetica. Lo scopo del presente studio è perseguito ricostruendo le fonti principali del pensiero di Musil che ricostruisce il dialogo con i principali riferimenti letterari e filosofici, fra i quali Rilke, Mann e Adorno e Nietzsche.
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Shore, Lesley Anne. "The anima in animation| Miyazaki heroines and post-patriarchal consciousness." Thesis, Pacifica Graduate Institute, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3645282.
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<p> This dissertation explores how the heroines in Hayao Miyazaki animations subvert the antiquated, patriarchal models of the conquering hero that predominate Western literature and cinema. As unifying agents of change, such heroines use communal solutions to conflict by rejecting militarism, refuting stereotypical gender roles and reversing environmental destruction. Five Miyazaki animations are reviewed: <i>My Neighbor Totoro, Spirited Away, Howl's Moving Castle, Princess Mononoke and Nausicaa of the Valley of the Wind.</i> The protagonists in these films undertake a voyage of balance inspired by Shinto animism and Japanese mythological traditions that reflect the heroine's journey schema and the individuation process that is the zenith of depth psychology. I argue that Miyazaki heroines are not solely aligned with Jungian theories of the anima as a contrasexual projection of a male, but rather as the spark of life that ignites the storyline. </p><p> The intention of this work is to examine the role of the anima rich heroine by drawing upon the depth psychological theories of James Hillman, Hayao Kawai, Marie- Louise von Franz, Ginette Paris and Christine Downing. At the same time, Miyazaki heroines are contrasted with the Disney princesses that reinforce traditional heterosexual norms and other pop culture protagonists that support androcentric order. </p><p> To attain a holistic vision of the world, the Miyazaki heroine must overcome the patriarchal constructs of her society that would otherwise disempower her. Such heroines exert their strength of character through compassionate understanding of the oppositional characters within the film story rather than viewing them as foes to be destroyed. Miyazaki heroines discover equilibrium of self by meeting their unconscious shadow aspects and positively integrating them instead of projecting them negatively onto others. </p><p> The anima rich, complex heroine in Miyazaki animations is a transformative protagonist that represents an emerging heroic and mythic model for a global community in transition. Drawing from soul more than ego, she contributes to an evolving collective psyche that bears the potential to heal and reshape this nascent post-patriarchal world.</p>
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Umeda, Guilherme Mirage. "Educação na linguagem da anima: diálogos ontológicos com a música." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-29042011-171640/.
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Há, entre educação e música, uma relação profunda que ultrapassa o ensino da arte. Partindo de uma perspectiva fenomenológica da interpretação e da escuta, encontramos na música estruturas míticas que permitem sustentá-la como chave metafórica para uma compreensão da atividade educacional, mediante a centralidade do ENCONTRO para ambas. A música compartilha com as outras formas de arte a capacidade mobilizadora do imaginário. Sua função simbólica retira-lhe do mundo da linguagem convencional e denotativa; sua manifestação está continuamente prenhe de sentido, desenrolando a expressão de maneira intraduzível na descrição científica. O artista oferece através de seus símbolos um devaneio cósmico, a possibilidade da descoberta de novos mundos que incrementam o Ser de seu interlocutor. Como imagem sonora, a música integra, na arquetipologia antropológica de Gilbert Durand, o conjunto de símbolos que possuem em seu âmago estruturas dramáticas, marcadas pela dialética e pelo ritmo. Acaba por se configurar, portanto, como prática crepuscular e mestiça que atrai para si reflexões variadas sob o eixo da coincidentia oppositorum (coerência dos contrários). Para se efetuar, depende da mobilização dos dois polos psíquicos complementares do animus e da anima, conforme trabalhadas por Gaston Bachelard. Os instrumentos musicais (animus) não passam de potência se não colocados em movimento pelo sopro da anima, pelo envolvimento da sensibilidade devaneante da pessoa. A abertura de um Ser selvagem (Merleau-Ponty) ao arrebatamento da música coloca-o em contato com a própria existência encarnada de quem a produziu: o sentido inaudível de um extrato audível está marcado pela presença do outro neste mundo sonoro que compartilham ouvinte e cantor. A música, assim, permite a comunicabilidade das subjetividades, um diálogo transubjetivo que escancara as vias de acesso do homem ao homem justamente o que de mais fundamental se busca em educação. Nesse sentido, pode-se afirmar que há uma dimensão educativa da música (uma vez que ela colabora para o diálogo, para uma afirmação da humanidade no homem), assim como há uma dimensão musical da educação (a construção de pessoas lentamente talhadas no tempo, a partir de uma consonância propiciada pelo acerto rítmico entre um mestre e um aprendiz). Harmonia, ritmo, ressonância são palavras que, herdadas do universo sonoro, contribuem para a compreensão da docência. Quer-se, pela educação, encontrar um andamento comum que permita transformar o conflito em diálogo e, então, que não se olvide na trajetória de professores e estudantes o fato de que ali, no cruzamento improvável, no tempo de um instante, dois caminhos se encontraram. A partir dessa troca de substâncias, no cuidado de mãos habilidosas e ouvido atento de um mestre, o discípulo edifica sua própria formação. O preparo do professor que espreita o encontro não se limita ao domínio do conteúdo lecionado nem à familiaridade com um arsenal de métodos pedagógicos que exijam que se ponha de lado a pessoa e suas especificidades. É preciso que o mestre saiba escutar o canto de um canto, o sopro do lugar que se inscreve na voz do aprendiz, e que se empenhe em sempre fortalecê-lo no encontro iniciático.<br>There is a deep relationship between education and music, one that surpasses the teaching of art. From a phenomenological approach to playing and listening, there can be found mythical structures in music that sustain it as a metaphor for the comprehension of educational activity, through the centrality of an encounter in both fields. Music shares with other forms of art imaginarys mobilizing ability. Its symbolic function withdraws it from the reign of conventional and denotative language; musical manifestation is continuously pregnant of meaning, unveiling expressions impossible to translate in scientific description. With symbols, the artist offers his cosmic reveries to an interlocutor who can discover new worlds that enhance his own Being. Taken as a sonorous image, music belongs to a group of symbols (according to Gilbert Durands anthropological archetypology) that holds dramatic structures in its core, which embeds it with dialectics and rhythm. Therefore, it configures itself as a crepuscular and mixed practice that attracts various reflections through the principles of coincidentia oppositorum (coherence of opposites). To be effective, it depends on the mobilization of two complementary poles of the psyche, animus and anima, as worked out by Gaston Bachelard. Musical instruments (animus) are only potency if not put in motion by a breath of anima, by the involvement of the persons dreaming sensibility. The openness of a Savage Being (Merleau-Ponty) to the enchantment of music puts him in contact with the incarnated existence of its composer: the inaudible meaning of an audible substance is engraved with the presence of an other in this sounding world shared by singer and listener. Music, thus, permit the communicability of subjects, a transubjective dialogue that opens access to man by man precisely what education pursuits as its most fundamental aspect. Accordingly, it can be argued that there is an educational dimension to music (since it favors dialogue and the affirmation of humanity in man), as wells as a musical dimension to education (the construction of persons, slowly carved through time, by a consonance created through a rhythmic agreement of a master and his apprentice). Harmony, rhythm, resonance are all words that, inherited from the universe of sound, contribute to the comprehension of teaching. One hopes to find through education a common tempo that can turn conflict into dialogue this way, throughout the lives of teachers and students, it will not be forgotten that there, in an improbable crossroad, in the fragile time of an instant, two paths met each other. From this exchange of substance, with the caring hands and diligent ears of a master, the disciple builds up his own development. The preparation of a teacher who carefully looks for an encounter is not limited to the mastery of a disciplines content, nor to the familiarity with an arsenal of teaching methods that demands putting aside the real student and his specificities. It is mandatory that the master knows how to listen to the singing of his apprentice, which holds the whisper of his birthplace. Doing so, he will be able to strengthen it throughout this initiatic meeting.
