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Lafferty, Michael Gerald. "Arthur Danto's philosophy of art." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/42211/.
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The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the special is. The technique of comparing indiscernible counterparts, from Danto's book The Transfiguration of the Commonplace, is examined. It is argued that the technique is philosophically redundant, but it is a redundant premise which has been added to a valid inference (Danto's historical and contextual view of art: his artworld theory) therefore, this does not make the original inference invalid. Danto's treatment of metaphor, expression, and style is shown to result in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share features of metaphor: they are intensional (with an s) in structure and cannot be paraphrased. Third, a work of art expresses what it is a metaphor for by the way it depicts its subject. Fourth, artworks embody style. The conclusion, has two parts. The first part gives a summary of the criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept of the is of artistic identification and in his use of indiscernible counterparts, (2) his theory suffers by being over-inclusive and (3) he uses circular arguments. The second part is based on a response to the criticism: it provides a definition of art. This has three elements. First, an argument is proposed for a spectrum of artistic presence in which all human activity and artefacts can be placed. Second, there is an acceptance of Danto's view of art (or artistic presence) being both intentional (with a t) and intensional (with an s); however, by applying these concepts to a spectrum, the problem of over-inclusiveness is avoided. Finally, it is argued there can he no wholly non-circular account of art.
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Gonzalo, Ferreyra Luis. "Philosophie et politique chez Arturo Andrés Roig." Paris 8, 2012. http://www.theses.fr/2012PA083474.
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Nous avons tenté dans cette thèse, à partir de la mise en relation du discours philosophique avec « le politique », rendre compte des allers-retours d’une pensée. Cette problématique nous a mené à parler de sa radicalisation philosophico-politico-pédagogique d’une part, et du curriculum occultum d’une autre. La première souligne le tournant principal dans sa réflexion qui se concrétise autour de la Philosophie de la Libération des années 70 donnant ainsi naissance à sa période latino-américaniste. Le deuxième concept veut mettre en valeur, malgré les tournants et ruptures opérés dans sa pensée contemporaine, sa fidélité à la période que la précède, à savoir, à la philosophie classique et principalement, dans celle-ci, au platonisme. Le grand enjeu de cette thèse est de rompre avec le commentaire académique de son œuvre. Nous avons voulu mettre en scène un philosophe et son combat au milieu des circonstances institutionnelles et politiques où se produit le discours philosophique. A partir de la confrontation du discours philosophique et universitaire de Roig avec son engagement des années 70, nous voulons donner une nouvelle perspective à sa singularité philosophique : du penseur engagé et philo-marxiste, vers le méconnu ou oublié, spiritualiste, platoniste, pédagogue et « réformiste »Stemming from the juxtaposition of philosophical discourse and “the political”, this thesis analyses the allers-retours of Arturo Andrés Roig’s philosophical reflection. This problematic has led us to examine its philosophic-political-pedagogical radicalisation on the one hand, and the curriculum occultum, on the other. The first underlines the turning point in his thinking, which would materialize over the course of the 1970s philosophy of liberation and lead to the emergence of his Latin-American period. The second concept will highlight, despite these shifts and ruptures produced in his contemporary thought, Roig’s loyalty to the preceding period, that is to say, to Classical philosophy and notably, to Platonism. A large contribution of this thesis is to break from established academic commentary of Roig’s work. Instead, we sought to depict and examine a philosopher and his struggle in the context of the institutional and political circumstances in which his philosophical discourse is produced. The confrontation of Roig’s philosophical and academic discourse, which separates him from his political engagement during the 1970s, allows us to establish a new perspective that emphasises his philosophic uniqueness : we will consider him not only as an engaged thinker and Marxist philosopher, but also one concerned with the neglected or forgotten, spiritualist, Platonist, pedagogue and “reformist”
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Rhode, Wolfgang. "Schopenhauer heute : seine Philosophie aus der Sicht naturwissenschaftlicher Forschung /." Rheinfelden ; Berlin : Schäuble, 1994. http://catalogue.bnf.fr/ark:/12148/cb374450184.
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Klaus, Hans-Heinrich [Verfasser], and Claus Artur [Akademischer Betreuer] Scheier. "Die schaffende Seele, Nietzsches Nähe zu Horaz / Hans-Heinrich Klaus ; Betreuer: Claus Artur Scheier." Braunschweig : Technische Universität Braunschweig, 2009. http://d-nb.info/1175825573/34.
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O'Brien, Marianne. "Aesthetics and ethics at the intersection: Contemporary reflections on the philosophy of Arthur Schopenhauer." Thesis, University of Liverpool, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494273.
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In the last hundred years of commentarial literature on Schopenhauer, the breadth and profundity of the relationships that exist between aesthetics and ethics in his philosophy have been overlooked and overshadowed by studies of Schopenhauer as a metaphysician. This exploration of the status of the metaphysical connection between aesthetics and ethics in his philosophy. In order to establish the significance of this connection for contemporary debates on aesthetics and ethics, I elucidate Schopenhauer's philosophy in a manner that addresses its inconsistencies and inadequacies whilst being conducive to the clear articulation and development of its key themes and central insights.
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McGeachie, James Alistair. "'Mr Balfour's apologetics' : excoriation and accommodation in the intellectual formation of Arthur Balfour." Thesis, University of Cambridge, 1995. https://www.repository.cam.ac.uk/handle/1810/273031.
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Kienzle, Ulrike. "Das Weltüberwindungswerk : Wagners Parsifal, ein szenisch-musikalisches Gleichnis der Philosophie Arthur Schopenhauers /." Laaber : Laaber-Verlag, 1992. http://catalogue.bnf.fr/ark:/12148/cb35530536x.
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Goodin, David. "Albert Schweitzer's reverence for life ethic in relation to Arthur Schopenhauer and Friedrich Nietzsche." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103600.
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The present work examines the Reverence for Life ethic of Albert Schweitzer in terms of its philosophical grounding through the works of Arthur Schopenhauer and Friedrich Nietzsche. The role of these thinkers has not been well understood in prior scholarship on Schweitzer, and it had been presumed that his reliance on these figures created serious flaws with his ethical system by making it excessively metaphysical. This investigation proceeds through an analysis of the historical sources used by Schweitzer for the development of his ethic. It is argued that Schweitzer drew upon the will-to-live concept from Schopenhauer and the naturalistic Will to Power theory of Nietzsche to create an elemental nature philosophy compatible with empirical science. These elements were used by Schweitzer to support a new ontological understanding of the human person, a project termed by him as the New Rationalism. This naturalistic ethical foundation placed people in the world as moral agents. After demonstrating the coherence of Schweitzer's Reverence for Life ethic, his system is then examined in relation to its applicability in contemporary environmental ethics through Schweitzer's commentary on economic life and ethical personhood.L'ouvrage présent se penche sur l'éthique du « Respect de la vie » d'Albert Schweitzer, en termes de ses fondements philosophiques puisés aux œuvres d'Arthur Schopenhauer et de Friedrich Nietzsche. Le rôle de ces penseurs n'a pas bien été compris dans les travaux académiques existants sur Schweitzer. Il a été présumé que les emprunts à ces deux philosophes créaient de sérieuses failles dans le système éthique développé par Schweitzer en le rendant excessivement métaphysique. Cette enquête procède à l'analyse des sources historiques employées par Schweitzer pour développer son éthique. Il est proposé que Schweitzer se soit servi du concept de la « Volonté de vivre » de Schopenhauer et de la théorie naturaliste de la « Volonté de puissance » de Nietzsche pour créer une philosophie élémentaire de la nature, elle-même compatible avec la science empirique. Ces éléments ont été utilisés par Schweitzer pour appuyer une nouvelle compréhension ontologique de la personne humaine, projet qu'il a nommé « Nouveau rationalisme ». Ce fondement éthique naturaliste situe les gens à l'intérieur du monde en tant qu'agents moraux. Après avoir démontré la cohérence de l'éthique du « Respect pour la vie » de Schweitzer, son système sera examiné en relation à son applicabilité dans l'éthique environnementale contemporaine, à travers les observations de Schweitzer sur la vie économique et sur son éthique en tant qu'individu.
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Eisenbach, Gerhard K. "Physische und moralische Weltansicht Schopenhauer als Kritiker der Aufklärung." Heidelberg Winter, 1999. http://deposit.ddb.de/cgi-bin/dokserv?id=2712887&prov=M&dok_var=1&dok_ext=htm.
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Korfmacher, Wolfgang. "Ideen und Ideenerkenntnis in der ästhetischen Theorie Arthur Schopenhauers /." Pfaffenweiler : Centaurus-Verlagsgesellschaft, 1992. http://catalogue.bnf.fr/ark:/12148/cb356021612.
