Dissertations / Theses on the topic 'Jean Richard'
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Figuerola, Cabrol M. Carme. "Jean-Richard Bloch: pensamiento y creación." Doctoral thesis, Universitat de Lleida, 1999. http://hdl.handle.net/10803/8180.
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La tesis tiene como objeto de estudio el pensamiento de Jean-RichardBloch, un autor algo descuidado por la crítica literaria pese a que ejerció un
papel destacado en el cenáculo intelectual de la primera mitad del siglo XX.
El análisis se inicia mediante un recorrido biográfico que sitúa al escritor en
el contexto histórico literario del momento e incide en la repercusión que los
acontecimientos sociales tuvieron no sólo en su vida sino en su
pensamiento.
Los capítulos siguientes abordan los principales temas que acaparan la
atención de J.-R.B. a lo largo de sus ensayos, comparándole
reiteradamente con sus contemporáneos para juzgar con mayor justicia su
originalidad.
En arte Bloch se manifiesta favorable a que el artista se comprometa con
los problemas de su entorno y protesta así, contra las ideas preconizadas
por Gautier en el siglo XIX. El arte se convierte en un órgano capaz de
regenerar las afecciones socioeconómicas de una civilización cuyos ideales
están en crisis. Esta última premisa domina su trayectoria: las dos guerras
mundiales, el affaire Dreyfus marcan hitos importantes y conducen a Bloch
a posturas no siempre de acuerdo con sus pretendidas tesis de izquierdas.
Pero pese a la derrota moral que la historia le inflige, el pensador no cede
en su intento de descubrir un nuevo ideal capaz de guiar a su sociedad por
un sendero mejor. En esa búsqueda se incluye su recurso al mito
napoleónico que simboliza, a su entender, un prototipo del individualismo
correspondiente al pasado. En ese sentido se orienta su mirada a la
entonces U.R.S.S. o a fenómenos nuevos como el deporte y la tecnología.
Por último, la tesis estudia el comportamiento de Bloch frente a la guerra
civil española: su viaje a esas tierras, su posterior relato del mismo y las
acciones emprendidas para favorecer el triunfo del Frente Popular.
En definitiva, a través del corpus ensayístico la tesis aborda las opciones de
un hombre que se enfrenta a retos difíciles y cuyos criterios oscilan entre la
herencia legada por el siglo XIX y las tendencias modernas, progresistas, en
ciertas ocasiones, visionarias casi, que le permiten intuir problemas todavía
vigentes en nuestra civilización.
This doctoral dissertation examines the philosophy of Jean-Richard Bloch,
somewhat slighted by literary criticism despite his outstanding role in the
intellectual circles of the first half of the twentieth century.
The analysis starts with a biographical account that situates the author in
the historical and literary context of the period, insisting upon the impact of
these events both in his life and his ideas.
The following chapters tackle the main issues that capture the author's
attention in his non-fiction work, repeatedly contrasting it with that of his
contemporaries with the purpose of achieving greater objectivity as regards
the originality of his production. As regards art, Bloch manifests a
predilection for an artist who is concerned with the problems around him,
thus protesting against the opinions circulated by Gautier in the nineteenth
century. Art becomes thus capable of regenerating socioeconomic afflictions
in a civilisation plunged into a crisis of ideals. This last premise dominates
his literary career: the two World Wars and the Dreyfus affair mark turning
points and lead Bloch into taking stands that sometimes deviate from his
alleged leftist ideology.
Despite the moral defeat that history inflicted upon him, Bloch persists in
attempting to discover a new ideal that is capable to lead his society in a
better direction. In that quest he falls back on the myth of Napoleon which,
according to the author, symbolises a model of individualism that belongs to
the past, and looks up to the former Soviet Union or to new phenomena like
sports or technology.
Finally, this doctoral dissertation is concerned with Bloch's reaction to the
Spanish Civil War: his trip to Spain and his ensuing account of it, as well as
his actions to favour the victory of the Popular Front.
To conclude, this dissertation uses Bloch's non-fiction corpus in order to
analyse the available options of a man confronting complex challenges. His
principles fluctuate between the nineteenth century legacy and modern
tendencies, liberal and almost visionary on occasion, which allow him to
discern issues that are still applicable to the present time.
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Sabado, Novau Marta. "L’école de Genève ˸ histoire, geste et imagination critiques (Georges Poulet, Jean Starobinski et Jean-Pierre Richard)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA094.
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Ce travail propose une histoire de l’école de Genève à travers l’étude comparée des œuvres de Georges Poulet, Jean Starobinski et Jean-Pierre Richard. Une première partie retrace l’histoire intellectuelle du groupe à une époque marquée par l’influence de la phénoménologie, puis par la pensée structuraliste ; ainsi que par les tensions entre une nouvelle critique extrauniversitaire et une critique universitaire. En s’appuyant sur la correspondance inédite entre ces trois auteurs, ce récit historique permet de découvrir l’histoire du groupe de l’intérieur, et s’efforce de nouer la pensée à la vie. Une deuxième partie analyse les études de Poulet, Starobinski et Richard pour tenter de cerner la spécificité de leur démarche critique au-delà de leurs singularités de style et des différentes théories et méthodes auxquelles ces trois auteurs ont pu être associés. La notion de « geste critique » permet de proposer une analyse immanente de leurs textes, en se focalisant sur les mouvements de la pensée interprétative. Ces auteurs mobilisent images et métaphores pour penser l’acte et la relation critique, et cet imaginaire influe sur leurs gestes herméneutiques. Ceci rapproche leur pratique d’une pensée rêvante qui transforme l’interprétation des textes en un acte d’« imagination critique », compris comme la conjonction entre identification et prise de distance, discernement et force créatrice, logique et sensibilitéThis dissertation proposes a history of the Geneva School through the comparative study of the works of Georges Poulet, Jean Starobinski and Jean-Pierre Richard. The first part traces the intellectual history of the group at a period in time marked by the influence of phenomenology and later, of structuralism; and by tensions between the new extra-academic criticism and traditional academic criticism. Based on the unpublished correspondence between these three authors, this historical account allows for the discovery of the group from within, and endeavors to link thought to life. The second part analyzes the works of Poulet, Starobinski and Richard in an attempt to grasp the specificity of the critical process, looking beyond their stylistic singularities and different theories and methods to which the three authors have been associated. The notion of “critical gesture” allows for an immanent analysis of their texts, focusing on the movements of interpretive thought. These authors employ images and metaphors to reflect on the critical act and on critical relations, and this imagination in turn influences their hermeneutic gestures. This brings their practice of dreamlike thought that transforms the interpretation of texts into an act of “critical imagination”, understood as the convergence between identification and distancing, discernment and creative force, logic and sensitivity
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Nicholas-Twining, Timothy. "Biblical criticism and confessional division from Jean Morin to Richard Simon, c. 1620-1685." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/264155.