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Perkams, Matthias. "Selbstbewusstein in der Spätantike : die neuplatonischen Kommentare zu Aristoteles' "De anima" /." Berlin : W. de Gruyter, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783110204926.
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Álvarez, San Román Mercedes. "¿Anima(fic)ción? La producción del cuerpo en la era digital." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040206.
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Ce travail propose une analyse de la construction des personnages féminins des longs-métrages d’animation produits en Espagne entre 1985-2017, dans l’intention d’apporter des pistes sur la production du corps à l’ère du numérique. Une première approche de la matérialité de l’image générée par ordinateur à travers un parcours historique a servi d’abord à établir un cadre méthodologique. Elle a été suivie par une périodisation historique de l’introduction de la 3D en Espagne, à partir du modèle économique de production et de ses répercussions sur le contenu du long-métrage. Étant la première étude académique à traiter cette étape en profondeur, nous avons eu recours à des sources primaires, ce qui a impliqué un travail de terrain comportant près de soixante interviews semi-dirigées et le visionnage de plus de cent longs-métrages. La corrélation entre les caractéristiques de production de l’image en 3D et le contexte social et politique de l’Espagne a permis de mieux comprendre l’évolution du modèle commercial du cinéma d’animation. Tous ces éléments, obtenus et analysés à partir d’une étude ethnographique et de documentation bibliographique, ont contribué à délimiter le cadre dans lequel explorer le corps virtuel. La perspective de genre a été fondamentale pour discerner les implications de l’économie sur la fabrication du corps. En d’autres termes, l’étude des personnages féminins et de la manière dont ils sont construits comme tels, malgré l’absence d’un sexe biologique, a aidé à comprendre la manière dont le marché modèle les corps des femmes<br>This dissertation looks at the construction of female characters in animated feature films produced in Spain between 1985 and 2017, with the idea of providing insights into the production of the female body in the digital era. To establish a methodological framework, a first approach to computer generated imagery was made by means of a historic run-through of animation techniques over the years and the relation with other media. A breakdown of the historical stages of introducing 3D in Spain was then proposed, working from the economic production model and the impact thereof on feature-film content. As the first ever in-depth academic study of this stage, it proved necessary to draw from primary sources, whether trade professionals or their own films. This involved a fieldwork campaign involving nearly sixty semi-structured interviews and the watching of over one hundred feature films. Relating the 3D image production features to Spain’s social and political context over time then gives a much better idea of the business model trend in animated films. All these elements have been drawn from an ethnographic study and bibliographical documentation, helping to contextualize the study of the virtual body. The gender perspective has been crucial for ascertaining the economy’s impact on the construction of the body. In other words, the study of feminine characters and the way they are constructed as such, despite the absence of a biological sex, has helped us to understand how the market moulds women’s bodies
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Bishop, Charles H. "Men in the novels of Toni Morrison, sleeping with the anima." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ33343.pdf.
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Kopke, Henrique Moraes. "Anima Scribens: possibilidades para o desenvolvimento de partituras do movimento animado." Universidade Federal de Juiz de Fora (UFJF), 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/4064.
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Previous issue date: 2015-03-31<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Tendo em vista as iniciativas governamentais de fomento para a criação de um parque industrial, aliando o conteúdo independente e canais da televisão-paga, a produção nacional de series de animação e longas-metragens alcançou um patamar sólido, propiciando uma demanda por conteúdo animado capaz de gerar empregos e posicionar o produto audiovisual brasileiro de forma competitiva no mercado nacional e internacional. Frente a esta recente configuração do setor do cinema de animação no Brasil e tomando como base as peculiaridades de uma produção animada em detrimento aquela que utiliza atores reais, buscou-se investigar e conciliar os diferentes princípios e métodos que regem a criação e a escrita do movimento. No campo da dança/teatro, pesquisaram-se os estudos de Rudolph Laban na criação de seu sistema de análise do movimento e labanotação, como também as características da expressão corporal animada presente no cinema de animação de Richard Williams, que delimita e exemplifica conceitos teóricos e práticos. Esta pesquisa, portanto, centrou-se em investigar as possibilidades de dinamização da produção de conteúdo animado nacional em escala industrial.<br>In view of the government initiatives to promote the creation of an industrial park, combining the independent content and television-paid channels, the domestic production of animated series and feature films reached a solid level, providing a demand for animated content can to create jobs and position the Brazilian audiovisual product competitive in the national and international market. Faced with this latest animated film industry configuration in Brazil and building on the peculiarities of an animated production over one that uses real actors, we sought to investigate and reconcile the different principles and methods governing the creation and writing movement. In the field of dance / theater, Rudolph Laban studies were researched on creating your movement analisys system and labanotation, as well as the characteristics of the animated body language present in the Richard Williams animation film, which defines and exemplifies theoretical concepts and practical. This research therefore focused on investigating the dynamic possibilities of the national animated content production on an industrial scale.
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Millet-Gérard, Dominique. "Anima et la sagesse : pour une poétique comparée de l'exégèse claudélienne." Paris 4, 1987. http://www.theses.fr/1987PA040476.