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Garcia, Carrera Gabriel Arturo [Verfasser]. "Die Erkenntnis als Selbsterkenntnis in Platons Phaidros / Gabriel Arturo Garcia Carrera." Bonn : Universitäts- und Landesbibliothek Bonn, 2020. http://d-nb.info/1218301171/34.
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Farinas, Rebecca Lee. "The Aesthetic Agency of Popular Culture in the Writings of Pierre Bourdieu and Arthur C. Danto." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/949.
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ABSTRACT The Aesthetic Agency of Popular Culture: In the Writings of Pierre Bourdieu and Arthur C. Danto Rebecca L. Farinas, Ph.D. Pierre Bourdieu and Arthur C. Danto are significant interlocutors in the areas of aesthetics and popular culture. This study affirmatively answers a question raised by both writers, that popular culture puts forward a strong enough aesthetic to change elitist views of society, which concern people's disrespect for the importance of commonplace and everyday experiences. Bourdieu approaches the problem by applying sociology to aesthetics, and Danto raises the question through a view of aesthetics based on his philosophy of culture, which he begins to cultivate in his late writings. Each approach is important, in that firstly through looking at culture through sociology we can omit highbrow abstractions of some philosophies, and look evidentially at the dynamics of aesthetic agency. Secondly, thinking about culture philosophically, we can reveal how people's feelings and actions make meaningful and ethically valuable aesthetic representations. Comparing the two perspectives, we find two different views of how contemporary societies change for the better through individual and communal aesthetic actions. It is Danto's theory of culture, however, which answers the question of the agency of popular culture fully, because his theory of the third realm of beauty is constituted through communal values, which grow out of people's relationships as they interact through everyday, commonplace experiences. Bourdieu and Danto's writings converge on many points, and we can notice several similarities and one major difference in their philosophies. The main similarities are; that feelings and perceptions change social conditions through ideas and actions, that popular culture is facilitated by people's common relationships with one another, and that people who contribute to a commonplace ethos of mutual respect and openness re-possess popular culture with agency, in contrast to a weak sense of culture that is controlled by abstracted concepts and elitist judgements. Danto's distinction in aesthetics through value making, is especially important because in our contemporary, interconnected, global world popular culture needs to do more than merely create nationalistic standards and static traditions. For Danto, people develop a more creative and fair world through understanding and acting on their commonality of inner beauty. Inner beauty is an aesthetic spirit of virtues made through our reciprocal participation in our cultural representations, and we use this agency to propagate our belief in each other as unique and caring human beings.
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Laguens, Florian. "Eddington philosophe : la nature et la portée de la science physique d'après Arthur S. Eddington." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H226.
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Unanimement considéré comme l’astronome le plus influent de l’entre-deux guerres, Arthur S. Eddington (1882-1944) a aussi investi le champ philosophique avec deux ouvrages majeurs, The Nature of the Physical World (1928) et The Philosophy of Physical Science (1939), mais également d’innombrables remarques au long de son œuvre considérable. Cette étude propose, à partir de l’ensemble des écrits d’Eddington, un portrait de sa philosophie. Envisagée dans son développement progressif d’abord, mettant tour à tour l’accent sur la synthèse, le symbole et la structure, dans ses interactions ensuite, dans ses racines philosophiques enfin. Se déploie peu à peu une conception originale de la nature et de la portée de la science physique, parfois déroutante mais non sans cohérence, à condition de la reconduire à ses intuitions originairesArthur S. Eddington (1882-1944) certainly was the world’s most famous astronomer during the interwar period. He also plunged into philosophy and published a couple of major books,The Nature of the Physical World (1928) et The Philosophy of Physical Science (1939), as well as numerous remarks scattered along his works. Grounding its claims on the entirety of his writings, this study intends to sketch Eddington’s own philosophy. Its progressive development is firstly addressed, highlighting three essential themes, i. e. synthesis, symboland structure. Then are explored its interactions with both science and religion, and its rootsin terms of philosophical authors. An original conception of the nature and the scope of physical science slowly merges, sometimes upsetting but never without some kind of unity,provided its originating intuitions are finally discovered
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Demers, Olivier. "Le rôle de l'expérience esthétique dans la philosophie d'Arthur Schopenhauer." Master's thesis, Université Laval, 2006. http://hdl.handle.net/20.500.11794/44118.
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Le présent mémoire se veut une analyse de l’expérience esthétique, telle que décrite dans la philosophie d’Arthur Schopenhauer. Pour ce faire, j’ai divisé mon mémoire en deux parties. La première se veut un compte rendu des principales thèses défendues par Schopenhauer. J’y souligne en particulier l’importance de ses filiations kantiennes et platoniciennes, sa conception d’un monde envisagé à la fois comme volonté et comme représentation, ainsi que le primat accordé à la volonté par rapport à toute pensée rationnelle. La deuxième partie s’attarde uniquement à ses écrits concernant l’expérience esthétique. J’y souligne, entre autre, le caractère fondamental qu’occupe celle-ci dans l’ensemble de sa philosophie, pour ensuite m’attarder aux rôles particuliers qu’il accorde à chacun des beaux-arts. Finalement, je confronte brièvement sa conception du beau à certaines œuvres d’arts modernes, de façon à m’interroger sur la postérité de sa pensée esthétique.
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Loundou-Massala, Daniel. "La théorie de l'intuition chez Arthur Schopenhaeur." Paris 8, 2001. http://www.theses.fr/2001PA081951.
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Arthur Schopenhauer est un philosophe allemand du XIXe siècle. Sa prétention est de bâtir une métaphysique de la nature aussi complète que possible dont l'humanité a besoin. Il fait de la volonté de vivre le principe premier de toute philosophie, l'intellect n'étant plus qu'un phénomène secondaire. L'examen de la structure de notre intellect démontre et précise la nature quadruple du principe de raison suffisante. Pour éclairer les deux facettes du monde, le philosophe dégage l'intuition comme faculté fondamentale de base qui sert de guide dans le processus de donation du monde comme représentation et volonté. L'exploration de l'ensemble de l'expérience part de l'expérience extérieure vers l'expérience intérieure jusqu'à la découverte, sous forme des idées, puis de pitié, de la volonté consciente comme essence métaphysique de toutes choses. . .
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Brealey, Marc Rufus. "'The triumph of the will' : the German Expressionist body c.1905-1945 and the philosophy of Arthur Schopenhauer." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12741/.
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This thesis explores depictions of the human body in German Expressionist art and the ways in which they might be interpreted through Arthur Schopenhauer’s philosophy. It is inspired by Franz Marc’s claim that, in Schopenhauer’s terms, the world as will took precedence over the world as representation in his own day. Discussion begins with an assessment of Vasily Kandinsky’s development of abstract art in relation to Schopenhauer’s philosophy of the world as representation. Here attention is given to Kandinsky’s personal reading of Schopenhauer’s doctrine of vision and colour. Chapter 2 explores depictions of dance in Expressionism, where the body is considered to be an objectification of the will. Discussion is negotiated through a case study of the work of Emil Nolde. In addition to the body in movement, the theme of the naked body was also central to Expressionist ideology and practice. Hence, Chapter 3 engages in an interpretation of Expressionist depictions of the naked body according to Schopenhauer’s doctrine of the Platonic ideas and the world as representation. The outbreak of war in 1914 presented the Expressionist generation with new challenges. Chapter 4, therefore, examines the military experiences of selected Expressionist artists in order to assess their affirmation or denial of the will to war. The final chapters of the thesis reflect upon the relationship between Expressionism and the emergent Nazi regime in the 1930s. Chapter 5 takes as its theme an exploration of ‘degenerate art’ and ‘degenerate’ bodies in relation to the artist Otto Mueller and his depiction of gypsies, according to Schopenhauer’s moral philosophy. Finally, Chapter 6 investigates Emil Nolde’s association with Nazism and offers a new interpretation of these associations according to Schopenhauer’s doctrine of free will. In conclusion, the thesis demonstrates that Marc’s claims were broadly valid throughout this period but not without exception.
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Buschendorf, Christa. ""The highpriest of pessimism" zur Rezeption Schopenhauers in den USA." Heidelberg Winter, 1994. http://d-nb.info/987404822/04.
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Bhatawadekar, Sai Prakash. "Symptoms of withdrawal the threefold structure of Hegel's and Schopenhauer's interpretation of Hindu religion and philosophy /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1187196688.
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Durham, Ian T. "Sir Arthur Eddington and the foundations of modern physics." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/12933.