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This thesis aims to make a significant contribution to our understanding of the history of biblical criticism in the seventeenth century. Its central objective is to put forward a new interpretation of the work of the Oratorian scholar Richard Simon. It does so by placing Simon's work, above all his Histoire critique du Vieux Testament (1678), in the context of the great increase in critical study of the text of the Bible that occurred after 1620. The problems and questions that confronted European scholars at this time were profound, as new manuscript discoveries combined with existing learned and polemical debates in such a way that scholars were forced reconsider their opinions on the history and text of the Old Testament. Rather than study these works solely in the discrete tradition of the history of scholarship, however, this thesis shows why they have to be considered in the context of the print culture that made their production possible, the confessional divisions that shaped and deepened the significance of their philological arguments, and the intellectual cooperation, exchange, and disagreement that determined how contemporaries understood them. The results of this research contribute to existing scholarship in several significant ways, of which four stand out for special emphasis. First, through extensive archival research it markedly revises our current understanding of the work of Jean Morin, Louis Cappel, Johannes Buxtorf II, and Richard Simon. Second, it shows that the history of biblical criticism must consider the work of Catholic scholars in the same level of detail as Protestant scholars. Third, it breaks the link between innovative philological and historical work and radical theological or political thought. Fourth, it calls into doubt the current consensus that seventeenth-century scholarly life is best understood through the concept of the international and inter-confessional 'Republic of Letters'.
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Koning, Frederic John. "The doctrine of predestination in scholastic Calvinism an evaluation of the Muller thesis /." Theological Research Exchange Network (TREN) Access this title online, 1999. http://www.tren.com/search.cfm?p048-0234.
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Bédard, Roxanne. "L'espace et les lieux comme vecteurs idéologiques : le cas de Neuf jours de haine de Jean-Jules Richard." Mémoire, Université de Sherbrooke, 2016. http://hdl.handle.net/11143/9737.
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Ce mémoire s’intéresse à la représentation des lieux ainsi qu’à leur implication en tant que vecteurs d’idéologie dans le roman Neuf jours de haine, de Jean-Jules Richard. L’intérêt de ce sujet réside principalement dans le fait que Neuf jours de haine a été très peu étudié par la critique universitaire. L’objectif est de montrer que le roman de Jean-Jules Richard diffère des romans de guerre québécois de l’époque non seulement par son sujet original (la Deuxième Guerre mondiale telle que vécue sur le front de l’Europe de l’Ouest), mais également dans la dialectique existant entre les espaces civil et militaire.
Le mémoire se divise en trois chapitres. Le premier est consacré au rappel des concepts théoriques nécessaires à l’analyse du roman. Dans celui-ci seront évoqués, entre autres, les notions d’espace, de lieu, de figure spatiale et de configuration spatiale. Les deux chapitres suivants seront consacrés à l’analyse de la représentation des lieux dans Neuf jours de haine. Le chapitre deux se penche sur les lieux diégétiques du roman, lesquels comprennent, entre autres, la tranchée, le champ, le jardin, la ferme, la forêt, la ville, la prison ainsi que l’eau et ses dérivés. Le troisième et dernier chapitre, quant à lui, aborde plutôt les lieux mémoriels de l’œuvre de Richard. Ceux-ci comprennent la prairie, la ferme, la ville, le village, la prison et le cimetière. Dans chacun de ces chapitres, non seulement les lieux sont analysés selon leur fonction diégétique et leur description par les personnages, mais ils sont aussi départagés selon leur degré de sécurité. Cette analyse permet, dans un premier temps, de montrer que la guerre vue par un soldat au front occasionne un renversement des notions traditionnelles de sécurité et d’hostilité. Dans un deuxième temps, celle-ci permet également de cerner l’importance des lieux dans la construction de la diégèse du récit.
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Clément, Romain Jean Gilbert [Verfasser], Jens [Gutachter] Krause, Max [Gutachter] Wolf, and Richard [Gutachter] James. "Collective cognition and decision-making in humans and fish / Romain Jean Gilbert Clément ; Gutachter: Jens Krause, Max Wolf, Richard James." Berlin : Lebenswissenschaftliche Fakultät, 2016. http://d-nb.info/1116406691/34.
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Huchet, Marie-Madeleine. "De la Vieille de jean Le Fèvre : traduction versifiée du De Vetula attribué à Richard de Fournival : étude et édition." Paris, EPHE, 2010. http://www.theses.fr/2010EPHE4045.
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De vetula, poème pseudo-ovidien du XIIIe siècle attribué au chancelier de l’église d’Amiens Richard de Fournival, a pour particularité de mêler à une intrigue amoureuse de longs développements sur la chasse, les jeux, l’astrologie et l’astronomie, dont l’apport scientifique est loin d’être négligeable. Un siècle plus tard, le procureur Jean Le Fèvre décide de traduire le texte en lui conservant une forme versifiée. L’édition et l’étude de cette traduction, qui nous a été transmise par trois manuscrits, mettent en évidence les difficultés rencontrées par un écrivain du XIVe siècle pour transposer d’une langue dans l’autre une écriture poétique recherchée, vulgariser des notions scientifiques parfois complexes et faire face à la création d’un lexique spécialiséDe Vetula, pseudo-Ovidian poem from the 13th century, attributed to Richard de Fournival, Chancelor of the Church of Amiens, is unique insofar as it blends a romantic plot with long developments about hunting, games, astrology, and astronomy, the scientific contribution of which is quite significant. One century later, Prosecutor Jean Le Fèvre decided to translate the text retaining a versified form. The edition and the study of this translation – passed on through three manuscripts – highlight the difficulties and obstacles a 14th century writer had to face while trying to transpose a poetic and elaborate writing from one language to another, popularize somewhat complex scientific notions, and create a specific vocabulary
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Clément, Romain [Verfasser], Jens [Gutachter] Krause, Max [Gutachter] Wolf, and Richard [Gutachter] James. "Collective cognition and decision-making in humans and fish / Romain Jean Gilbert Clément ; Gutachter: Jens Krause, Max Wolf, Richard James." Berlin : Lebenswissenschaftliche Fakultät, 2016. http://d-nb.info/1116406691/34.
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Kruckeberg, Robert Dale. "Dr. Richard Price, the Marquis de Condorcet, and the Political Culture of Friendship in the Late Enlightenment." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2888/.
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The eighteenth century saw many innovations in political culture including the rise of the public sphere where political ideas were freely and openly discussed and criticized. The new public sphere arose within the institutions of private life such as the Republic of Letters and salons, so the modes of behavior in private life were important influences on the new political culture of the public sphere. By studying the lives and careers of Richard Price and the Marquis de Condorcet, I examine the role that the private institution of friendship played in the new political culture of the late Enlightenment. During the 1780s, friendship became an important political symbol that represented the enlightened ideals of equality, reciprocity, liberty, and humanitarianism.
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Meister, Teresa Karina [Verfasser], Fritz Elmar [Akademischer Betreuer] Kühn, Jean-Marie [Akademischer Betreuer] Basset, Janos [Akademischer Betreuer] Mink, and Richard W. [Akademischer Betreuer] Fischer. "Homogeneous Industrial Catalysis - Hydrosilylation, Epoxidation, Transvinylation / Teresa Karina Meister. Betreuer: Fritz Elmar Kühn. Gutachter: Jean-Marie Basset ; János Mink ; Fritz Elmar Kühn ; Richard W. Fischer." München : Universitätsbibliothek der TU München, 2016. http://d-nb.info/1096459086/34.