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La première partie de la thèse s'attache à démêler les effets polysémiques d'un très court texte claudélien, la "parabole d'animus et d'anima". On y voit successivement un traité de poétique, issu de la lecture de Rimbaud, une autobiographie spirituelle, nourrie d'une méditation sur la mystique dévote, et une pièce liturgique inspirée par le temps de l'avent et le mystère de l'immaculée conception. Un rapport d'analogie s'établit ainsi entre la figure profane d'anima et la sagesse de l'écriture. La seconde partie vise à mettre en lumière cet effet de reflet, en le fondant théologiquement dans la pensée analogique du Pseudo-Denys et de saint Bonaventure, puis en étudiant sa traduction littéraire à travers quelques figures féminines : on voit alors le texte biblique s'enrichir d'une réflexion parallèle, les modèles scripturaires se gauchir au contact de la plume du poète, en même temps que derrière la trame exégétique se glisse une constante et savante réflexion sur l'essence du style, qui doit s'efforcer d'imiter la perfection "conjugale" de la vulgate, lieu de la conception du verbe. Il apparait ainsi que la méditation de Claudel vieillissant se situe dans l'exact prolongement des préoccupations symbolistes : quête d'une écriture nouvelle et sa métaphorisation féminine ; toutes les réponses de Claudel, passées au filtre du catholicisme, jaillissent en fait de questions qu'il s'est posées avec toute une génération à laquelle il est reste intérieurement plus fidèle qu'il n'y parait généralement : tel est l'objet de la troisième et dernière partie<br>A first part deals with Claudel’s parable of animus and anima considered as a short essay in poetics, focusing on Rimbaud’s influence ; as a sort of spiritual autobiography, and as a liturgical meditation on the immaculate conception of the virgin, the figure of wisdom (sapientia) in the bible, and the generation of the word, either divine or poetical. In the second part we show Claudel’s debt towards two theologians, Pseudo-Dionysius and saint Bonaventura, whose analogical system is much akin to his own theory on metaphor. On the whole it appears that Claudel’s exegetical work is not only a comment upon the bible, but also a meditation on the essence and mission of woman, as well as the essence and generation of style - and both are metaphorically linked. So Claudel proves very close to the aesthetical and spiritual quest of the symbolist movement, whose preoccupations he turns to a roman catholic answer
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Perkams, Matthias. "Selbstbewusstsein in der Spätantike die neuplatonischen Kommentare zu Aristoteles' "De anima"." Berlin New York, NY de Gruyter, 2006. http://d-nb.info/990069400/04.
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Millet-Gérard, Dominique. "Anima et la sagesse pour une poétique comparée de l'exégèse claudelienne /." Lille 3 : ANRT, 1992. http://catalogue.bnf.fr/ark:/12148/cb37608056x.
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Gomes, Murilo de Assis Macedo. "Entre as trevas e a luz: o percurso labiríntico em Todos os nomes de José Saramago." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-15032010-093633/.
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Entre as trevas e a luz: o percurso labiríntico em Todos os nomes de José Saramago é uma dissertação que visa mostrar de que modo o caminho trilhado pela personagem protagonista do romance constitui um processo de autoconhecimento em meio às múltiplas possibilidades de um espaço que se configura como labiríntico. Os conceitos de símbolo, espaço, lugar, não-lugar, individuação, anima, advindos da diversidade teórica, da qual se destacam C. G. Jung (1967/ 2000/ 2007), Gilbert Durand (2002), Marc Augé (1994), Gaston Bachelard (1988/ 1990/ 1993/ 1997/ 2001), Michel de Certeau (2001), contribuíram e sistematizaram o percurso analítico do presente trabalho, que ora propomos. Nosso intuito primeiramente é verificar como os espaços da porta e da escada aparecem enquanto símbolos que levam a personagem de uma condição à outra, estabelecendo mudanças que variam entre o eu e o outro e entre as trevas e a luz, buscando também o sentido destes elementos. Em seguida, demonstramos como a imagem do labirinto é (re)construída, tanto mitologicamente (através de referências intertextuais) quanto individualmente (pelo próprio percurso da personagem) em sua passagem por portas e por escadas em espaços interiores e em espaços exteriores na busca de sua anima.<br>Entre as trevas e a luz: o percurso labiríntico em Todos os nomes de José Saramago is a study that aims at showing how the path chosen by the novels main character constitutes a process of self-knowledge among the multiple possibilities he comes across in a labyrinthic space. The concepts which structure and contribute to the development of this paper come from different theoretical backgrounds and include the notions of symbol, space, place, non-place, individuation and anima, as articulated by C. G. Jung (1967/ 2000/ 2007), Gilbert Durand (2002), Marc Augé (1994), Gaston Bachelard (1988/ 1990/ 1993/ 1997/ 2001), Michel de Certeau (2001). Our objective is first to consider how the space re-presented by the figures of the door and the stairs acquire symbolical value as they lead the main character from one stage to another, signaling the changes between the I and the other and between darkness and light, as he tries to unveil the meaning of such elements. Then, we focus on the way in which the image of the labyrinth is (re)constructed, both at a mythological level, through intertextual references, and at an individual level as we follow the course marked by the character in his journey through the doors and stairs he encounters in inward and outward spaces, in the pursuit of his anima.
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López, Alcalde Celia. "Liber novvs de anima rationali de Ramon Llull. Edición crítica y estudio." Doctoral thesis, Universitat Autònoma de Barcelona, 2012. http://hdl.handle.net/10803/98398.
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El Liber nouus de anima rationali (LNAR) fue terminado en Roma, en 1296. De acuerdo con esta fecha, el LNAR de Ramon Llull debe ser considerado el primer libro de una serie de obras que pretenden revisar y mejorar las ciencias tradicionales, la mayoría de origen aristotélico. Esto lo hará aplicando su “nuevo” y definitivo acercamiento, el Arte, a las diferentes disciplinas tradicionales como la astronomía, la física, la metafísica, etc. En el caso del LNAR, Ramon Llull dirige su mirada a la prolífica tradición psicológica, basada en el libro aristotélico De anima, un texto ampliamente comentado durante el siglo trece y catorce.
Formalmente, la obra se estructura a través de diez partes principales que corresponden a las regulae/quaestiones artísticas, proporcionadas en la Tabula generalis (1294). En cuanto al contenido, su antropología parte de la medieval visión dualista del hombre que concibe al ser humano como un elemento central dentro de la jerarquía del mundo creado, compuesto por seres espirituales y corporales. Combinando ambas naturalezas, el hombre es considerado un microcosmos creado para proporcionar la salvación de todos los seres corporales, actuando de nexo entre éstos y su creador, Dios. Esta misión se realiza mediante el propio agere del alma racional: producir conocimiento a través de recordar, entender y amar a Dios. Tales actividades, indispensables para la vida virtuosa, son desempeñadas gracias a las tres facultades del alma, memoria, intelecto y voluntad, que trabajan junto con los principios del alma racional como son la bonitas, magnitudo, duratio, potestas, etc. Ambas partes del alma, facultades y principios, poseen una estructura correlativa de tres elementos (forma, representada por el sufijo “-iuum”; materia, representada por “-bile”, y acción, expresada por el infinitivo) que permite el dinamismo y la interrelación entre las diferentes partes, en una relación especular con Dios y su naturaleza trinitaria.
La edición crítica del LNAR se ha realizado a través de la colación completa de 22 manuscritos provenientes de varias bibliotecas europeas. Además se han tenido en cuenta las dos ediciones del texto latino así como también el texto catalán, transmitido por un manuscrito, editado en 1950. Gracias a que un pequeño grupo de manuscritos latinos transmiten obvios errores de traducción, hemos podido mostrar que el texto latino es una traducción del catalán. Por ello, nuestra edición ha seguido generalmente las lecturas de estos manuscritos más cercanos al catalán, excepto en el caso de importantes errores de traducción, gramática o de comprensión. Como resultado presentamos un texto latino muy cercano al catalán tanto sintácticamente como léxicamente, aunque consistente y con personalidad propia.<br>The Liber nouus de anima rationali (LNAR) was finished in Rome, in 1296. According to this date, the LNAR by Ramon Llull must be considered the first book in a series of works which are directed at revising and improving the traditional sciences, most of them of Aristotelian origin. He does so by applying his “new” and definitive approach, the Art, to the different traditional disciplines, e.g. astronomy, physics, metaphysics, etc. In the case of the LNAR, Llull focuses on the prolific psychological tradition, based on the Aristotelian book De anima. This text was very much discussed and commented upon during the thirteenth and fourteenth centuries.