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In this dissertation I analyze Sir Arthur Eddington's statistical theory as developed in the first six chapters of his posthumously published Fundamental Theory. In particular I look at the mathematical structure, philosophical implications, and relevancy to modern physics. This analysis is the only one of Fundamental Theory that compares it to modern quantum field theory and is the most comprehensive look at his statistical theory in four decades. Several major insights have been made in this analysis including the fact that he was able to derive Pauli's Exclusion Principle in part from Heisenberg's Uncertainty Principle. In addition the most profound general conclusion of this research is that Fundamental Theory is, in fact, an early quantum field theory, something that has never before been suggested. Contrary to the majority of historical reports and some comments by his contemporaries, this analysis shows that Eddington's later work is neither mystical nor was it that far from mainstream when it was published. My research reveals numerous profoundly deep ideas that were ahead of their time when Fundamental Theory was developed, but that have significant applicability at present. As such this analysis presents several important questions to be considered by modern philosophers of science, physicists, mathematicians, and historians. In addition it sheds new light on Eddington as a scientist and mathematician, in part indicating that his marginalization has been largely unwarranted.
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Thomson, Katherine J. M. "The art museum at the end of art, Arthur C. Danto's Philosophy of art and its implications for the posthistorical museum." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/MQ31259.pdf.
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Worré, Pascale [Verfasser], Peter [Akademischer Betreuer] Welsen, Norbert [Akademischer Betreuer] Campagna, Peter [Gutachter] Welsen, and Norbert [Gutachter] Campagna. "Arthur Schopenhauers "einziger Gedanke" und das Oupnek'hat / Pascale Worré ; Gutachter: Peter Welsen, Norbert Campagna ; Peter Welsen, Norbert Campagna." Trier : Universität Trier, 2020. http://d-nb.info/1223705218/34.
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Bhatawadekar, Sai. "Symptoms of withdrawal: The Threefold Structure of Hegel's and Schopenhauer's Interpretation of Hindu Religion and Philosophy." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1187196688.
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Pegatzky, Stefan. "Das poröse Ich : Leiblichkeit und Ästhetik von Arthur Schopenhauer bis Thomas Mann /." Würzburg : Königshausen & Neumann, 2002. http://catalogue.bnf.fr/ark:/12148/cb40013466f.
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Farquhar, Alexander J. K. "Arthur Johnston and the fostering of Scottish letters." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:b649c8ca-f9f8-4562-9dfd-d57b9399ceb7.
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Traditionally, Arthur Johnston has been judged proxime accessit to George Buchanan in the world of Scottish neo-Latin poetry, and particularly in the versification of the Book of Psalms. The thesis offers a counterpoint to that theme. More of his poetry came under scrutiny at the close of the nineteenth century, when an edition of his Parerga and Epigrammata of 1632, turned scholarly attention to his secular poems. This study examines the poems written between 1599 and 1622 during Johnston’s peregrenatio academica in Europe – poems which depict him at the moment of his emergence onto the public stage, and which offer insights into his life, and the worlds he occupied, during those years. Part one of the thesis will examine his early years and his move into the academic world in Aberdeen and at Heidelberg University. Part two will consider the years he passed as a teacher of philosophy at the Huguenot Academy in Sedan, the independent principality on the northern border of France. It will look, too, at the evidence of his year spent in Padua, where he studied to become a physician. Part three will focus on the years 1619-22 when his longest secular poems were composed. He wrote and published with an eye to achieving a post in the medical circle around James VI and I. The thesis concludes by considering the retreat he made from Europe and London to his home in Aberdeen, and looks briefly at one of the small poems he wrote in 1623-24. Throughout, themes emerge of Johnston’s irenic preferences, and his response to the disturbance to intellectual life brought about by Calvinist division, and by the crisis heralded by the Bohemian Revolt.
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Gomes, Thiago Barros. "Significados corporificados: uma análise da definição de arte de Arthur C. Danto." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6383.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorO objetivo do presente trabalho é analisar a resposta de Danto ao problema da natureza da arte. Para isso, investigaremos o modo como ele utiliza os experimentos dos indiscerníveis, tanto para objetar as teorias tradicionais da arte como para erigir sua definição; e filosofia da arte, o que pode ser chamado, respectivamente, de tarefa negativa e tarefa positiva do uso do método dos indiscerníveis. A primeira parte desse trabalho se ocupa da tarefa de investigar justamente como os experimentos dos indiscerníveis são usados para objetar as teorias mimética, formalista, expressivista, institucionais, da atitude estética, e, por fim, a teoria da indefinibilidade da arte. A segunda parte trata de demonstrar como Danto, através dos experimentos dos indiscerníveis, extrai as condições necessárias e suficientes de sua definição de arte. A terceira e última parte deste trabalho analisa a relação existente entre a definição da arte e a filosofia da história da arte de Danto, principalmente a tese acerca do fim da arte.
The aim of this work is to examine the definition of art proposed by the Arthur C. Danto. For this, we investigated how he uses the experiment of indiscernibles, both to object the tradicional theories of art and to erect his definition of art; which can be called respectively by negative task and positive task of usage of method of indiscernibles. The first part of this work is concerned with to investigate how the experiment of indiscernibles are used to object the theories mimetic, formalist, expressivist, institutional, aesthetic attitude and theory of indefinability of art. The second part of this work focuses to demonstrate how Danto extracts the necessary and sufficient conditions of his definitions of art by the experiments of indiscernibles. The third and last part of this work examines the relationship between the definition of art and Dantos philosophy of art history, especially his thesis about the end of art.
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Libis, Jean. "Bachelard et la mélancolie : l'ombre de Schopenhauer dans la philosophie de Gaston Bachelard." Dijon, 1998. http://www.theses.fr/1998DIJOL017.
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L’œuvre de Gaston Bachelard, volontiers séduisante et foisonnante, pose problème à son lecteur dès lors qu'il veut en comprendre l'architecture générale. Une tendance fréquente est de l'interpréter dans le sens d'un eudémonisme rassurant, capable de réconcilier les progrès de la rationalité scientifique avec les productions profuses de l'imagination poétique. En réalité, cette œuvre couve aussi en elle une mélancolie diffuse, voire un désenchantement secret. Le fait qu'elle se réfère, de façon récurrente et complexe, à la philosophie de Schopenhauer, est certainement emblématique. A partir des ombres portées dans le corpus bachelardien par les intrusions du pessimisme philosophique, il devient pertinent de jauger les significations de la mélancolie bachelardienne. La question du temps et de la mort, le dialogue paradoxal avec la psychanalyse, ainsi que les troublants silences du philosophe sur les plans éthique, politique et théologique, prennent ainsi un relief nouveau : la physionomie de la solitudeGaston Bachelard has left a body of work which, many-faceted and wittingly enticing as it is, may appear rather daunting when one attempts to work out how it is organized in its entirety. There is a tendency to view it as some kind of soothing eudemonism which manages to reconcile the advances in scientific rationality with the outpourings of poetic imagination. In actual fact it is suffused with melancholy, with subdued disenchantment. Its referring to Schopenhauer's philosophy, in a manner both complex and recurrent, is certainly highly significant. Focusing on the inroads of philosophical pessimism which loom large in Bachelard's body of work, it is worthwhile to try and gauge what Bachelard's melancholy actually signifies. Thus the issues of time and death, the ambivalent dialogue with psychoanatysis, but also the philosopher's puzzling silences on ethical, political and theological questions cannot fail to take on a new face: that of solitude
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Netherton, David Ross. "Being and the natural world in Schopenhauer and Husserl." Thesis, University of Wales Trinity Saint David, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683041.
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Burdine, Michelle Marie. "Value Perspective: A Necessary Condition for Photographic Art." Wright State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wright1367575871.
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Mackeprang, Saga. ""Beckett au pays des philosophes" : de la virtualité philosophique de quelques productions fictionnantes effectives de vérités." Paris 8, 1994. http://www.theses.fr/1994PA080996.
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L'oeuvre becketienne presente un certain nombre de questions qui adviennent en croisement possible avec la philosophie. Nous rendons un hommage detaille a la resistance de la litterature, au mouvement d'une pensee que le cogito cartesien oblige a basculer dans son propre vide. Chemin de reduction ou d'epuisement de la presence a l'etre-la. Sous la direction d'alain badiou, nous cherchons a faire un inventaire exhausif des points cruciaux d'interrogation d'une oeuvre qui opere sur des multiplicites concretes. Sans fond de l'etre. Seules des breches sont visibles les chemins suivis ne sont pas ceux de l'interpretation mais ceux du discernement et du classement. Du tirrage, realite de l'innommable, de ce qui est soustrait au "comment dire ce qu'il y a". Elle est comprise dans l'etude des conditions necessaires de quete pour acceder aux fragments de verites, dans l'epreuve de la soustraction. La paix est sous reserve du nondire. Le texte beckettien, exigeant et integre, tisse le rien de compte, epuisant la multiplicite jusqu'en ses apories, vainquant le hasard, matiere du sujet. Il reste la plenitude qui nous semble vide, dont l'usage est inepuisable. Le vide, nom propre de l'etre, est infini en puissanceBeckett's work presents a certain number of questions. Which arise in virtual crossing with philosophy; we pay detailed tribute to litterature's resistance, to the movement of the thought that obliges the cartesian cogito to rock in its own emptiness. Paths of reduction or exhaustion of the awareness of "being-there". Conducted by alain badiou, we attempt to give an exhaustive inventory of the main questioning points of a work that deals with concrete multiplicities. Endless being. Only a few breaches are apparent. The paths folliwed aren't those of interpretation but those of discernment and classification. Of headings. Reality of the unnameble is what is subtracted from the "how to name what is". It is part of the search for the necessary conditions of the inquiry to access the fragments of truth, and to the ordeal of subtraction. Peace is conditional on not saying. The beckettian text, demanding and upright, weaves the nothingness of account, exhausing multiplicity into its gaps, overpowering hazard, the subject material. What remains is the plenitude which seams empty to us. Therefore its usage is inexhaustibl. The emptiness, proper noun of the being, is potentially infinite
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Adji, Aklesso. "L'insaisissable destinée humaine : la mort et les apories de la vie chez Schopenhauer et chez les Kabiye." Poitiers, 1996. http://www.theses.fr/1996POIT5005.