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Rahm, Linda. ""Allkonstverket i Svenska Baletten - en analys av verket som inte är"." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-28882.
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This essay is an attempt to analyze, understand and reconstruct the Swedish Ballet's last work Relâche (1924) based on Richard Wagner's term Gesamtkunstwerk. Gesamtkunstverk in this case above allmeans the cross-border collaboration of artists and art forms in between, which leads according to Wagnerto a whole which is presented here as The Gesamtkunstwerk. The purpose of this essay is to take part in a work that literally no longer exist, and to try to understand itscultural-historical value. All that remains from the Swedish Ballet, is everything but the dance itself. Still we can take part of the Ballet through the artistic synthesis through innumerable collaborations shown in the sets, costumes, posters and musical compositions. I will in the analysis based on four points, try to find the tones indicating that the work is, on the basis of Wagner's definition, a Gesamtkunstwerk. The essay is also an attempt to show the innovation of this Company and to provide redress to which, according to me, is too forgotten in Swedish historiography. The thesis shows both the Swedish Ballet's historical background which includes previous works built by the same principles of collaboration presented. In this section I will also address something, according to me, important; The Swedish homophobia, mainly in the tabloids during the period in which the essay deals with, and the consequences for the company in question. Then I will analyze Relâche on the basis of the four theses, which, according to my investigation shows that the work is a Gesamtkunstwerk.
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Cieszkowski, W. J. "The iconography of rural space : notions of "la terre" as visual and textual narratives of poetic dwelling in the art of Jean-François Millet (1814-75) and the prose of Richard Millet (1953-)." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/624493/.
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The key problematic of this study is located in the notions of le paysan, le pays and le paysage, and their representation in visual and textual modes. By linking one visual artist, Jean-François Millet (1814-1875), with one textual artist, the novelist and polemicist Richard Millet (1953- ), an ethos of symbolic and thematic fraternal consanguinity is established. In order to situate and contextualize these notions of rural space and to locate them in the wider implications of La France profonde, this thesis adopts a basic comparative approach in order to ground the analyses in an inter-medial, trans-epochal approach. The principal argument posits the iconography of rural space as a universal and atemporal constant and as a metaphor for the cyclical nature of existence, as an exploration of notions of the past, the nature of belonging, loss and exile. Each of the seven chapters in this thesis may be read to a certain extent as a selfcontained essay, as a meditation on the nature of seeing and decoding of the visual and textual space: the interpretation of art and text in the form of a discourse, a semiotic ‘map’. However, throughout the thesis there runs a linear argument and analysis which thematically and organically links all seven, seeking to widen notions of la terre in order to encompass an eco-awareness, a cosmic unicity of the human with the natural in terms of ‘poetic dwelling’. An opening examination of the theory and practice of iconographic recognition leads to a questioning of the narratives informing the reconstitution of the past and the essence of la terre as possession and belonging. It is then posited that the notional metaphysics of landscape imply a dualistic, semiotic reading of landscape as ‘inscape’ or ‘otherness’. The notion of the Other is then introduced as the female Other, which leads to an examination of the feminization of rural space. Finally, the life story of both Millets is posited as a via crucis (patterned by melancholia and a form of ‘perpetual mourning’) and the last chapter concludes with a metaphysical examination of the rural space as a locus of poetic dwelling. To dwell poetically implies a deep understanding and empathy with the natural: this study argues that the representation of the rural space, through the individual art of each Millet, is metaphysically and existentially consistent with the imperatives of a meaningful and purposeful existence.
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Gagnon, Andréane. "Un cas de convergence entre question sociale et question nationale en Ontario français : la grève d’Amoco de 1980." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/23951.
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Cette thèse vise à revenir sur l’histoire d’une grève qui a déjà fait l’objet d’une recherche de terrain, minutieusement documentée, il y a trente ans de cela dans l’ouvrage Une communauté en colère : La grève contre Amoco Fabrics à Hawkesbury en 1980. Notre étude cherchera à démontrer que la grève d’Amoco de 1980 représente un cas de figure permettant d’analyser les rapports entre le social et le national à travers les modalités d’intervention de trois intellectuels durant et après cette grève: la publication scientifique et militante : Serge Denis, politologue ; l’animation sociale : Richard Hudon, animateur social ; et l’art théâtral : Jean-Marc Dalpé, poète, dramaturge, écrivain, comédien. Fondée sur l’analyse des entretiens effectués avec ces trois acteurs et la recherche socio-historique, cette thèse propose de réfléchir au besoin de transmettre aux générations futures l’histoire ouvrière populaire propre aux Franco-Ontarien(ne)s à laquelle se rattache l’évènement que fut la grève d’Amoco.
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Haslinger, Stefan [Verfasser], Fritz Elmar [Akademischer Betreuer] Kühn, Ulrich K. [Akademischer Betreuer] Heiz, Richard W. [Akademischer Betreuer] Fischer, and Jean-Marie [Akademischer Betreuer] Basset. "Bioinspired Iron N-Heterocyclic Carbene Complexes in C–H Bond Oxidation: Reactivity, Electronic Properties, and Catalytic Activity / Stefan Haslinger. Betreuer: Fritz Elmar Kühn. Gutachter: Ulrich K. Heiz ; Richard W. Fischer ; Fritz Elmar Kühn ; Jean-Marie Basset." München : Universitätsbibliothek der TU München, 2015. http://d-nb.info/1080299270/34.
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Jonsson, Zakarias. "Den mångtydiga hembygdens roll i Helmer Grundströmstidiga diktning : En tematisk studie med biografiskt stöd." Thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-78611.
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Denna studie undersöker temat ”hembygden” i Helmer Grundströms tidiga diktning. Metodengrundar sig på en kombination av hermeneutisk tematik och ett biografiskt material, för att på så viskunna sammankoppla författarens liv med hans diktning. Tematiken härleds ur avsnittet kallat”Mallarmés poetiska universum”, ur Jean-Pierre Richards L'univers de Mallarmé, men avviker fråndenna på vissa punkter. Detta grundar sig dels på den biografiska aspekten i min studie, vilket intetäcks in av nämnda text, men också på grund av att jag väljer att endast fokusera på ett enda tema.Helmer Grundströms norrländska bakgrund har i hög grad färgat av sig på de texter som han senareskrev, och dikterna speglar därför till viss del de komplicerade känslor som han hyste införhembygden. Därför förväntas det biografiska materialet förstärka mina påståenden och antaganden. I uppsatsens analys uppmärksammas olika detaljer i texten, och dessa detaljer diskuteras sedan iförhållande till liknande inslag. Utifrån dessa mindre delar urskiljs olika motiv i diktningen, somtillsammans bildar den tematiska helhetsbilden. En stor del av motivurvalet i Grundströms diktningkretsar också kring hembygden. Huvudmotiven är, enligt min uppfattning, de kontrasterandeaspekterna hemlängtan och behovet av att ge sig av, vilka båda inryms i hembygdens tematiskahelhet. Dessa motiv utvecklas och diskuteras utifrån textexempel, och kompletteras med utsagor omförfattarens samtida livssituation. Även andra motiv urskiljs i diktningen, för att sedan knytas an tilltemats två redan nämnda huvudaspekter. Sammanfattningsvis kommenteras temat sedan i sinhelhet. Det utgör således huvudmålet i min studie: att se det stora genom de små detaljerna, vilketRichard också förespråkar.