Formally, the work is structured according to ten principal parts which correspond to the artistic regulae/quaestiones given in the Tabula generalis (1294). With regard to the content of the LNAR, its anthropology partakes in the medieval dualistic vision of man which considers human beings as a central element within the hierarchy of the created world, which is composed, in turn, by spiritual and corporeal beings. Combining both natures, man is a kind of microcosm which is meant to provide the salvation for all corporeal beings, insofar as he acts as a link between them and their creator, God. This mission is realized by the proper agere of the rational soul: to produce knowledge by remembering, understanding and loving God. These activities, which are indispensable for a virtuous life, are carried out by the soul’s three faculties: memory, intellect and will, which work together with the substantial principia of the rational soul, that is bonitas, magnitudo, duratio, potestas, etc. Both parts of the soul, i.e. faculties and principles, have a correlative structure consisting of three elements (form, represented by the suffix “-iuum”; matter, represented by “-bile”; and action, expressed by the infinitive), which allow for dynamism and interrelation between the different parts, in a specular relationship with God and his Trinitarian nature.
In order to establish the critical edition of the LNAR, we have fully collated 22 Latin manuscripts from several European libraries. In addition, we have taken into account the two printed editions of the Latin text as well as the Catalan text, transmitted by one manuscript, which was edited in 1950. Since a small group of Latin manuscripts transmits some obvious translation mistakes, we have been able to show that the Latin text is indeed a translation of the Catalan text. Due to this dependence of the Latin text on the Catalan, we have followed in general the lectures of these manuscripts which come closest to the Catalan, except for cases of important mistakes of translation, grammar or comprehension. The resulting Latin text is very close to the Catalan, both syntactically and lexically; yet, it stands as a text on its own with its own personality.
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Kupreeva, Inna Veniaminovna. "Alexander of Aphrodisias on soul as form (de anima 1-26 Br.)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0021/NQ41200.pdf.
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Gramigna, Viviane Dutra. "O conceito aristotélico de phantasia deliberativa no livro III do De anima." Universidade Federal de Minas Gerais, 2006. http://hdl.handle.net/1843/ARBZ-7SNJMS.
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Cette dissertation recherche la notion de phantasia au long du livre III de De anima, qui consiste à une explicitation de la nature exacte du rôle quacquiert la phantasia, à travers lutilisation des interprétations dAristote. Il propose dexpliquer sa différence par rapport aux autres capacités de la connaissance et comment cette notion intervient dans le mouvement des animaux et de laction humaine. Lanalyse des principes qui semblent être responsables du mouvement, comme le désir et/ou lintellect, mettent en valeur certaines solutions adoptées dans le traité, qui entraînent plusieurs difficultés et problèmes liés à la phantasia délibérative, une fois que lon admet que le principe unique du mouvement local est une capacité désirante et que celle-ci, à son tour, nagit pas sans la phantasia. Les distinctions nées des mouvements antérieurs sorganisent autour dun objectif central qui a conduit toute la recherche, à savoir: lexplicitation de lactivité exacte de la phantasia délibérative dans la motivation humaine et la discussion de son caractère potentiellement délibératif. En outre, il sagit de discuter le rôle de la phantasia du livre III de De Anima: serait-ce elle qui substitue ou bien qui représente seulement lintellect pratique?<br>Esta dissertação investiga a noção de phantasía ao longo do livro III do De anima, que consiste em uma explicitação da natureza exata do papel adquirido pela phantasía, utilizando-se das interpretações de Aristóteles que propõe explicar sua diferença em relação às demais capacidades de conhecimento e como essa noção intervém no movimento dos animais e na ação humana. A análise dos princípios que parecem ser responsáveis pelo movimento, como desejo e/ou intelecto, ressalta certas soluções adotadas no tratado que levam a algumas dificuldades e problemas relacionados com a phantasía deliberativa, uma vez que se pode reconhecer que o princípio único do movimento local é a capacidade desiderativa e que esta, por sua vez, não opera sem a phantasía. As distinções oriundas dos momentos anteriores se organizam num objetivo central que norteia toda a pesquisa, a saber: a explicitação da exata atividade da phantasía deliberativa na motivação humana e a discussão sobre seu possível caráter deliberativo. Além disso, discute-se o papel da phantasía no livro III do De Anima: seria ela substitutiva ou apenas representativa do intelecto prático?
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Razafindrakoto, Aimé. "Le système ANIMA : éditeur d'objets producteurs d'images, implantation d'algorithmes de simulation temps réel." Phd thesis, Grenoble 1, 1986. http://tel.archives-ouvertes.fr/tel-00322206.
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Partant de la spécification d'un univers d'objets a comportement mécanique, dynamique et visuel, le système anima propose un langage alpha-graphique a l'utilisateur pour la description de ses objets, et le moyen d'expérimenter en temps réel leur animation. On étudie l'élaboration de ressources indispensables a une phase compositionnelle, telles que mémoires de geste et mémoires d'images. Le système est vu comme la maquette d'un outil de création destine a des articles, construit autour d'un modèle général de simulation integrant les comportements vibratoires et sonores des objets.
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Gifoni, Luciana Rodrigues [UNESP]. "Música de câmara e pós-modernismo: os grups Syntagma (CE) e Anima (SP)." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/95135.