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Ce travail consacre a l'etude de la destinee humaine a priori insaisissable et vouee a l'absurde, cherche a repondre a un ensemble de questions qui entrent dans le cadre de la nature universelle de l'homme, questions dont la plus importante est de savoir pourquoi l'homme a peur de la mort bien que le monde ou il vit l'accueille comme un etranger ? Selon l'histoire primitive de l'humanite, l'homme a d'abord fait la conquete de sa liberte par les rites ancestraux et par la croyance aux differentes divinites. C'est le cas des kabiye qui donnent une signification religieuse et spirituelle a l'homme en se basant sur sa consubstantialite cosmique. Selon cette signification, "la dialectique du vivre et du perir" s'inscrit dans le cercle fecond et intemporel de l'ancestralite malgre la finitude de l'etre : c'est l'evocation d'une ontologie primitive dont le fondement repose sur la negation de la mort elle-meme, negation s'inscrivant dans l'idee du cercle comme scheme du retour et se rapportant a la theorie de la metempsycose. Celle-ci, chez schopenhauer, apparait sous forme de metaphysique cosmologique fondee sur la loi de l'immanence, une loi inconsciente de l'univers se manifestant particulierement chez l'homme par des desirs egoistes et par un besoin de survie individuelle. Selon cette loi, le besoin de survie propre a tous les etres n'est qu'une ruse de la nature qui, pour sa perennite, se joue des individus sous l'illusion complice du plaisir et de la satisfaction placant l'"egocite" humaine devant une reelle absence de but en poussant eternellement l'homme a perseverer dans son etre, meme dans la mortThis work, dedicated to the study of human destiny a priori indiscernable and devoted to the absurd, seeks to respond to a series of questions which come into the context of the universal nature of man, questions among which the most important is to know why man fears death although the world where he lives welcomes him as a stranger ? According to the primitive history of humanity, man has first of all conquered his liberty through ancestral rites and through a bilief in various deities. This is the case of the kabiyes who gave a religious and spiritual meaning to man by basing themselves on his cosmological consubstantiality. According to this meaning, "the dialectic of living and perisching" lies within the fertile and thimeless circle of the generations in spite of the finiteness of the being : it is the evocation of a primitive ontology, the foundation of which rests on the negation of death itself, negation lying within the idea of the circle as the return schema and relating to the theory of metempsychosis. This, in schopenhauer, appears in the form of cosmological metaphysics founded on the law of immanence, a subconscious law of the universe which manifests itself particularly in man through egoistic desires and through a need for survival. According to this law, the need for survival, appropriate to all beings, is only a ruse of nature which, in order to prevail, deceives individuals by the conniving illusion of pleasure and satisfaction which places human "egoicity" in front of a real absence of an aim by eternally pushing man to persevere in his being, even in death
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Carette-Drencourt, Fabienne. "Schopenhauer et les grands courants littéraires français de la fin du XIXe siècle." Paris 4, 1995. http://www.theses.fr/1995PA040030.
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La philosophie de schopenhauer, qui accorde a l'art, et en particulier a la musique, une place privilegiee, eut une influence considerable sur l'esthetique de la seconde moitie du dix-neuvieme siecle, et notamment en france sur les courants litteraires. Schopenhauer, qui considere la representation artistique non comme l'image illusoire d'une apparence trompeuse, mais comme l'expression veritable de l'etre en soi, confere a l'art une fonction metaphysique et redemptrice. Des ecoles de poetes tres differentes vont se reclamer de son esthetique, depuis la poesie gnomique et philosophique de jean lahor ou de louise ackermann, jusqu'aux extremes raffinements et deliquescences des decadents, en passant par l'impassibilite et la mystique du beau des parnassiens. Mais, plus que tout autre, le symbolisme, domine par les themes du solipsisme et de l'idealisme sujectif, vise a mettre en pratique la metaphysique de la musique du philosophe allemand. Quant aux ecrivains realistes, ils sont attires, tantot par les aspects subversifs et pessimistes, tantot par l'aspect consolant de la doctrine. Schopenhauer depouille le createur lucide de toute illusion, mais en meme temps, il permet une distanciation et un salut, par l'art ou par l'ascetisme. Seduits, maupassant, zola, huysmans entre autres, lui consacrent une de leurs oeuvres. Mais c'est certainement sur la recherche du temps perdu, que l'enpreinte de schopenhauer est la plus profonde. En effet, de jean santeuil au temps retrouve, proust exprime une conception du temps, de l'art et des rapports humains qui se rattache au systeme schopenhauerien. En definissant l'homme moderne et ses angoisses, face a un monde sans valeur, face a une raison qui se derobe devant la toute puissance de l'inconscient, schopenhauer a bouleverse les fondements de toute creation litteraire authentiqueSCHOPENHAUER'S PHILOSOPHY, GRANTING A PRIVILIGED PLACE TO ART AND PARTICULARLY TO MUSIC, HAD A TREMENDOUS INFLUENCE OVER THE AESTHETICS OF THE SECOND HALF OF THE NINETEENTH CENTURY, AND ESPECIALLY IN FRANCE OVER ITS LITERARY CURRENTS. SCHOPENHAUER, WHO REGARDS ARTISTIC REPRESENTATION NOT AS AN ILLUSIVE IMAGE BUT AS THE ACTUAL CONVEYANCE OF THE BEING IN ITSELF, BESTOWS ON ART A METAPHYSICAL AND REDEEMING OFFICE. VERY DIFFERENT SCHOOLS OF POETS WILL CLAIM THEIR BELONGING TO HIS AESTHETICS, STARTING FROM THE GNOMIC AND PHILOSOPHICAL POETRY OF JEAN LAHOR OR LOUISE ACKERMANN, THEN ON TO THE IMPASSIVITY AND MYSTICISM OF THE BREAUTIFUL OF THE PARNASSIAN SCHOOL, AND FINALLY TO THE UTMOST SUBTELIES OF THE DECADENTS. BUT INDEED SYMBOLISM, SWAYED BY THE THEMES OF SOLIPSISM AND SUBJECTIVE IDEALISM, FAR MORE THAN ANY OTHER SCHOOL AIMS TO PUTTING INTO PRACTICE THE GERMAN PHILOSOPHER'S METAPHYSICS OF MUSIC. AS TO REALISTIC WRITERS, THEY ARE ATTRACTED NOW BY THE PESSIMISTIC AND SUBVERSIVE ASPECTS, NOW BY THE COMFORTING SIDE OF THE DOCTRINE. SCHOPENHAUER DEPRIVES THE CLEAR-HEADED CREATOR OF ANY ILLUSION BUT AT THE SAME TIME ALLOWS HIM REMOTENESS AND SOME SORT OF SALVATION, THROUGH ART OR ASCETISM. ENTICED, MAUPASSANT, ZOLA, HUYSMANS, AMONG OTHERS, HAVE DEDICATED ONE OF THEIR WORKS TO HIM. BUT WE CAN ASCERTAIN THAT IT IS IN THE OUEST OF LOST TIME THAT SCHOPENHAUER'S MARK PROVES THE DEEPEST. IN FACT, FROM JEAN SANTEUIL UP TO RECAPTURED TIME, PROUST EXPRESSES A CONCEPTION OF TIME, ART, AND HUMAN RELATIONSHIPS THAT IS QUITE CONNECTED with THE SCHOPENHAUERIAN SYSTEM. BY DEFINING THE MODERN MAN WITH HIS ANGUISH WHEN ENCOUNTERING A WORTHLESS WORLD, AND AN ELUSIVE REASON IN FACE OF THE ALMIGHTY UNCONSCIOUS, SCHOPENHAUER HAS OVERTHROWN THE FOUNDATIONS OF ANY GENUINE LITERARY CREATION
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Lavagnino, Nicolás. "Ontological mislocations”, modos de conciencia e historia. Indiscernibles, desplazamiento y horizontes de posibilidad en la filosofía de Arthur Danto." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/112738.