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Cloete, Michael. "Postmetaphysical versus postmodern thinking : a critical appraisal of Habermas's debate with postmodernism." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53008.
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Thesis (PhD) -- University of Stellenbosch, 2002.ENGLISH ABSTRACT: Philosophy has traditionally been concerned with the question of reason and rationality, as its central focus. From the perspective of the modern metaphysical tradition, this focus has developed around the theme of subjectivity in general, and the assumption of an ahistorical transcendental subject in particular. The idea of reason was thus foundational for the articulation and validation of the notions of truth and freedom. From the perspective of modernity, reason has thus been the condition of the possibility of enlightenment, freedom and moral progress. The debate between Habermas and the representatives of postmodern thinking represents the latest chapter regarding the question of reason, its limits, and its possibilities. What makes this debate particularly challenging is that Habermas, while he defends the idea of reason against its critique by the postmodernists, is actually in agreement with them in their dismissal of the tradition of metaphysical thinking. In view of his defense of the idea of reason, however, Habermas has invariably been accused of defending an outmoded and discredited form of philosophical thinking, while his opponents have generally been hailed as progressive thinkers who have succeeded in effecting a radical break with the conceptual legacy of the metaphysical tradition. In my dissertation I argue that the exact opposite position is the case, namely, that it is Habermas, and not his postmodern opponents, who has effected a radical break with metaphysical thinking. It is his ability to transform the idea of reason, from a transcendental into a postmetaphysical concept, in terms of which the question of reason and rationality, and the related ideas of truth and knowledge, are recast in fallibilistic terms, that, in my view, represents the overcoming of metaphysics. The postmodern turn, on the other hand, in view of its reluctance to consider the question of reason from an alternative model of rationality, finds itself still trapped within a form of transcendental thinking in which it seeks to enquire into the (im)possibility of reason, in the absence of a transcendental subject. In the final analysis, I argue that it is postmetaphysical rather than postmodern thinking, that offers us a practical alternative to the problematic conception of reason, bequeathed by the tradition of metaphysical thinking.
AFRIKAANSE OPSOMMING: Die fenomeen van die rede en die betekenis van rasionaliteit vorm tradisioneel 'n sentrale fokus van die filosofie. Vanuit die perspektief van die moderne metafisiese tradisie het hierdie fokus ontwikkel rondom die tema van subjektiwiteit in die algemeen, en die aanname van 'n a-historiese transendentele subjek in die besonder. Die rede was dus fundamenteel vir die artikulasie en legitimering van die konsepte van waarheid en vryheid. Vanuit die perspektief van moderniteit was die rede dus die voorwaarde vir die moontlikheid van verligting, vryheid, en morele vooruitgang. Die debat tussen Habermas en die verteenwoordigers van postmoderne denke verteenwoordig die mees onlangse hoofstuk van die verhaal van die vraag na rede en rasionaliteit - die beperkings daarvan, asook die moontlikhede daarvan. Hierdie debat bied besondere uitdagings omdat Habermas, terwyl hy die idee van rede verdedig teen die kritiek van die postmoderniste, eintlik met hulle saamstem vir sover hulle die tradisie van metafisiese denke verwerp. In die lig van sy verdediging van die idee van rede, is Habermas egter voortdurend daarvan beskuldig dat hy 'n uitgediende en gediskrediteerde vorm van filosofiese denke bly voorstaan, terwyl sy opponente in die algemeen voorgehou is as progressiewe denkers wat suksesvol 'n radikale breuk gemaak het met die konseptuele erfenis van die metafisiese tradisie. In my dissertasie beweer ek dat die teenoorgestelde inderwaarheid die geval is, naamlik dat dit Habermas, en nie sy postmoderne opponente nie, is wat hierdie radikale breuk met metafisiese denke suksesvol uitgevoer het. Dit is sy verrnoe om die idee van die rede te transformeer vanaf 'n transendentale na 'n post- metafisiese konsep, in terme waarvan die vraag na rede en rasionaliteit, en die verwante idees van waarheid en kennis, omskep is in fallibilistiese beg rippe, wat, soos ek aantoon, 'n (die!) suksesvolle transendering van die metafisika bewerkstellig. Die postmoderne wending, aan die ander kant, in die lig van die traagheid daarvan om 'n alternatiewe en verruimde konsepsie van rasionaliteit te ontwikkel, bly vasgevang in 'n vorm van transendentele denke waarin dit probeer om ondersoek in te stel na die (on)moontlikheid van die rede ten aansien van die afwesigheid van 'n transendentele subjek. Uiteindelik beweer ek dat dit die post-metafisiese eerder as die postmoderne denke is wat aan ons 'n praktiese alternatief bied vir die problematiese konsep van die rede, soos ons dit qeerf het by die tradisie van metafisiese denke.
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Philippot, Gilles [Verfasser], Mario [Akademischer Betreuer] Maglione, Rolf [Akademischer Betreuer] Jakoby, Cyril [Akademischer Betreuer] Aymonier, Richard [Akademischer Betreuer] Walton, Miguel [Akademischer Betreuer] Alguero, Catherine [Akademischer Betreuer] Elissalde, Alain [Akademischer Betreuer] Ibanez, Jean [Akademischer Betreuer] Etourneau, and Fabien [Akademischer Betreuer] Rouge. "Supercritical fluids synthesis of BaTiO3 based nanoparticles: study of the particles growth mechanisms, powder processing and ferroelectric properties / Gilles Philippot. Betreuer: Mario Maglione ; Rolf Jakoby ; Cyril Aymonier ; Richard Walton ; Miguel Alguero ; Catherine Elissalde ; Alain Ibanez ; Jean Etourneau ; Fabien Rouge." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2016. http://d-nb.info/1112141251/34.
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Pennanech, Florian. "Proust et la nouvelle critique : étude de réception et poétique du commentaire." Paris 4, 2008. http://www.theses.fr/2008PA040193.
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La thèse s’intéresse à la réception de l’œuvre de Marcel Proust par la Nouvelle Critique Française. Après avoir défini ce mouvement critique, on propose d’analyser études de Roland Barthes, Gérard Genette, George Poulet, Jean-Pierre Richard, Jean Rousset et Serge Doubrovsky du point de vue de leurs présupposés et de leurs enjeux en distinguant l’étude de l’histoire de la réception et la poétique du commentaire. Dans la première partie, on montre par quel moyen l’objet de la lecture présente aussi comme la source de la méthode des critiques en évoquant la lecture des œuvres de Proust, puis leur utilisation pour légitimer les protocoles herméneutiques employés, le rejet du recours à la biographie et la mise en cause de l’histoire littéraire. Dans la seconde partie, on s’intéresse aux procédures métatextuelles mise en œuvre dans les travaux critiques cités, que l’on répartit entre d’une part des opérations de fragmentation et d’autre part des opérations de réunification.