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gifoni_lr_me_ia.pdf: 3186024 bytes, checksum: 7bfcac3a3897955d3dbe02ca60c8a168 (MD5)<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>A partir do interesse pelas dinâmicas artístico-culturais brasileiras e seus olhares para as tradições populares, diante do fenômeno da Pós-modernidade , observamos a atuação de dois grupos de música de câmara, objetos deste estudo: são eles o Syntagma, de Fortaleza-CE, e o Anima, de Campinas-SP. Iniciadas com propostas similares, voltadas para o repertório de Música Antiga européia - medieval renascentista e barroca - e utilização de réplicas de instrumentos históricos, como o cravo, as flautas doce, dentre outros, aos poucos, suas experiências de prática em conjunto se direcionam para a música brasileira de tradição oral popular, propondo leituras particulares a este universo, cada um a sua maneira. Como recorte metodológico, busca-se aprender, especialmente, as representações simbólicas feitas pelos grupos em relação ao universo sonoro que se convencionou associar ao Nordeste brasileiro. Que leitura esses grupos fazem do universo sonoro nordestino? Para compreender estas construções de significados, pretende-se analisar não apenas os elementos musicais intrínsecos, mas para interpretá-los frente a outras construções simbólicas (cf. Kramer, Stokes, Blacking), como o processo de valorização das culturas populares, iniciado no Brasil, pelo movimento modernista, reavaliado pelas idéias armoriais, e que teve suas matizes questionadas e ressignificadas pelos pensamentos pós-estruturalistas e pós-modernos. Pretende-se, também, aprender o sentido de tradição (cf. Hobsbawm) no fazer musical dos grupos, por buscarem um sentido de continuidade histórica pela pesquisa de símbolos e rituais associados a um passado que se pretende recriar para não se perder.<br>From the interest for artistic-cultural brazilian dynamics and its views to popular traditions before the post-modernism, we observe the performance of two chamber musical groups for this sdudy: Sintagma, from Fortaleza-CE, and Anima, from Campinas-SP. Both started with similar proposals, guided to Early Music repertoire - european middle ages, renaissance and baroque - and use of historical instruments replics, such as harpsichord, recorders, among others. Slowly their group practice experiences turn to brazilian music of oral popular tradition, suggesting particular insterpretations to this universe, each in their own manner. As methodological approach, this work searchs to apprenhend, specially, the symbolic representations made by the groups in relation to the musical universe stipulated to associate the brazilian northeast. Which interpretation these groups do about the northeastern musical universe? To unsderstand these meaning constructions, it is intended to analize not only the intrinsic musical elements, but interpret them before other symbolic constructions (ie. Kramer, Stokes, Blacking), as a valorization process of the popular cultures, started in Brazil by the modernism movement, reevaluated by the Armorial Movement ideas, and with their shades questioned and reinterpreted by post-structuralism and post-modernism thoughts. This work also aims to apprehend the meaning of tradition (ie. Hobsbawm) in the musical work of both groups, for searching one meaning of historical continuinity in the research of symbols and rituals associated to the past intended to recreate for not being forgotten.
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Nascimento, Fagner Deport Ferreira do. "Entre apar?ncias e contrastes : imagin?rio do masculino nas anima??es Disney." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2018. http://tede2.pucrs.br/tede2/handle/tede/8174.
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Previous issue date: 2018-03-20<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES<br>The feature animations are an extremely fertile field of cinema, powerful imaginary technology, allowing the understanding of diverse representations arising from an equally rich and complex sociological imaginary. From a symbolic perspective, in which the image is the link between men that makes possible the reading of social types in the imaginary, this work proposes to analyze and understand different manifestations of masculine in the animations of the Walt Disney Studios. To that end, understanding sociology will be allied with bibliographical research, in which encompasses multiple perspectives on the masculine gender, enabling the elaboration of instruments capable of assisting the recognition of the formative form (stylistic research). Allied to this methodology is the technique of contrasted pictures of the imaginary, which allows the reading of social forms and types, through a binary field of opposition, which, in this work, will be realized by the comparison between protagonist and antagonist characters, the animations Peter Pan (1953) and Wrecking Ralph (2012).<br>As anima??es de longa-metragem s?o um campo extremamente f?rtil do cinema, poderosa tecnologia do imagin?rio, e permitem a compreens?o de diversas representa??es advindas de um imagin?rio sociol?gico igualmente rico e complexo. A partir de uma perspectiva simb?lica, na qual a imagem ? o elo entre os homens, o que possibilita a leitura de tipos sociais no imagin?rio, este trabalho prop?e-se a analisar e compreender diferentes manifesta??es do masculino nas anima??es dos est?dios Walt Disney. Para tal entende-se que a sociologia compreensiva ser? aliada da pesquisa bibliogr?fica, que abarca m?ltiplas perspectivas sobre o g?nero masculino, possibilitando a elabora??o de instrumentos capazes de auxiliar no reconhecimento da forma formadora (pesquisa estil?stica). Aliadas a essa metodologia est? a t?cnica dos retratos contrastados do imagin?rio, que permite a leitura das formas e tipos sociais, atrav?s de um campo bin?rio de oposi??o, que ser? realizado por meio da compara??o entre personagens protagonistas e antagonistas, das anima??es Peter Pan (1953) e Detona Ralph (2012).
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Meirinhos, José Francisco. "A fundamentação do conhecimento na Scientia Libri de Anima de Pedro Hispano Portugalense." Master's thesis, Porto : Universidade do Porto. Faculdade de Letras, 1989. http://hdl.handle.net/10216/7031.
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Gifoni, Luciana Rodrigues. "Música de câmara e pós-modernismo : os grups Syntagma (CE) e Anima (SP) /." São Paulo, 2008. http://hdl.handle.net/11449/95135.
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Orientador: Alberto Tsuyoshi Ikeda<br>Banca: Marisa Trench de Oliveira Fonterrada<br>Banca: Flávia Camargo Toni<br>Resumo: A partir do interesse pelas dinâmicas artístico-culturais brasileiras e seus olhares para as tradições populares, diante do fenômeno da Pós-modernidade , observamos a atuação de dois grupos de música de câmara, objetos deste estudo: são eles o Syntagma, de Fortaleza-CE, e o Anima, de Campinas-SP. Iniciadas com propostas similares, voltadas para o repertório de Música Antiga européia - medieval renascentista e barroca - e utilização de réplicas de instrumentos históricos, como o cravo, as flautas doce, dentre outros, aos poucos, suas experiências de prática em conjunto se direcionam para a música brasileira de tradição oral popular, propondo leituras particulares a este universo, cada um a sua maneira. Como recorte metodológico, busca-se aprender, especialmente, as representações simbólicas feitas pelos grupos em relação ao universo sonoro que se convencionou associar ao Nordeste brasileiro. Que leitura esses grupos fazem do universo sonoro nordestino? Para compreender estas construções de significados, pretende-se analisar não apenas os elementos musicais intrínsecos, mas para interpretá-los frente a outras construções simbólicas (cf. Kramer, Stokes, Blacking), como o processo de valorização das culturas populares, iniciado no Brasil, pelo movimento modernista, reavaliado pelas idéias armoriais, e que teve suas matizes questionadas e ressignificadas pelos pensamentos pós-estruturalistas e pós-modernos. Pretende-se, também, aprender o sentido de tradição (cf. Hobsbawm) no fazer musical dos grupos, por buscarem um sentido de continuidade histórica pela pesquisa de símbolos e rituais associados a um passado que se pretende recriar para não se perder.<br>Abstract: From the interest for artistic-cultural brazilian dynamics and its views to popular traditions before the post-modernism, we observe the performance of two chamber musical groups for this sdudy: Sintagma, from Fortaleza-CE, and Anima, from Campinas-SP. Both started with similar proposals, guided to Early Music repertoire - european middle ages, renaissance and baroque - and use of historical instruments replics, such as harpsichord, recorders, among others. Slowly their group practice experiences turn to brazilian music of oral popular tradition, suggesting particular insterpretations to this universe, each in their own manner. As methodological approach, this work searchs to apprenhend, specially, the symbolic representations made by the groups in relation to the musical universe stipulated to associate the brazilian northeast. Which interpretation these groups do about the northeastern musical universe? To unsderstand these meaning constructions, it is intended to analize not only the intrinsic musical elements, but interpret them before other symbolic constructions (ie. Kramer, Stokes, Blacking), as a valorization process of the popular cultures, started in Brazil by the modernism movement, reevaluated by the Armorial Movement ideas, and with their shades questioned and reinterpreted by post-structuralism and post-modernism thoughts. This work also aims to apprehend the meaning of tradition (ie. Hobsbawm) in the musical work of both groups, for searching one meaning of historical continuinity in the research of symbols and rituals associated to the past intended to recreate for not being forgotten.<br>Mestre
35
Agazzi, Anna Claudia [UNESP]. "Con anima: instalações pianísticas : proposta artística na interface artes visuais e interpretação musical." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/154682.