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Ontological Mislocations', Modes of Conciousness and History: Indiscernibles, Displacement and Horizons of Possibility in the Philosophy of Arthur Danto”. In this article my purpose is to trace the links between three key elements in Arthur Danto’s philosophy: first, the capital consideration, for philosophical purposes, of human beings as ens representans, departing from the elucidation of a type of cognitive episode that Danto called basic”. Secondly,I am concerned with the recurring appeal to a plane of consciousness that supports a dual characterization in terms of the pair inside/outside and enables alogical space that is characteristic of philosophy as a reflective mode. Finally, I will treat a form of cognitive failure that Danto considered fundamental to the philosophical perspective, which leads to a specific type of restructuring of our ordinary system of beliefs. What I contend is that in Danto’s philosophical system these three elements become intelligible from the postulation of an effectual background that the author calls objective historical structure”, which is characterized in terms of the horizons of possibility and impossibility that it delineates. These figures of historical-temporal possibility and impossibility constitute the matrix of historicity itself and also contribute decisively to shaping the permanent nucleus of dantean philosophical concerns.En el presente artículo me propongo rastrear las vinculaciones entre tres elementos cruciales en la filosofía de Arthur Danto: en primer lugar, la consideración primordial, con fines filosóficos, del ser humano como un ens representans a partir de la elucidación de un tipo de episodio cognitivo queDanto denomina básico”. En segundo lugar, me interesa la apelación recurrente a un plano de conciencia que admite una caracterización dual en términos del par adentro/afuera y que habilita un espacio lógico que es propio de la filosofía como modo reflexivo. Por último, trataré una forma de fallo cognitivo que Danto considera fundamental en la perspectiva filosófica y que conduce a un tipo específico de reestructuración de nuestro sistema ordinario de creencias. Lo que sostengo es que en el sistema filosófico de Danto estos tres elementos se vuelven inteligibles a partir de la postulación de un trasfondo efectual que el mismo autor denomina estructura histórica objetiva”, la cual está caracterizada en términosde los horizontes de posibilidad e imposibilidad que delinea. Estas figuras de la posibilidad y la imposibilidad histórico-temporal constituyen la matriz misma de la historicidad y también contribuyen decisivamente a configurar el núcleo permanente de preocupaciones filosóficas danteanas.
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Bürger, Andreas. "Das Verhältnis von sinnlicher Wahrnehmung und begrifflichem Wissen in Positionen gegenwärtiger Philosophie /." Berlin : Pro Business, 2008. http://d-nb.info/990141055/04.
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Weis, Kristin K. "Art as Negation: A Defense of Conceptual Art as Art." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461602608.
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Valensi, Marco. "Le vouloir-vivre ou la métaphysique expliquée à partir de la reproduction de l'espèce : essai de synthèse historique et propositions politiques." Paris 8, 1998. https://octaviana.fr/document/181326825#?c=0&m=0&s=0&cv=0.
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L'elaboration d'une metaphysique nous est apparue possible, a cause de notre possibilite de communication par le langage. Pour une telle elaboration, nous distinguons trois etapes : d'abord une etape a la fois philosophique et psychanalytique, ou nous donnons un sens au vouloirvivre de schopenhauer, en nous aidant de la theorisation lacanienne du non-rapport sexuel. Dans une seconde etape, nous determinons le sens de la realite humaine, a partir du vouloir-vivre et en nous aidant des donnees actuelles de la prehistoire, de l'ethnographie et de l'antiquite. Dans la troisieme etape, nous proposons une technique politique prospective, supposant une suppression de la monnaie, afin de permettre aux hommes de profiter au mieux du vouloir-vivre et de ses consequences historiques, mais tout en evitant les aspects desastreux de ces consequences, cela dans l'esprit du gai-savoir nietzscheenThe elaboration of metaphysics appears possible because of our ability to communicate through language. For such an elaboration we distinguish three steps : first of all a philosophical and psychoanalytical stage where we give a sense of schopenhauer's will-to-live, with the help of lacanian theorisation of sexual non rapport. In the second step, we determine the meaning of human reality, from the will-to-live and aided by current data concerning prehistory, ethnography and antiquity. In the third stage we propose a prospective political technique which supposes a removal of money in order that men profit more from the will-to-live and its historical consequences, while avoiding the disastrous aspects of these consequences, this being in the spirit of nietzchian joyful-knowledge
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Olivera, Grotti Gladys. "Aux abords de l'identité latino-américaine /." Paris ; Budapest ; Torino : l'Harmattan, 2003. http://catalogue.bnf.fr/ark:/12148/cb390840425.
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Texte remanié de: Th. doct--Litt. et civilisation latino-américaines--Toulouse 2, 2002. Titre de soutenance : Le problème de l'identité dans la philosophie latino-américaine.Bibliogr. p. 311-317. Index.
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Tobis, Jacob R. "Theories of Justice to Health Care." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/181.
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In this thesis, many topics will be discussed and a variety of philosophers will be mentioned. The main goal of this thesis is to determine a health care plan that fits with the theories of Robert Nozick, Arthur Ripstein, Norman Daniels, and Amartya Sen. I conclude that Ezekiel Emanuel’s health care plan, The Guaranteed Healthcare Access Plan, can be used as a compromise between the views of each of these philosophers. In reaching such a conclusion, I take many steps. I begin with the explanation of theories of justice and their focus. I then turn to the important distinction between rights and ethics. Next, I explain that often closely held values come into conflict with one another. Then, I turn to the specific philosophers and their theories. Beginning with Nozick, I explain the justification for a state and how this justification is important for all four of the philosophers. Afterwards, in turn, I lay out what each philosopher claims in regards to a just society and the role of a state, his justification for such claims, and the results of such claims specifically in regards to health care. Subsequently, I examine the connections between philosophers, which help me understand the ways a health care system could be instituted to appeal to all four of them. After questioning if a just society can really exist in a limited world, I decide what type of health care system such a just society should implement. Finally, I rest on Ezekiel Emanuel’s plan, which I believe should be implemented in a just society and which best demonstrates the common ground between the four philosophers I discuss.
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Romeiro, Artieres Estevão. "Schopenhauer e a metafísica da vontade = confluências éticas e estéticas para uma abordagem da educação e da sexualidade." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251337.
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Orientador: Cesar Apareciddo NunesDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-16T16:14:01Z (GMT). No. of bitstreams: 1 Romeiro_ArtieresEstevao_M.pdf: 1330925 bytes, checksum: 0cae44281bbcce5e065e41a74a20c283 (MD5) Previous issue date: 2010
Resumo: A dissertação vincula-se a linha de pesquisa Ética, Política e Educação, no grupo Paidéia, da Faculdade de Educação da Unicamp e tem como objetivo principal o criterioso estudo analítico e interpretativo do pensamento do filósofo alemão Arthur SCHOPENHAUER. A pesquisa visa identificar e sistematizar as categorias e pressupostos éticos e estéticos para uma teoria da sexualidade em SCHOPENHAUER, relacionando elementos conceituais, filosóficos e políticos aos atuais discursos e práticas acerca da educação e sexualidade. Dada a compreensão de que a educação sexual é objeto de estudo da Educação, quais as concepções, ou ideologias que se movem nos discursos sobre a sexualidade? Quais as abordagens e tensões axiológicas dos discursos filosóficos mais relevantes e como Schopenhauer pode ser situado nesse universo? O estudo de natureza bibliográfica, com base no pessimismo e voluntarismo de SCHOPENHAUER, busca as contribuições filosóficas do autor para questões da educação sexual contemporânea e apresenta as articulações da Metafísica da Vontade, a valorização do amor sexual e a vontade de viver como a decifração do enigma do mundo. O estudo apresenta a centralidade da sexualidade na obra de Schopenhauer e posiciona o autor como o grande referencial da discussão filosófica do tema na modernidade, buscando apresentar elementos para discussão da educação sexual.
Abstract: The dissertation is linked to the now of Ethics, Politics and Education in the Paideia Group, School of Education at Unicamp and has as main objective the study insightful analysis and interpretation of the thought of German philosopher Arthur Schopenhauer. The research aims to identify and systematize the categories and assumptions for an ethical and aesthetic theory of sexuality in Schopenhauer, relating elements conceptual, philosophical and political discourses and to current practices regarding education and sexuality. Given the understanding that sex education is an object of study of Education, which conceptions or ideologies that move in the discourse on sexuality? What approaches and tensions axiological philosophical discourse more relevant and how Schopenhauer can be placed in this universe? The Nature study literature, based on voluntarism and pessimism of Schopenhauer, search the author's philosophical contributions to contemporary issues of sex education and has the joints of the metaphysics of the will, the recovery of sexual love and desire to live as deciphering the enigma the world. The study presents the centrality of sexuality in the work of Schopenhauer and positions the author as a major benchmark of philosophical discussion of the subject in modernity, seeking to provide elements for discussion of sex education.