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Ferrari, Cécilia. "Il y a plus de choses dans la salle et sur la scène que n’en montre votre scénographie : Étude spatiale et iconographique du « théâtre populaire » à partir des expériences de Firmin GÉMIER : Festivals suisses, TNAG, Œdipe Roi de Thèbes (1903-1919) ; Jacques COPEAU : Savonarola, Florence (1935) ; Jean VILAR : La Tragédie du Roi Richard II, Avignon (1947)." Caen, 2014. http://www.theses.fr/2014CAEN1016.
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Entre la fin du XIXe et le début du XXe siècle, plusieurs hommes de théâtre désignent le public qu’ils visent à rassembler par le terme peuple et leur théâtre par l’expression théâtre populaire. Leur attention se concentre sur la recherche d’un espace traduisant l’égalité propre à la société démocratique. Afin d’offrir à tous une bonne visibilité de la scène, ils choisissent le Festspielhaus de Bayreuth comme modèle de référence : le public est disposé face à la scène et la salle est plongée dans l’obscurité. Qui est le peuple que l’on place dans ce type d’espace où les échanges entre les spectateurs sont réduits et où chacun est fasciné par l’image scénique ? Pour répondre à cette question, la thèse propose d’étudier le dessin (projet de la scène et de la salle) de quelque spectacle populaire pour en mieux comprendre le dessein (acception du terme « populaire »). Grâce à l’élaboration d’une grille typologique analysant la scène, la salle et la scénographie, l’étude porte sur les expériences de Gémier (1903-1919) et le travail de Copeau pour Savonarola (1935). Ces exemples attestent la cristallisation du modèle frontal pour une réception de l’image-écran proposée par la figure naissante du metteur en scène. La grille est ensuite appliquée à une régie de Jean Vilar, La Tragédie du Roi Richard II (1947), spectacle n’utilisant ni le modèle frontal ni l’image illusionniste. En se faisant le régisseur d’une « scène illimitée » et d’une image polysémique confiée au spectateur, Vilar permet de passer de la réception passive à l’invention artistique. L’acception donnée au mot peuple se lit dans la scénographie : si l’on change de dessin, le dessein change aussi, ou vice versaBetween the end of the XIX century and the beginning of the XX century, many theater’s men call the audience they want to reunite as peuple and their theater as théâtre populaire. Their major interest is the research of a space capable to transmit the equality of the democratic society. In order to offer to everyone a good view of the stage, they choose the Bayreuth’s Festspielhaus as a reference model: the entire public is in front of the stage in the middle of darkness. Who’s the peuple that you place in that kind of space where spectators can’t almost have no exchange and where everyone is fascinated by the stage? In order to answer this question, the thesis proposes to study the dessin (room and scenography’s project) of a popular spectacle to better understand the dessein (acceptation of the word « populaire »). Thanks’ to a typological grid that analyzes the stage, the room and the scenography, the study will bring us to the Firmin Gémier’s experiences (1903-1919) and Jacques Copeau’s work for Savonarola (1935). These examples show the frontal model’s crystallisation for a reception of the image-screen proposed by the new figure of the metteur en scène. The grid is the used with Jean Vilar’s work, La Tragédie du Roi Richard II (1947); a spectacle that doesn’t uses neither the frontal model nor the illusionist image. Becoming the régisseur of « ilimitated stage » and of a polysomic image given to the spectator, Vilar allows to pass from a passive reception to an artistic invention. The acceptation given to the word peuple read in the scenography: if we change the dessin, the dessein also changes, or vice versa
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Raffalli-Grenat, Lunorsola. "Ecrire des fictions en vers au XIVème et XVème siècles : un problème esthétique et culturel." Corte, 2008. http://www.theses.fr/2008CORT0005.
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A La fin du Moyen-Age les fictions romanesques en vers se font rares. Parmi celles-ci, les narrations allégoriques utilisent le vers pour exprimer la subjectivité ; d’autres, c’est le cas du roman arthurien de Froissart, Meliador, justifient l’emploi du vers par une volonté nostalgique. En ce qui concerne les autres récits, le choix de l’écriture versifiée demeure totalement énigmatique. L’objectif de cette thèse est justement de comprendre pourquoi certains auteurs choisissent encore le vers pour écrire leurs fictions, alors que la prose est depuis le treizième siècle l’écriture du roman. Le corpus de cette étude comprend les œuvres suivantes : Le roman de Mélusine ou Histoire de Lusignan de Coudrette, Mélusine ou la Noble Histoire de Lusignan de Jean d’Arras, Le Roman de Richart, Richart sans Peur de Gilles Corrozet, Le Roman d’Eledus et Serene, Le Roman de la Dame à la Licorne et le Beau Chevalier au Lion, et Brun de la Montagne. Dans un premier temps, cette étude a révélé qu’avant le Moyen-Age flamboyant, les différences entre le vers et la prose dépassaient un cadre technique, esthétique et référentiel. Chacune de ces formes d’écriture correspond en effet à un choix thématique et culturel qui annihile vraisemblablement les prétentions de « vérité » affichées par la prose romanesque. Suite à cela, une comparaison entre les œuvres en vers du corpus et leurs versions en prose, a démontré que les derniers textes en vers paraissent désuets tant par leur forme que par leur constructions narratives. Ils se détachent ainsi des proses contemporaines plus ornées et plus détaillées, à l’image des goûts et des aspirations de l’aristocratie étincelante des quatorzième et quinzième siècles. Finalement les derniers récits en vers, derrière leur apparence surannée invitent le lecteur à s’extraire d’un passé littéraire trop influencé par le folklore et par le mythe. Elles s’opposent ainsi à une socialisation et à une christianisation de la merveille, proposant alors le démantèlement de la fusion entre la prose et la « vérité » du récitIn the end of Middle Age the verses romances are not widespread. Among these, the allegoricals fictions use verses to express subjectivity. Others, in exemple Froissart’s arthurian romance, Méliador, justify verse to a nostalgic will. In regard to other stories, the choice of writing verses remains entirely enigmatic. This work’s objective is to understand why some some authors write their fictions in verse while the prose is the writing’s romance since the thirteenth century. This study’s corpus includes the following works : Le roman de Mélusine ou Histoire de Lusignan of Coudrette, Mélusine ou la Noble Histoire de Lusignan de Jean d’Arras, Le Roman de Richart, Richart sans Peur of Gilles Corrozet, Le Roman d’Eledus et Serene, Le Roman de la Dame à la Licorne et du Beau Chevalier au Lion, and Brun de la Montagne. As a first step, this study found that before the Middle Age « flamboyant », the differences between verse and prose are not technical, aesthetic or referential. Each of these writing’s forms justify a cultural and thematic choice who annihilates likely the claims of “truth” displayed by the prose fictions. After, a comparison between the corpus’s verses romances and their prose versions, showed that the last texts in verse seem outdated to both form and narrative construction. They stand out as the contemporary prose, more detailed and adorned, who reflect the tastes of the sparkling aristocracy of the fourteenth and fifteenth centuries. Finally, the latest stories in verse, look behind outdated for invite readers to get out of a literary past too influenced by folklore and myth. They are opposed to a socialization and a Christianization of the wonder, proposing the dismantling of the merger between prose and story’s “truth”
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Lagouarde, Clément. "Le "pour de vrai" et le "vrai" en art performance : fiction vs trace." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30017/document.