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000848024.pdf: 4816889 bytes, checksum: 6025629bd348ed2ae3a1a2339df5de83 (MD5)<br>Partindo de obras do repertório pianístico, o trabalho experimenta expandir os limites tradicionais da interpretação ao piano e discute convenções relativas à interpretação e à difusão da música de concerto. Propõe rever o papel do pianista enquanto intérprete e difusor da obra. Apresenta reflexão quanto ao conceito de repertório e sua importância na concepção da Interpretação Musical e estabelece paralelos com a curadoria nas Artes Visuais. Os experimentos desenvolvem-se em instalações artísticas na interface Interpretação Musical e Artes Visuais. As instalações que resultam dos experimentos artísticos foram inicialmente concebidas para a Capela do Morumbi, situada em São Paulo. As obras pianísticas que originam as instalações são composições de Ottorino Respighi, J.S. Bach, Robert Schumann, Frédéric Chopin, Alexander Scriabin e Maurice Ravel,interpretadas ao piano por Anna Claudia Agazzi. Entre as referências visuais encontram-se obras do cineasta Gilberto Rossi, artesanato dos povos Tukano e obras de Eugène Delacroix<br>Beginning with works from the piano repertoire, this work attempts to expand the traditional limits of piano interpretation and discusses conventions related to the performance and dissemination of concert music. It proposes the review of the role of the pianist as interpreter and disseminator of works. It reflects upon the concept of repertoire and its importance in the conception of musical interpretation and establishes parallels with curation in visual arts. Experiences are developed in art installations through the interface of musical interpretation and visual arts. The installations which result from the artistic experiences where initially conceived for the Morumbi Chapel (Capela do Morumbi), situated in São Paulo. The piano works that originate the installations are works by Ottorino Respighi, J.S. Bach, Robert Schumann, Frédéric Chopin, Alexander Scriabin and Maurice Ravel, performed at the piano by Anna Claudia Agazzi. Among the visual references are works of filmmaker Gilberto Rossi, handcrafts of the Tukano peoples and works of Eugène Delacroix
36
Agazzi, Anna Claudia 1969. "Con anima : instalações pianísticas : proposta artística na interface artes visuais e interpretação musical /." São Paulo, 2015. http://hdl.handle.net/11449/154682.
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Orientador: Pelópidas Cypriano de Oliveira<br>Banca: André Luis Rangel<br>Banca: José Spaniol<br>Banca: Carlos Roberto de Souza<br>Banca: Rubens Toledo<br>Resumo: Partindo de obras do repertório pianístico, o trabalho experimenta expandir os limites tradicionais da interpretação ao piano e discute convenções relativas à interpretação e à difusão da música de concerto. Propõe rever o papel do pianista enquanto intérprete e difusor da obra. Apresenta reflexão quanto ao conceito de repertório e sua importância na concepção da Interpretação Musical e estabelece paralelos com a curadoria nas Artes Visuais. Os experimentos desenvolvem-se em instalações artísticas na interface Interpretação Musical e Artes Visuais. As instalações que resultam dos experimentos artísticos foram inicialmente concebidas para a Capela do Morumbi, situada em São Paulo. As obras pianísticas que originam as instalações são composições de Ottorino Respighi, J.S. Bach, Robert Schumann, Frédéric Chopin, Alexander Scriabin e Maurice Ravel,interpretadas ao piano por Anna Claudia Agazzi. Entre as referências visuais encontram-se obras do cineasta Gilberto Rossi, artesanato dos povos Tukano e obras de Eugène Delacroix<br>Abstract: Beginning with works from the piano repertoire, this work attempts to expand the traditional limits of piano interpretation and discusses conventions related to the performance and dissemination of concert music. It proposes the review of the role of the pianist as interpreter and disseminator of works. It reflects upon the concept of repertoire and its importance in the conception of musical interpretation and establishes parallels with curation in visual arts. Experiences are developed in art installations through the interface of musical interpretation and visual arts. The installations which result from the artistic experiences where initially conceived for the Morumbi Chapel ("Capela do Morumbi"), situated in São Paulo. The piano works that originate the installations are works by Ottorino Respighi, J.S. Bach, Robert Schumann, Frédéric Chopin, Alexander Scriabin and Maurice Ravel, performed at the piano by Anna Claudia Agazzi. Among the visual references are works of filmmaker Gilberto Rossi, handcrafts of the Tukano peoples and works of Eugène Delacroix<br>Doutor
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Carter, Jason W. "First principles in Aristotle's psychology : the science of soul in De Anima 1." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:5321c889-bce7-4e4f-a3f8-860b286c3380.
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This thesis analyses the method, purpose, and results of Aristotle's treatment of a select number of Presocratic and Platonic theses about the soul within the context of De Anima 1. Contrary to a prevalent interpretation of De Anima 1 which sees Aristotle's treatment of his predecessors' psychological views as dialectical, I argue that Aristotle treats his predecessors as having offered potentially viable hypotheses about the nature of the soul, and that these hypotheses are treated as attempts to explain the soul's basic powers. I further show that, in order to test the explanatory limits of these theories, Aristotle uses a version of the scientific method of inquiry advertised in the Prior and Posterior Analytics, which consists in setting out the basic psychological phenomena which psychology should explain, and then testing the extent to which his predecessors' definitions of the soul are able to accomplish this task. This thesis argues that, by demonstrating where his predecessors' first principles fall short, Aristotle is able to make theoretical progress towards establishing his own 'hylomorphic' first principle of soul, that soul is the 'first fulfilment of a natural instrumental body', and towards the idea that soul operates in the body of living beings as a formal, final, and efficient cause.
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Razafindrakoto, Aimé Bolliet Louis. "Le système ANIMA éditeur d'objets producteurs d'images, implantation d'algorithmes de simulation temps réel /." S.l. : Université Grenoble 1, 2008. http://tel.archives-ouvertes.fr/tel-00322206.
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Meirinhos, José Francisco. "A fundamentação do conhecimento na Scientia Libri de Anima de Pedro Hispano Portugalense." Dissertação, Porto : Universidade do Porto. Faculdade de Letras, 1989. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000062420.
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Ferrari, E. "«LA DIVERSITÉ DES NOS PASSIONS!»: CORPO, ANIMA E SAGGEZZA NEGLI ESSAIS DI MONTAIGNE." Doctoral thesis, Università degli Studi di Milano, 2011. http://hdl.handle.net/2434/158940.