Mestrado
Filosofia e História da Educação
Mestre em Educação
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Banvoy, Jean-Charles. "La notion d'inconscient dans la philosophie d'Arthur Schopenhauer : pour une nouvelle interprétation du lien entre Schopenhauer et Freud." Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0358/document.
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Suite aux travaux de François Félix (2007) et de Jean-Philippe Ravoux (2005, 2007) se pose la question de la nature et du rôle de la notion d’inconscient dans la philosophie d’Arthur Schopenhauer (1788-1860). Cette problématique interne se double d’une question historique concernant le rapport de Schopenhauer à la psychanalyse freudienne. En effet, Schopenhauer est bien souvent associé – par des auteurs comme Clément Rosset ou Paul-Laurent Assoun – à cette première théorisation de l’inconscient. Freud lui-même le désignait comme l’un de ses précurseurs. D’où notre problématique : Schopenhauer peut-il véritablement être désigné comme l’un des précurseurs de Sigmund Freud ? Nous répondons à cette question en trois étapes. Dans un premier temps, en nous appuyant sur un relevé exhaustif de l’ensemble des passages dans lesquels cette notion apparaît, nous définissons et analysons de manière systématique le concept d’inconscient au sein de l’œuvre du philosophe. La seconde partie de cette thèse analyse la relation entre Schopenhauer et Freud. Nous cherchons ici à comparer le plus objectivement possible les conceptions schopenhauerienne et freudienne de l’inconscient, ainsi que de la pulsion, du refoulement, du ça, des rêves et de la folie. Enfin, poursuivant notre comparaison entre Schopenhauer et Freud, il s’agit pour nous de déterminer les points communs et les différences pouvant exister entre les conceptions schopenhauerienne et freudienne du sujet humainNot available
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Willis, Gary C. "Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production." Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.
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This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)
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Olivera, Grotti Gladys del Valle. "Le problème de l'identité dans la philosophie latino-américaine : une lecture de l'identité latino-américaine à partir d'une perspective transdisciplinaire où la philosophie est guide, ou de pourquoi ladite identité n'est pas le problème." Toulouse 2, 2002. http://www.theses.fr/2002TOU20021.
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Ces pages parlent de l'identité. Elles relatent la rencontre et les difficiles liens entre ce concept et l'Amérique Latine. Alors, ces pages essayent de dire comment et pourquoi les vieux mots ne nous servent plus à parler, à nous raconter. Comment continuer à parler avec ce mot "identité" ourdie par l'identique ? Ainsi, il est question dans cette thèse d'une lecture transdisciplinaire de l'identité latino-américaine. La philosophie sert de guide et dialogue avec l'histoire, l'anthropologie, la littérature et les sciences sociales. Dialogue qui va du concept même d'identité et ses composantes : sujet universel, origine, filiation et territoire, à la disjonctive mondialisation ou identité et à leur rapprochement; en passant par la pensée de trois de nos philosophes : Arturo A. Roig, Enrique Dussel et Leopoldo Zea convoqués ici pour montrer que philosophie et identité se tiennent; en passant aussi par les débats sur postmodernisme, postcolonialisme et postoccidentalisme et leur importance théoriqe pour une nouvelle discussion sur le problème de l'identité latino-américaine; et, finalement, par les nouvelles alternatives et les nouvelles formes de pensée : Corredor de las Ideas. Dialogue qui m'amène à affirmer : "ce qui est à penser est la Relation". La conclusion ébauche quelques traits d'un grammaire philosophique dont les bases sont déjà posées et fondée sur une utopie, savamment désirée : Notre AmériqueThe following pages are about identity. They tell the story about both the encounter and the difficult links between this concept and Latin America. Therefore, these pages try to explain how and why old words cannot help us neither to talk nor to tell anymore. How can we continue to talk with the word "indentity" to hatch by the identical ? Thus, a transdisciplinary read of latin american identity is the issue in this thesis. Philosophy helps to guide and to dialogue with history, anthropology, literature ans social sciences. The dialogue which goes from the identity's concept and its components: universal subject, origin, filiation and territory, to the disjunctive globalization or identity and their approach, through the thought of three of our philosophers: Arturo A. Roig, Enrique Dussel and Leopoldo Zea, mentioned her in order to demonstrate that philosophy and identity go hand in hand, through postmodernism, postcolonialism and postoccidentalism debates and their theoretical importance for a new discussion about the latin american identity, and finally through the new altenratives and the new ways of thought: "Corredor de la Ideas". The dialogue that brings me to affirm that "the Relation is what to think about". The conclusion sketches some philosophical grammar lines which bases are already built and founded over an utopia, desired learnedly : our America
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Kim, Seong Ryong. "Recherche sur "Le monde comme volonté et comme représentation" de Schopenhauer : les problèmes philosophiques posés par les souffrances de la vie humaine." Strasbourg, 2011. https://publication-theses.unistra.fr/public/theses_doctorat/2011/KIM_Seong_Ryong_2011.pdf.
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Le but principal de ma recherche est de trouver les causes des souffrances de la vie humaine et d’en rechercher les sorties à partir d’une analyse de la philosophie de Schopenhauer, à travers son œuvre «Le monde comme volonté et comme représentation». Pour cela, j’ai d’abord regardé la philosophie de Schopenhauer sur un plan global. Puis j’ai étudié les souffrances humaines et le monde de la négation du vouloir-vivre chez Schopenhauer, et le caractère de l’homme selon une classification en trois groupes, «caractère de Nature, caractère d’Homme et caractère de Volonté». De plus, j’ai établi à partir des étapes précédentes les trois Lois, «la Loi absolue, la Loi de la nature et la Loi de l’homme» comme hypothèse principale de travail. De ce fait, j’ai pu analyser et enfin trouver les bonnes sorties des souffrances humaines : la meilleure sortie consiste en la meilleure adaptation de chaque personne à la Loi à laquelle elle appartient, selon son propre caractère, et donc selon sa propre capacité cognitive. Après ce résultat, je suis revenu à la philosophie de Schopenhauer dans une optique critique, en attendant que de nouvelles problématiques imprévues y soient claires et que la conclusion de mon travail soit plus solide et cohérente; il en est ainsi que j’ai pu trouver «la pure connaissance parfaite» de Wonhyo (le grand bouddhiste coréen, 7ème siècle après J. C), par rapport à «la pure connaissance» de SchopenhauerThe main purpose of my research is to find the causes of suffering for the human life and to seek the exits de this suffering from an analysis of the philosophy of Schopenhauer, in his work «The world as will and representation». For this, I first looked at the philosophy of Schopenhauer on a comprehensive plan. Then I studied the human suffering and the negation of the will to live in Schopenhauer, and the character of man as classified in three groups, «character of Nature, character of Man and character of Will». In addition, I established from the previous steps the three Laws, «Law absolute, Law of nature and Law of man», as the main working hypothesis. As a result, I could analysis and finally find the right outputs of human suffering : the best output consists of the best adaptation of each person with the Law to which it belongs, according to his own character, and therefore according to his own cognitive ability. After this, I returned to the philosophy of Schopenhauer with a critical view until new unforeseen problems are clear and the conclusion of my work is more consistent; so I found «the perfect pure cognition» of Wonhyo (the great Korean Buddhist, 7th century A. D. ) compared to «the pure cognition» of Schopenhauer
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Villemaire, Diane Elizabeth Davis. "The methaphysical foundations of modern physical science : a window on the life and work of E. A. Burtt, twentieth-century pragmatist and postmodernthinker." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35954.
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E. A. Burtt's The Metaphysical Foundations of Modern Physical Science (1924) has been described by H. Floris Cohen, writing on the historiography of the Scientific Revolution in 1994, as the "individual thought of an individual thinker...beyond philosophical or historical currents or fashion." The book is something of a puzzle within the context of American twentieth-century intellectual history and more specifically, of the philosophy and history of science of North America and Europe.Burtt's inter-disciplinary study---as it would be called today---has proved to be both pioneering and prophetic in its rejection of both scientism and positivism. The thesis examines the author's novel interpretation of Isaac Newton's achievement, as well as that of Newton's predecessors in the Scientific Revolution. Burtt's singular view of the rise of modern science from religious underpinnings was, for the most part, either misunderstood or ignored at the time. In fact, the whole idea of a Scientific Revolution was only introduced into the curriculum at leading American universities following the Second World War, in response to Herbert Butterfield and Alexandre Koyre, both of whom owe unacknowledged debts to Burtt.