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L’art performance est un art contemporain difficile à définir. Néanmoins il peut se décrire par l’action d’un artiste de performance qui, à la différence du théâtre traditionnel, se présente lui-même devant un public, s’infligeant parfois de véritable blessure. Cet art questionne le « pour de vrai » et le « vrai ». En le comparant au théâtre il semble moins fictif car les blessures est le sang sont « vrais », et sa trace (captations vidéos, captations sonores, photographies, objets, croquis, écrits, etc.) le prouve. La fiction et la trace paraissent opposées, là où la première est une invention (le « pour de vrai ») l’autre est un élément pérenne d’une action vécue (le « vrai »), l’art performance permettrait alors de penser ces deux notions non plus comme opposés mais comme corrélatives. L’art performance présente sa trace comme un élément pérenne d’une action plus ou moins inventée : le « vrai » dont la frontière avec le « pour de vrai » peut être questionné. Cette thèse argumente ces hypothèses à travers une première partie comparative entre l’art performance et l’art théâtral, avec comme problématique la fiction qui semble opposée au « vrai ». Et une seconde partie corrélative sur le possible « pour de vrai » de la trace, qui permet l’étude de trois traces épistémologiques : la mémoire, l’écriture et l’indice à travers des exemples respectifs d’artistes de performancePerformance art is a contemporary art is hard to define but which can be described as an action made an audience by a performance artist who, in contrast to the traditional theater, is the artist himself is inflicting sometimes real physical injuries. This art questions the 'like true' and the 'true' and seems less fictitious than traditional theater because blood’s physical injuries is 'true' and that he uses his trace as evidence (video recordings, sound recordings, photographs, objects, sketches, written, etc.). If the fiction and the trace seem opposed, because the first is an invention (the "like true") the other is a sustainable living action (the ' true') element, performance art then would think these two concepts not as opposites but as Horn related. As performance art, object of study here, presents his trail as a perennial element of a more or less invented action: as the 'true' including the border with the "like true" can be questioned. This thesis argues its assumptions through a comparative part between performance art and theatrical art, with as problematic fiction that seems opposite to 'true'. And a second consequential part on the possible "like true" of the trace, which allows the study of three epistemological traces : memory, writing, and trifle through respective examples of performance artists
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Richani, Sarah el [Verfasser], Kai [Gutachter] Hafez, and Jean [Gutachter] Seaton. "Comparative Readings of the Lebanese Media System / Sarah el Richani ; Gutachter: Kai Hafez, Jean Seaton." Erfurt : Universität Erfurt, 2016. http://d-nb.info/1215977123/34.
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Bernier, Jean. "La critique du Pentateuque de La Peyrère à Calmet." Paris, EHESS, 2007. http://www.theses.fr/2007EHES0112.
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Cette thèse porte sur la critique du Pentateuque de la seconde moitié du dix-septième siècle jusqu'aux premières décennies du dix-huitième et elle est divisée en quatre chapitres. Dans le premier, l'auteur tente de définir les conditions, intellectuelles surtout, qui permirent l'émergence de la critique de conceptions pluriséculaires rattachées au Pentateuque. Le chapitre deux traite de la question de l'attribution du Pentateuque. La critique de son attribution traditionnelle à Moïse chez Thomas Hobbes, Isaac La Peyrère, Baruch Spinoza, Richard Simon et Jean Le Clerc est étudiée, ainsi que leurs efforts, et ultimement leurs échecs, pour remplacer l'ancien paradigme de composition. Le troisième chapitre porte sur la question de la transmission du Pentateuque. Il traite de l'émergence d'un mouvement de critique textuelle autour de Louis Cappel, de son appropriation par Richard Simon et finalement des efforts de certains auteurs pour défendre l'authenticité du Pentateuque. Enfin, le quatrième chapitre porte sur l'accusation d'imposture dirigée contre Moïse et des réactions qu'elle provoquaThis thesis studies the Pentateuch's critique from the second half of the seventeenth century until the first decades of the eighteenth and is divided into four chapters. In the first one, the author tries to define the conditions, mostly intellectual, that allowed some critiques to question ancient conceptions related to the Pentateuch. Chapter two is about the author of the Pentateuch. It looks at the critique of Thomas Hobbes, Isaac La Peyrere, Baruch Spinoza, Richard Simon and Jean Le Clerc, at their efforts and ultimately their failures, to replace the old paradigm of the Pentateuch's composition. The third chapter focuses on the question of the Pentateuch's transmission. It traces the emergence of textual criticism around Louis Cappel, its development by Richard Simon and the arguments put forward by some to defend the Pentateuch's authenticity. Finally, the fourth chapter studies the accusation of imposture directed at Moses and the reactions it provoked
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Richer, Jean-Michel. "SACRE : Une approche de résolution en logique fondée sur des techniques de satisfaction de contraintes / Jean-Michel Richer ; sous la direction de Jean-Jacques Chabrier." Dijon, 1999. http://www.theses.fr/1999DIJOS001.
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La démonstration automatique s'intéresse à la preuve de théorèmes dans le cadre de la logique. Un démonstrateur automatique de théorèmes est un programme qui utilise des procédés de déduction, appelés règles d'inférence, pour inférer des conclusions qui découlent logiquement d'un ensemble d'axiomes. La recherche de preuve en logique reste un problème combinatoire complexe car elle s'attaque à des problèmes NP-complets. La complétude des méthodes employées pour la recherche de preuve implique de parcourir l'espace de recherche dans sa totalité. On est donc parfois amené à s'intéresser à des branches de l'arbre de recherche stériles pour le but à résoudre. La nécessité de disposer de mécanismes de contrôle aptes à orienter la recherche reste à l'heure actuelle une préoccupation légitime des chercheurs. La programmation en logique représente une spécialisation de la démonstration automatique qui privilégie l'efficacité des traitements en se restreignant à des clauses de Horn qui capturent le caractère procédural de certaines clauses. Un programme logique représente l'expression logique d'un algorithme qui possède l'avantage de pouvoir orienter la recherche dans une direction précise limitant ainsi l'étendue de l'espace de recherche à étudier. Dans cette thèse, nous nous intéressons à la conception d'une nouvelle méthode de résolution des problèmes de la logique des prédicats du premier ordre exprimés sous forme normale conjonctive. L'originalité de notre approche repose sur la résolution des problèmes de la logique en tant que problèmes de satisfaction de contraintes (CSP) adaptés au calcul des prédicats. Ces CSP peuvent être résolus comme des programmes logiques et secondes par des techniques heuristique performantes qui visent à limiter l'espace de recherche à étudier. La méthode qui résulte de nos travaux allie la déclarativité de la démonstration automatique à l'efficacité de la programmation en logique et de la programmation par contraintes. Elle permet de réaliser du test de consistance et du calcul de modèle sur des problèmes exprimés dans un langage de description de connaissances déclaratif et statique. Nous avons valide notre approche en concevant un logiciel, baptisé SACRE, capable sous certaines conditions de rivaliser avec les démonstrateurs automatiques les plus performants a l'heure actuelle.
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Keen, Daniel E. Rossi. "Hope in America Lyotard and Rorty, Dobson and Obama, and the struggle to maintain hope in postmodern times /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1219434292.