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The study of the emotions in the Essais of Montaigne shows a complex phenomenon, which demonstrate the great assumption of the Montaigne’s anthropology: man is an undividable unity of body and soul. Like human being, the emotion is a mixture experience that has a double aetiology: it raise in the body and in the soul. For his particular constitution, man is naturally subject to « nombre infiny des passions », and the wisdom of the Essais is nothing else that the ability of governing and harmonising the emotional forces, for realise the only human possible perfection: enjoy the proper life in his immanent singularity (sçavoir jouyr loiallement de son estre). For that goal, the moral philosophy needs to know the real physiological and psychological powers and limits of human being, because wisdom must be useful et practicable. The knowing of the body in the Essais will lead to a deconstruction of the hylomorphic psychology and to the affirmation of the independence and autonomy of the body’s dynamism: the experience of the involuntary actions and sensible emotions arise without any reference to the aristotelic psyché, and the soul fell this events as affections. On the other side, the psychological knowledge tries to understand, b the introspection, the psychological acts (linked to imagination and judgement) that constitutes the emotions of the soul. By that understanding, the soul discover his power of arising the emotions, that witch give him the concrete possibility of manage the conflicts and the tensions between passions, using the power of other different passions. This process, in the third book of the Essais, sketch a real discipline of the soul that is an administration of the soul’s emotions («passions de l’ âme») and of the body’s emotions («passions corporelles»): the soul has to rest in connection with his body, and in doing so it can intensify the psychosomatic unity. It is in that unity, constantly reaffirmed, that man has access to the enjoyment of his proper being and to the moral perfection.
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Williams, Bryn Rhys. "Imagining and reasoning : an attempt to define a clear conceptual distinction between two cognitive strategies available for the manipulation of information." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324495.
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In this study, I attempt to identify a distinct role for the imagination in manipulating and organising information states. To this end, I begin with an exegesis of Aristotle's account of phantasia in De Anima. I argue against two established views of the nature of Aristotle's phantasia-the view that phantasia is merely a faculty for apprehending appearances, and the view that it is a special catch all faculty for having "non-paradigmatic sensory experiences". I then continue to argue that for Aristotle, phantasia was a distinct faculty that discriminates between experiences by virtue of recognition. Once I have established the plausibility of such a position, I move from consideration of Aristotle's idea of phantasia to an account of recent evidence provided by cognitive science for distinguishing a capacity for manipulating information which is recognition based, and conceptually distinct from reason, or "theory-driven" thought. To this end, I appeal to evidence concerning the nature of spatial reasoning, and provide an exhaustive account of the "Imagery Debate" as paradigmatic of non-theory driven cognitive capacities. Finally, I provide an account of the mechanisms that underlie the efficacy and domain of non-theory driven thought by appeal to two explanatory resources: Simulation theory, and idea of a "cognitive map".
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Pereira, Junior Getulio. "O comentario de Tomas de Aquino ao Livro I do "De Anima" de Aristoteles." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281972.
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Orientador: Francisco Benjamin Souza Netto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-06T22:33:05Z (GMT). No. of bitstreams: 1
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Previous issue date: 2006<br>Resumo: Nosso trabalho consiste em uma tradução dos capítulos 1-4 do Livro I do Comentário de Tomás de Aquino ao De Anima de Aristóteles. A tradução é acompanhada de uma breve introdução ao texto. Nela apresentamos um pouco da trajetória tanto do texto de Aristóteles como do comentário feito por Tomás de Aquino. Por fim, apresentamos na introdução um breve resumo dos temas tratados nos quatro capítulos traduzidos, bem como procuramos destacar aspectos que julgamos relevantes em relação ao texto<br>Abstract: Our work consists in a translation of chapters 1-4 of Book I of the Thomas Aquinas's Commentary on Aristotle's De anima. The translation is followed of one brief introduction to the texto In it we in such a way present a little of the trajectory of the text of Aristotle as of the commentary made for Thomas Aquinas. Finally, we present in the introduction a brief summary of the subjects treated in the four translated chapters, as well as we look for to detach aspects that we judge pertinent in relation to the text<br>Mestrado<br>Mestre em Filosofia
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Braun, Adriana. "Aprendizado e utiliza??o do estilo de movimento facial na anima??o de avatares." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2014. http://tede2.pucrs.br/tede2/handle/tede/5267.
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Previous issue date: 2014-08-08<br>This work presents a methodology, named Persona, for learning and transfer of facial motion style
of an actor in order to provide parameters for avatar facial animation. Through this methodology,
we can drive the facial animation of avatars using the motion style of a particular actor, through
the performance of any user. Thus, the avatar can express the facial movements that the user
is performing, but replicating the particularities of the actor s facial movements, based on his or
her Persona. In order to build the facial motion style model of an actor, we used points tracked
on image sequences of the actor performance as input data. We also used a database of threedimensional
facial expressions, annotated according to the Facial Action Coding System (FACS).
Principal components analysis was performed using these data. Afterwards, artificial neural networks
were trained to recognize action units both in the actor and user s performances. Given these
classifiers, we can automatically recognize action units in the user s expression and find the equivalent
parameters in the actor s motion style model. The result of the process is the provision of such
parameters to facial animation systems. The prototype developed as proof of concept has been used
in case studies, whose results are discussed. Future work are also addressed.<br>Esse trabalho apresenta uma metodologia, denominada Persona, para aprendizado e transfer?ncia
do estilo de movimento facial de atores para a anima??o de avatares. Por meio dessa metodologia,
pode-se guiar a anima??o das faces de avatares com o estilo de movimento de um ator espec?fico,
atrav?s da atua??o de usu?rios quaisquer. Dessa forma, o avatar poder? expressar os movimentos
faciais que o usu?rio executa, por?m replicando as particularidades dos movimentos faciais do ator,
por meio da utiliza??o da Persona. Para constru??o do estilo de movimento facial dos atores, utilizouse
como dados de entrada pontos da face obtidos por rastreamento em sequ?ncias de imagens e
informa??es presentes em bancos de dados de express?es faciais tridimensionais, anotadas de acordo
com o Sistema de Codifica??o A??es Facial (FACS). Esses dados foram submetidos ? an?lise de
componentes principais e, ent?o, utilizados para treinamento de redes neurais artificiais. Com esses
classificadores podem-se reconhecer automaticamente as unidades de a??o na express?o do usu?rio
e encontrar os par?metros equivalentes no estilo de movimento do ator. O resultado do processo
? o fornecimento desses par?metros para sistemas de anima??o. O prot?tipo desenvolvido como
prova de conceito foi utilizado em casos de estudo, cujos resultados s?o apresentados. Indica??es
de trabalhos futuros tamb?m ser?o discutidas.
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GHIONE, MARCO. "Natura di Anima e Numero nella letteratura aritmologica italiana del secondo Rinascimento (1500-1630)." Doctoral thesis, Università degli studi di Genova, 2021. http://hdl.handle.net/11567/1046269.
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The dissertation aims to survey the ontological and cognitive relationships between soul
and number in the framework of late Renaissance thought, during XVI and XVII
Centuries, the crucial age of development and progressive affirmation of modern science.