The Metaphysical Foundations was conceived in the progressive era of the 1920s, the latter part of the "Golden Age" in American philosophy. The thesis examines the role of innovating intellects such as John Dewey, James Harvey Robinson, and Morris R. Cohen in shaping Burtt's view, described against the background of his studies at Columbia university. Under the sway of pragmatic naturalism, Burtt's interpretation of Newton was part of a grand scheme to develop a new philosophy of mind which he intended would overcome the problems of Cartesian dualism.
The dissertation concludes with an extended analysis of Burtt's public, academic, and personal life based upon archives, correspondence and interviews with those who remember him. It considers his politics of conscience during the Cold War and concludes that integrity combined with the relentless search for philosophic understanding drove his more exotic philosophical quests and steered his personal life, including its tragic dimension, toward simple virtues.
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Massei, Junior William. "Os limites da razão em Luther e Schopenhauer." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279170.
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Orientador: Oswaldo Giacoia JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-12T10:35:25Z (GMT). No. of bitstreams: 1 MasseiJunior_William_M.pdf: 701275 bytes, checksum: 5429e02794f22a37082a8b8ab270998e (MD5) Previous issue date: 2008
Resumo: O presente trabalho visa apresentar o conceito de razão no pensamento do jovem Schopenhauer e os limites de seu emprego, principalmente no que concerne à ética. Essa discussão menciona Luther e o apresenta como precursor do pensamento schopenhaueriano acerca da razão. Por isso, tratamos também os limites da razão em Luther e vimos de que modo ambos colocam limites semelhantes à mesma.
Abstract: This monograph aims to investigate the concept of reason and her limits in the philosophy of the so-called "young" Schopenhauer, specially in connection with his Ethics. Schopenhauer speeks about Luther as his forerunner when he writes about reason. Therefore, we searched about Luther's conception of reason and her limits, and perceived how they agree and put similar limits to it.
Mestrado
Filosofia
Mestre em Filosofia
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Hammoudi, Rafika. "La religion de Rimbaud." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20034/document.
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Si la religion de Rimbaud implique obligatoirement l’analyse de son anticléricalisme assumé et de sa relation tumultueuse avec le christianisme de son enfance, notamment dans les Premières poésies et Une saison en enfer ; elle implique également, comme nous souhaitons le proposer, en parallèle, dans notre étude, une ouverture de la notion, dans son acception philosophique, permettant de l’élargir à l’ensemble du corpus rimbaldien : Derniers vers et Illuminations. Il s’agit de s’intéresser au sens de l’existence, tel que conçu par Rimbaud à travers son oeuvre poétique, et plus particulièrement aux notions de Temps, de Mémoire et d’Espace : du poète dans son cosmos. Ainsi se dessine une mise en évidence de la manière dont Rimbaud suggère sa vision du monde, simultanément négative et positive : dans son opposition au Christianisme et à son pendant social Bourgeois, ou dans son affirmation d’une réalité différente dans l’Idylle voire l’urbanisme. À cela s’ajoute la question d’une religion dont le mécanisme cyclique pourrait permettre à l’oeuvre d’exister en tant qu’ensemble lié malgré son apparence disjointeWriting about the Religion of Rimbaud, implies, by necessity, an analysis of his anticlericalism and his tumultuous relationship with the religion of his youth : Christianity. However if these notions structure our study of Premières poésies and Une saison en enfer, they could not perform in the case of Derniers vers and Illuminations. Making us realize the necessity of opening the religious notion to its philosophical aspect. Then through its poetical work, Rimbaud suggests an interrogation on the sense of the existence and especially on Time, Memory and Space ; that is to say on the Poet and its cosmos. Appears at that moment, simultaneously positive and negative, his vision of the world : his opposition to Christianism and to its social conservative equivalent (Bourgeoisie) but also his affirmation of another reality in Idyll or urbanism. Moreover this religion could link his poetical work as a whole despite its heterogeneous apparence
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Langteau, Paula T. "The absurdity of Miller's Salesman : examining Martin Esslin's concept of the absurd as presented in Arthur Miller's Death of a salesman." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/544134.
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Arthur Miller's Death of a Salesman, 1949, is traditionally viewed as a modern tragedy. Ample evidence in the text, however, suggests that Miller leans also toward the convention of the Theatre of the Absurd. Miller uses several techniques, including an absurdist handling of set, time and space, thought, action, and language to contribute to the larger absurdist "poetic image" of the death of a salesman. And the thematic interpretation of that image in terms of character and audience suggests the perpetuation of illusion, a common absurdist theme.Because Miller effectively combines the absurdist with the realistic elements of the drama, an absurdist reading of the play does not negate its readings as tragedy and social realism, but rather enhances those readings, providing an important additional perspective from which to view the play. An absurdist reading also establishes a definite tie between this important twentieth century playwright and the influential absurdist convention in theatre.Department of English
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Crichton, Ian Kieran, and res cand@acu edu au. "The Most Divine Of All Arts: Neoplatonism, Anglo-Catholicism and Music in the Published Writings of A E H Nickson." Australian Catholic University. School of Music, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp66.25092005.
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This thesis examines the life and thought of the influential Melbourne organist, teacher and music critic, Arthur Ernest Howard Nickson (1876-1964). Born in Melbourne, Nickson studied in England on the Clarke Scholarship at the Royal College of Music (1895-1899). During his studies in England, Nickson experienced the Catholic revival in the Church of England at its height. On his return to Australia in 1901 Nickson’s activities as a church musician, and later, as a teacher provided the platform for him to articulate views that were formed as a result of these influences. Beginning in 1904, Nickson’s 56-year career as a lecturer at the University Of Melbourne Conservatorium Of Music is important, as every student had to pass through his lectures at some point in their course. As music critic at the Age from 1927, Nickson played a decisive role in shaping public taste at the time of the establishment of the Melbourne Symphony Orchestra under Bernard Heinze, who was also Ormond Professor of Music at the University of Melbourne (1926-57). Nickson’s essays form a distinct group of writings that are probably unique in Australia. The main published essays cover a forty-year period beginning in 1905, and show the development of Nickson’s thinking about the moral basis and spiritual nature of music, his views on the nature of the Church, and his worldview, based on Neoplatonic philosophy, which shaped his thinking about the process of creation. While Nickson’s view of the created order was shaped by Neoplatonic influences, his view of the redemptive function of art was expressed in terms of sacramental theology, and was related very closely to his Anglo-Catholicism. In his essays and lectures Nickson frequently worked with an abstracted concept of ‘Art’, rather than specific art objects. While reference was made to art objects, it is not clear how Nickson defined the term ‘artist’. Nickson’s attention in his discussions of ‘Art’ tended to focus on the artist, rather than the object. This was a result of his world view, which saw art objects as an emanation from the personality of the artist; this necessitated the cultivation of a disposition of mind, which was enabled by the acquisition of mystical intuition. While his description of the fine arts as consisting of architecture, sculpture, painting, poetry and music was in line with older views of art, his views on the artist are difficult to discern, which raises the question of whether Nickson saw himself as an artist. Clearly his vocation was not as a composer, as the discussion of his mass settings in Chapter 3 will demonstrate, while as an organ teacher he was more interested in interpretation than in the mechanics of playing the instrument. This thesis falls into two broad sections. The first three chapters seek to provide an adequate biography of Nickson, which has never previously been done. The fourth chapter examines Nickson’s worldview and the implications this had for his thinking about music, and falls into two parts. The first part follows Nickson’s worldview as it was expressed in his essays, and focuses attention on the concept of art as a process of sign making. The manner in which this sign making is understood is essential to its function, and in Nickson’s writings three understandings emerge: symbol, metaphor and sacrament. The second part of the discussion examines Nickson’s articulation of his worldview in relation to music, which he considered to be the most divine of the arts, drawing on lecture notes, student reminiscences and Nickson’s own. Nickson’s central claim was that art is a sacrament. This can be seen in relation to his faith, where the regular use of the Church’s sacraments was central. This claim is challenged by statements Nickson made about the faith of composers such as Beethoven and Bach. This raises questions about sacramental efficacy when applied to art, and some limitations implicit in viewing art as a sacrament. It will be argued that Nickson conceived of artistic creation as fundamentally a process of sign making. The sign may be regarded as a symbol, metaphor or sacrament, and the process of creating the sign reflects God’s own creative activity in human creative acts. Nickson conceived of human creative action as having a redemptive character, bringing the artist into closer unity with the godhead. This union was the ultimate aim of art, being the act of redemption that paralleled the union brought about by such sacraments as the Eucharist. This term also points to some tensions in Nickson’s worldview, where he expressed a view of the creation of the material world as being both a dynamic, continuing activity of emanation from God, and a single action of the will of God, such as the creation account of Genesis.
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Hébert, Hélène. "Le problème de la dualité du corps et de l'intelligence et le rôle de l'art chez Schopenhauer." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27720/27720.pdf.