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Gibe, John. "Bortom skyltfönstret den levande döden : En undersökning av relationen mellan Karin Boyes Astarte och T.S. Eliots The Waste Land." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-187753.
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Uppsatsen utforskar relationen mellan Karin Boyes Astarte och T.S. Eliots The Waste Land, särskilt med avseende på modernistisk tematik och med avstamp i tidigare forskning som kommenterat relationen mellan verken, främst Gunilla Domellöfs och Caroline Hauxs. Analysen omfattar den senares upptäckt att ”Det öde landskap som skrivs fram hos Eliot existerar dolt och outsagt i Astarte.” Verken jämförs med avseende på: Skildringen av den moderna staden; Krig, trauma, våld och utvecklingsskepticism; Den ofruktbara masskulturen; (Naturens, Guds och Kärlekens död); Verkens mytkomplex; Psykoanalytiska perspektiv på gemenskap, behov och begär. Uppsatsen innehåller även en sammanställning av likheter mellan episoderna som utspelar sig mellan Viola och Hill i Astarte och mellan maskinskriverskan och kontoristen i The Waste Land. Undersökningen bekräftar betydande beröringspunkter mellan verken vad gäller såväl tematik som de positioner författarna intar – det gäller utvecklingsskepticismen, masskulturen (där Astarte i högre utsträckning intresserar sig för handel och konsumtion), samt fruktbarhetsförlusten med avseende på Naturen, Gud och Kärleken. Myter har en betydelsefull roll i båda verken. I Astarte är Gudinnan/belätet Astarte i och för sig närvarande, men hon fyller inte sina ursprungliga funktioner. Undersökningen identifierar nya tolkningsmöjligheter gällande Astartes potentiella roll, kopplade till våld och skydd. På ett övergripande plan finns en korsställning mellan verken, där det som utgör The Waste Lands förgrund tenderar att blottas genom sprickor i ”Astartesamhällets” fasad, genom Boyes didaktiska exposéer, samt vid kritisk läsning. Den sammanlagda effekten av dessa aspekter är att Eliots ödeland – den levande döden – är mer av en tydlig referenspunkt än något dolt och outsagt i Astarte.
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Zacharias, Sebastian. "The Darwinian revolution as a knowledge reorganization." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät I, 2015. http://dx.doi.org/10.18452/17145.
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Die Dissertation leistet drei Beiträge zur Forschung: (1) Sie entwickelt ein neuartiges vierstufiges Modell wissenschaftlicher Theorien. Dieses Modell kombiniert logisch-empiristische Ansätze (Carnap, Popper, Frege) mit Konzepten von Metaphern & Narrativen (Wittgenstein, Burke, Morgan), erlaubt so deutlich präzisiere Beschreibungen wissenschaftlicher Theorien bereit und löst/mildert Widersprüche in logisch-empiristischen Modellen. (Realismus vs. Empirismus, analytische vs. synthetische Aussagen, Unterdeterminiertheit/ Holismus, wissenschaftliche Erklärungen, Demarkation) (2) Mit diesem Modell gelingt ein Reihenvergleich sechs biologischer Theorien von Lamarck (1809), über Cuvier (1811), Geoffroy St. Hilaire (1835), Chambers (1844-60), Owen (1848-68), Wallace (1855/8) zu Darwin (1859-1872). Dieser Vergleich offenbart eine interessante Asymmetrie: Vergleicht man Darwin mit je einem Vorgänger, so bestehen zahlreiche wichtige Unterschiede. Vergleicht man ihn mit fünf Vorgängern, verschwinden diese fast völlig: Darwins originärer Beitrag zur Revolution in der Biologie des 19.Jh ist klein und seine Antwort nur eine aus einer kontinuierlichen Serie auf die empirischen Herausforderungen durch Paläontologie & Biogeographie seit Ende des 18. Jh. (3) Eine gestufte Rezeptionsanalyse zeigt, warum wir dennoch von einer Darwinschen Revolution sprechen. Zuerst zeigt eine quantitative Analyse der fast 2.000 biologischen Artikel in Britannien zwischen 1858 und 1876, dass Darwinsche Konzepte zwar wichtige Neuerungen brachten, jedoch nicht singulär herausragen. Verlässt man die Biologie und schaut sich die Rezeption bei anderen Wissenschaftlern und gebildeten Laien an, wechselt das Bild: Je weiter man aus der Biologie heraustritt, desto weniger Ebenen biologischen Wissens kennen die Rezipienten und desto sichtbarer wird Darwins Beitrag. Schließlich findet sich sein Beitrag in den abstraktesten Ebenen des biologischen Wissens: in Narrativ und Weltbild – den Ebenen die Laien rezipieren.The dissertation makes three contributions to research: (1) It develops a novel 4-level-model of scientific theories which combines logical-empirical ideas (Carnap, Popper, Frege) with concepts of metaphors & narratives (Wittgenstein, Burke, Morgan), providing a new powerful toolbox for the analysis & comparison of scientific theories and overcoming/softening contradictions in logical-empirical models. (realism vs. empiricism, analytic vs. synthetic statements, holism, theory-laden observations, scientific explanations, demarcation) (2) Based on this model, the dissertation compares six biological theories from Lamarck (1809), via Cuvier (1811), Geoffroy St. Hilaire (1835), Chambers (1844-60), Owen (1848-68), Wallace (1855/8) to Darwin (1859-1872) and reveals an interesting asymmetry: Compared to any one of his predecessors, Darwins theory appears very original, however, compared to all five predecessor theories, many of these differences disappear and it remains but a small original contribution by Darwin. Thus, Darwin’s is but one in a continuous series of responses to the challenges posed to biology by paleontology and biogeography since the end of the 18th century. (3) A 3-level reception analysis, finally, demonstrates why we speak of a Darwinian revolution nevertheless. (i) A quantitative analysis of nearly 2.000 biological articles reveals that Darwinian concepts where indeed an important theoretical innovation – but definitely not the most important of the time. (ii) When leaving the circle of biology and moving to scientists from other disciplines or educated laymen, the landscape changes. The further outside the biological community, the shallower the audience’s knowledge – and the more visible Darwin’s original contribution. After all, most of Darwin’s contribution can be found in the narrative and worldview of 19th century biology: the only level of knowledge which laymen receive.
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Rossi, Elisabetta. "Unveiling the size of the Universe: the first accurate measurement of the Earth-Sun distance by Giovanni Domenico Cassini." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23751/.
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In the ambitious plan of King Louis XIV, France should have become culturally dominant in Europe. The First Minister of State Jean Baptiste Colbert suggested him to finance not only military campaigns but also scientific expeditions aimed to determine, with the highest possible accuracy, the extension of the colonial possessions, to show that France was the largest European power.
The astronomers of the Académie des Sciences (founded in 1666), being also geographers and cartographers, were the “leading actors” of those dangerous expeditions, as measuring the terrestrial coordinates (latitude and longitude) strongly required their skills: the desire for glory of the Roi Soleil had unexpectedly turned out into an improvement of astronomy.
All the expeditions were supervised by the Italian astronomer Giovanni Domenico Cassini (1625-1712) who had been warmly welcomed at the court of the Sun King, in 1669, and was living in the Observatoire Royal in Paris.