Mainly receiving the doctrines of Neoplatonic philosophers, especially Porphyry, Iamblichus
and Proclus, during the Renaissance emerges a current of thought that combines
metaphysical investigation on the soul and theories about numerical, geometrical and
harmonic proportions. After a general introduction and a presentation of the status
quaestionis, the study explores the main works dealing with the theme, from Cristoforo
Marcello’s De anima traditionis Opus (1508) to the De Harmonia mundi of Francesco Zorzi
(1525) and the Hebdomades of Fabio Paolini (1589), focusing particularly on numerical
symbolism. Finally, the last chapter examines the faculties of the soul in treatises and
collections concerning mathematical correspondences and analogies.
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Tache, Olivier. "Conception d'un instrumentarium pour la création musicale à l'aide des modèles physiques CORDIS-ANIMA." Grenoble INPG, 2008. http://www.theses.fr/2008INPG0169.
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CORDIS-ANIMA est un système permettant de construire et de simuler les mouvements de modèles physiques, composés de modules représentant des éléments matériels et des interactions physiques simples. Mis en œuvre dans un environnement informatique pour la création musicale, GENESIS, il permet aussi bien d’aborder la synthèse sonore que la composition proprement dite. Nous proposons dans cette thèse une organisation générale des modèles musicaux CORDIS-ANIMA, en identifiant les fonctions élémentaires réalisées en leur sein, les différents types de composants physiques associés et les principales techniques de modélisation permettant d’obtenir des comportements pertinents d’un point de vue sonore et musical. Nous établissons ainsi les bases conceptuelles d’un Instrumentarium pour la création musicale avec CORDIS-ANIMA, c’est-à-dire d’une vision structurée et cohérente de la modélisation avec ce système, destinée à accompagner son apprentissage et son utilisation, en particulier dans l’environnement GENESIS<br>CORDIS-ANIMA is a general system for designing and simulating physical models made of modules that represent simple material elements and physical interactions. This system is implemented in a software environment for musical creation, GENESIS, which addresses sound synthesis as well as musical composition. In this thesis, we propose a general organization of musical CORDIS-ANIMA models, by identifying the elementary functions that are realized within a model, the types of physical components associated to these functions, and the main modelling techniques, which enable to obtain musically relevant physical behaviours. This work forms the conceptual basis of an Instrumentarium for musical creation using CORDIS-ANIMA, i. E. A structured and consistent view of modelling with the system, which aims at helping users to learn and master it, particulary in the GENESIS environment
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Dias, Romualdo. "Cor unum et anima una. A doutrina catolica sobre a autoridade no Brasil, 1922-1935." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280918.
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Orientador : Roberto Romano da Silva<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-07-18T10:10:43Z (GMT). No. of bitstreams: 1
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Previous issue date: 1993<br>Resumo: Não informado<br>Abstract: Not informed.<br>Doutorado<br>Doutor em Filosofia
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Czekalski, Fernando. "Juízo e discurso: uma aproximação preliminar entre o De Anima e a Retórica de Aristóteles." Pontifícia Universidade Católica do Rio Grande do Sul, 2007. http://hdl.handle.net/10923/3556.
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Previous issue date: 2007<br>The present thesis seeks to articulate the relation between judgment and discourse from the conceptions proposed by Aristotle in two of his writings: De Anima and Rhetoric. The common element that allows the approachment of both texts, of one and another understandings, consists in the Aristotelian conception of soul. As rhetoric seeks to produce judgment through discourse, it is natural that the appropriate knowledgement of that which receives, reacts and processes the discourse, that is, the soul, guarantees higher efficiency to discourse rhetorically constructed. It is, thus, about approaching two complementary dimensions that were not explicitly related and systematized by Aristotle in a proper investigation.<br>A presente tese visa articular a relação entre juízo e discurso a partir das reflexões propostas por Aristóteles em duas de suas obras: De Anima e Retórica. O elemento comum que permite aproximar um e outro texto, um e outro entendimento, reside na concepção aristotélica de alma. Uma vez que a retórica visa produzir um juízo através do discurso, é natural que o conhecimento adequado daquilo que recebe, reage e processa o discurso, isto é, a alma, garanta uma maior eficiência ao discurso retoricamente construído. Trata-se, portanto, de aproximar duas dimensões complementares e que não foram explicitamente relacionadas e sistematizadas por Aristóteles em uma investigação própria.
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Rostamian, Nareh. "Carmen : Voice of the Anima and its Echoes in Literature, Opera, Film and Music Video." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-362771.
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Since its publication in 1845, Prosper Mérimée’s Carmen has been adapted many times for stage and screen. This essay focuses on the novella, Bizet’s 1875 opera, Saura’s 1983 film and Paul Van Haver’s (known by his stage name Stromae) music video. Already the novella describes Carmen’s exotic aura as a strong, enigmatic presence in her laughter, singing, dancing, magic spells, and strange Gypsy dialect–qualities of otherness that Bizet effected musically in his opera. I propose a Jungian approach to Carmen (José’s anima tainted by his anxious desires) and in particular to her voice in order to explain archetypical aspects of her character in two musical numbers that would henceforth become her signature tunes: the Habanera and the Seguidilla. Both numbers are characterized by juxtapositions of transgressive chromaticism and plain diatonic, triadic tonality. Carmen’s voice, both as an object of desire and as a source of perilous power, is essential to her character and persists in Saura’s choreographic “backstage” Carmen (1983). Here, a peculiar ensemble of onscreen tape recording, diegetic humming, and metadiegetic daydreaming recalls Carmen’s vocal presence as surrogate voices of an avowedly inexperienced singer. While in Stromae’s music video, Habanera’s rebellious love-bird is transformed to Twitter’s blue bird, sitting on the shoulder of the user, casting its shadow on their life. The habanera is performed by the male-singer tuned with a rhythmic rap beat and its emblematic lyrics takes the aria into another level. In conclusion, I argue that different versions of Carmen retain and problematize her voice in spite, or rather because, of stark differences of their aural and visual settings as the ontologically ambiguous centerpiece of her character.
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Zanatta, Marta Eizabeth. "Scott Fitzgerald's women: a view of the flapper as a projection of the author's anima." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106070.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1979.<br>Made available in DSpace on 2013-12-05T19:05:58Z (GMT). No. of bitstreams: 1
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Ferrari, Federico <1986>. "L’antropologia di Platone : il problema della persuasione e le sue ricadute sul rapporto anima-corpo." Doctoral thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/8312.
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Il lavoro analizza in che modo la pratica della persuasione, ossia i modi in cui viene attuata, può dirci qualcosa sul rapporto tra corpo e anima nella filosofia di Platone. Si analizza la gestione della corporeità nella Repubblica e nelle Leggi, e si ipotizza che il modo in cui il legislatore educa il cittadino si fondi su una precisa psicofisiologia che descrive l’interazione fra le due dimensioni dell’uomo, quella psichica e quella fisica, in termini di trasmissione di movimenti configurati matematicamente. La ricerca analizza le concezioni platoniche della musica e della coreutica al fine di enucleare perché l’influenza della mimesi sul carattere operi sulla base di un’antropologia come quella suddetta, in cui i rapporti tra anima e corpo sono soggetti ad un processo dinamico di continua rinegoziazione.