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Zhao, Mengzhong. "An Exploration of the Essence of Art at the Light of the Contemporary Situation of Art." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN034.
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Cette thèse cherche à répondre à une question fondamentale de la philosophie de l'art: qu'est-ce que l'art? Après avoir examiné les réponses des plusieurs théories de l’art, il propose que la définition de l’art proposée par Arthur Danto soit celle qui se conforme le plus à la réalité de l’art, bien qu’elle souffre de certaines imperfections et insuffisances. Sur la base de cette conclusion critique ainsi que d'une analyse minutieuse de ce qui est considéré actuellement comme un art, il tente de modifier la définition de Danto et de la transformer en une nouvelle définition, capable de mieux se conformer à la réalité des phénomènes artistiques. La thèse d’abord présente la situation actuelle de l’art et les théories de l’art existantes qui n’ont pas réussi à rendre suffisamment justice à la totalité de ce qui est considéré comme artistique. Par un regards critique de ces théories, la thèse tente de montrer que les conditions pour être l’art qu’elles proposent sont soit insuffisantes, soit pas nécessaires. La thèse tente aussi de lever les obstacles à la possibilité de définir l'art créés par des théoriciens anti-essentialistes, et de montrer en conséquence que la définition de l'art sous la forme de conditions nécessaires et suffisantes est encore possible.La thèse en suite offre une présentation complète de la définition de l’art de Danto. À travers plusieurs comparaisons, Danto propose que la spécificité de l’œuvre d’art corresponde à une représentation avec une ellipse métaphorique, alors que l’objet non artistique n’est pas représentatif et la représentation schématique n’est pas métaphorique. Il affirme aussi que l'œuvre d'art est une représentation dotée de style. Il introduit également le concept d '«Artworld» sous la forme d’un «style matrix» constitué de tous les prédicats artistiques existants qu'une œuvre d'art peut choisir de manifester ou de rejeter pour chacun d’entre eux afin de se situer dans l'évolution historique de l'art. Les critiques principales contre la théorie de Danto sont examinées: certaines de ces critiques sont jugées injustes et par conséquent rejetées pour défendre la validité de plusieurs aspects essentiels de la théorie de Danto; d'autres sont considérés raisonnables. En outre, la thèse confronte la théorie de Danto à la réalité de la scène artistique actuelle et formule des critiques supplémentaires qui n’ont pas été proposées jusqu'à présent. Dans le dernier chapitre, la thèse s'attache à élaborer les éléments essentiels d'une nouvelle définition de l'art basée sur les parties acceptables de la définition de Danto. La définition proposée par la thèse considère l'essence de l'art comme une propriété qui réside dans l'intention artistique de l'action. L'œuvre d'art possède cette propriété de manière dérivée étant le résultat de l’action artistique. Ce résultat est parfois le produit transitif de ces actions, parfois ces actions elles-mêmes. Une action artistique est analysée comme une action tentant à représenter métaphoriquement quelque chose. L'analyse de différents exemples montre que les œuvres d'art sont artistiques à des degrés divers: certaines sont plus artistiques que d'autres. Cette gradation résulte de la possibilité que l’intention artistique d’une action est gênée par d’autres intentions non artistiques, ainsi que des conditions contextuelles supplémentaires, par exemple, le manque d’habileté à réaliser pleinement l’intention artistique. Cette définition de l'art basée sur l'action fournit une nouvelle perspective sur l'ensemble de la recherche artistique en transformant les problèmes de l'art en types spécifiques de problèmes de l'action. Enfin, la thèse rompt avec Danto en défendant l'idée qu'une définition de l'art doit toujours suivre l'évolution de l'art ce qui n'est pas encore terminée, même si elle a atteint une phase relativement stableThis thesis seeks to answer a basic question of the philosophy of art: What is art? After examining the answers provided to this question by several art theories, it proposes that the definition of art offered by Arthur Danto is the one that most conforms to the reality of art, although it suffers from certain imperfections and insufficiencies. On the basis of this critical conclusion and through a careful analysis of what is categorized as art in the present time, it attempts to modify Danto’s definition and to transfigure it into a new one, capable of better conforming to the reality of art. It firstly introduces the contemporary situation of art and the existing art theories which didn’t successfully do sufficient justice to the totality of what is considered as artistic. Through a critical examination of these theories, it tries to show that the sufficient and necessary conditions for being art that they propose are either not sufficient or not necessary. It then tries to clear up the obstacles to the possibility to define art that have been put forward by the anti-essentialists, who claim that art cannot be defined in a classical way, and accordingly tries to show that a definition of art in the form of necessary and sufficient conditions is still possible. The thesis then provides a comprehensive presentation of Danto’s definition of art. Through several comparisons, Danto proposes that the specificity of artwork consists in being a representation with a metaphorical ellipsis, while the non-artistic object fails to be representational and the diagrammatic representation fails to be metaphorical. Furthermore, he claims that an artwork is a representation endowed with style. He also introduces the concept of “Artworld” in the form of a “style matrix”, which consists of all the existing artistic predicates that for each one of them an artwork can choose to manifest or reject in order to locate itself in the historical evolution of art. The main criticisms proposed against Danto’s definition of art are also examined. Some of these criticisms are judged to be unfair and are consequently rejected, leading to a defence of the validity of several key aspects of Danto’s theory; others are considered as reasonable. In addition, the thesis confronts Danto’s theory with the reality of the present art scene and formulates additional criticisms that have not been put forward in the Danto scholarship.In the last chapter, the thesis endeavors to elaborate a new definition of art based on the acceptable parts of Danto’s definition. The definition proposed by the thesis considers the essence of art as a property which lies in the artistic intention of action. The artwork possesses this property in a derived way, being the outcome of an artistic type of action. This outcome is sometimes the transitive product of these actions, and sometimes is these actions themselves. An artistic action is analysed as an action intending to metaphorically represent something. Through the study of different examples, it is shown that artworks are artistic in varying degrees: some works are more artistic than others. This gradation is the result of the possibility that the specific intention of an artistic action is interfered with by other non-artistic intentions, as well as additional conditions, such as the lack of skill to fully realize one’s artistic intention. This action-based definition of art provides a new perspective to the entire field of art research by transforming the art-related problems into specific types of action-related problems. Finally, the thesis breaks away from Danto by claiming that a definition of art should always keep up with the evolution of art which is still not over, even though it has reached a fairly stable phase
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Ruta, Marcello. "La deuxième voie du post-kantisme : temporalité et éternité dans la philosophie de Schopenhauer et Schelling." Strasbourg, 2010. https://publication-theses.unistra.fr/public/theses_doctorat/2010/RUTA_Marcello_2010.pdf.
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La thèse est structurée en quatre chapitres : un premier chapitre, dans lequel on essaie de reconstruire une bibliographie sur Schopenhauer et Schelling. Comme on le montrera, ces deux auteurs ont été toujours mis en relation presque instinctivement, à cause d’une certaine affinité terminologique (par exemple l’utilisation de la notion de volonté) et de l’irrationalisme qui, à partir au moins de Windelband, leur a été imputé. Nonobstant tout cela, il n’y a pas une riche bibliographie où la relation entre les deux auteurs est analysée en profondeur. La situation change depuis quelques années seulement, changement qui a trouvé dans le congrès tenu a Fribourg sous la direction de L. Hühn en 2005 son expression accomplie. Un deuxième chapitre où on analyse la relation entre temporalité et éternité dans les pensées de Kant et Hegel : ce chapitre est décisif pour ce qui concerne la thèse historico-philosophique du travail, parce que c’est ici qu’on fonde l’hypothèse d’une deuxième (non hégélienne) voie du post-kantisme. Les deux derniers chapitres analysent la relation entre temporalité et éternité dans les pensées de Schopenhauer et Schelling. Dans ce dernier cas, on a pris en compte la production médiane de Schelling (de 1809 à 1821). Le travail se clôt par une conclusion qui résume le contenu du travailThe thesis is divided into four chapters : a first chapter, which attempts to reconstruct a bibliography on Schopenhauer and Schelling. As it will be shown, these authors have always been linked almost instinctively, because of a common terminology (e. G. . By using the concept of Will) and the irrationalism that labelled their thoughts, at least since Windelband. In spite of all that, there is not a rich bibliography where the relation between the two authors is deeply analysed. The situation changed only in recent years, a change that has found in the congress held in Freiburg under the direction of L. Hühn in 2005 its full expression. A second chapter, which explores the relationship between temporality and eternity in the thoughts of Kant and Hegel : this chapter is decisive in relation to the historical-philosophical thesis of the work, because it is here that the hypothesis of a second (non-hegelian) way of post-kantianism is founded. The last two chapters discuss the relationship between temporality and eternity in the thoughts of Schopenhauer and Schelling. In the latter case, we took into account the median production of Schelling (from 1809-1821). The work ends with a conclusion which summarizes the content of work