Cassini instructed the scientists who were chosen for the expeditions, checked their instruments and compiled a list of instructions concerning the observations they should have carried out.
Among the several expeditions organized by Cassini, the one to Cayenne (French Guiana) deserves particular attention as thanks to some observations carried out there (and simultaneously in Paris) Cassini obtained the first accurate measurement of the Earth-Sun distance.
Through a careful check and inspection of all the available original documents kept in the Archives in Paris, the history of the observations which were carried out in Cayenne, has been reconstructed and is presented in this work. Moreover, some almost unknown details concerning Cassini’s life and work are also shown.
The ambitious aim of this work is to make the reader go back in the past to perceive the atmosphere of an epoch in which, thanks also to the overseas expeditions, began to bloom what it was going to become the Age of Enlightenment.
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Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.
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This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.
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Wright, Alexander Robert. "William Cave (1637-1713) and the fortunes of Historia Literaria in England." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278574.
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This thesis is the first full-length study of the English clergyman and historian William Cave (1637-1713). As one of a number of Restoration divines invested in exploring the lives and writings of the early Christians, Cave has nonetheless won only meagre interest from early-modernists in the past decade. Among his contemporaries and well into the nineteenth century Cave’s vernacular biographies of the Apostles and Church Fathers were widely read, but it was with the two volumes of his Scriptorum Ecclesiasticorum Historia Literaria (1688 and 1698), his life’s work, that he made his most important and lasting contribution to scholarship. The first aim of the thesis is therefore to build on a recent quickening of research into the innovative early-modern genre of historia literaria by exploring how, why, and with what help, in the context of late seventeenth-century European intellectual culture, Cave decided to write a work of literary history. To do so it makes extensive use of the handwritten drafts, annotations, notebooks, and letters that he left behind, giving a comprehensive account of his reading and scholarly practices from his student-days in 1650s Cambridge and then as a young clergyman in the 1660s to his final, unsuccessful attempts to publish a revised edition of his book at the end of his life. Cave’s motives, it finds, were multiple, complex, and sometimes conflicting: they developed in response to the immediate practical concerns of the post-Restoration Church of England even as they reflected some of the deeper-lying tensions of late humanist scholarship. The second reason for writing a thesis about Cave is that it makes it possible to reconsider an influential historiographical narrative about the origins of the ‘modern’ disciplinary category of literature. Since the 1970s the consensus among scholars has been that the nineteenth-century definition of literature as imaginative fictions in verse and prose – in other words literature as it is now taught in schools and universities – more or less completely replaced the early-modern notion of literature, literae, as learned books of all kinds. This view is challenged in the final section of this thesis, which traces the influence of Cave’s work on some of the canonical authors of the English literary tradition, including Johnson and Coleridge. Coleridge’s example, in particular, helps us to see why Cave and scholars like him were excluded lastingly from genealogies of English studies in the twentieth century, despite having given the discipline many of its characteristic concerns and aversions.
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Barreto-Beck, Carlos G. "Durkheim, Mead and Contemporary Social Theory." Thesis, 2012. http://hdl.handle.net/1969.1/ETD-TAMU-2012-05-11143.
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The thesis presented here explores the relevance of the classical works of Emile Durkheim and George Herbert Mead to contemporary postmodern cultural critiques. Postmodern social theory specifically that of Richard Rorty and Jean Baudrillard have come to offer a type of social theory that challenges the notion of the social. This referential problem of the social becomes a striking attack on the epistemology of sociology, which purports to offer scientific knowledge about the human condition as a social process.
The theoretical works of Durkheim and Mead especially their respective concepts of the "collective consciousness" and the "generalized other" are offered here as closely related articulations of the core sociological concept of "the social." It is argued that postmodernism, by postulating an excessively precarious social theory, falls short as a theory of society when juxtaposed to the classic sociologies of Durkheim and Mead.
However, it is also noted that the transformation of the field of sociology from a primarily textual discourse to a quantitative enterprise increasingly exposes the field of sociology to uniquely postmodern critiques.
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Bytniewski, Jerzy. "Filozofia C. G. Junga – odczytanie postsekularne." Phd diss., 2017. http://hdl.handle.net/11089/22044.
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Summary: Philosophy of C.G. Jung – postsecular reading
In my doctoral thesis I would like to present how it is possible to interpret the thought of C.G. Jung in postsecular and postmodern perspective. I start with a presentation of the silhouette of Swiss psychologist/philosopher, describing Jung on account of his point of view concerning religion (with special exposition of his opinions about Christianity). Further, I discuss a wide range of postsecular and postmodern theories, to be finally able to create postsecular/postmodern/hermeneutic variations about Jungian philosophy. Hermeneutics and postmodernism - as I recognize these currents - are rather endeavoring to psychoanalytically overwork religious traumas and to lead contemporary man (of Western culture) to a new enlightenment and (post-) modern opening, instead of animating religious imagination.
From among the most important figures of Jungian imaginarium susceptible to postsecular interpretation, I would like to enumerate depiction of God, who/that is intra-psychic mighty power preceding conscious human will. This God is good and evil in one person. Another postsecular thread in Jungian thought is anthropological imagination of man as a cultural Christian; as cultural protestant or catholic or finally mix of these both mental shapes. The end of these cultural-religious formations will come with the end of present Christian Era and beginning of the New Age. Jung wasn’t orthodox and his Christianity resembles contemporary private religion. Actually, it’s a fusion of many religions, philosophical, oriental and spiritual currents. Jung’s religion finds its most mature example in his formula of Gnosticism that supplements Christianity with a lot of important motifs (including deep awareness of the evilness in human psyche), nonetheless it is a part of conservative and sometimes brutal political views as well (acceptance of social inequalities, some kind of economic liberalism based on social Darwinism). We can speak about Jungian postsecularism also in the case of quasi-messianic, Christian concept of individuation understood as a heroic, all-life process of human development.
Because this book has political intentions, I try to criticize not only Jungian philosophy in his religious views, but also postsecularism, finding in both currents a danger of political theology (which I regard as radical contrary to liberal-democracy’s values). Kind of dangerous ideas I find in the works of communist postsecular thinkers like S. Żiżek, T. Eagleton, A. Badiou, but also in the oeuvre of such seemingly moderate author as J. Habermas, who seems to be too much compliant to religious citizen’s demands, creating social theory actually dangerous to modern project that Habermas is trying to support. I declare a necessity of return to J. F. Lyotard’s conception of the differend, because of its postmodern potential of noticing differences between people, discourses, cultures and of preparing tools to produce such model of social compromise that is not promulgating easy, idealistic reconciliation between the opposite sides of the conflict (modernists and religious people), underlining the importance of constructive conflict and state of permanent battle between incoherent mental constitutions (liberal and conservative) instead. Agreement should be the aftermath of this differend, but never a basis of social/philosophical, liberal/leftist theory.
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Woźniak, Monika. "Myśl Nikołaja Bierdiajewa po 1927 roku wobec filozofii G. W. F. Hegla." Doctoral thesis, 2020. https://depotuw.ceon.pl/handle/item/3736.
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Rozprawa poświęcona jest relacji, jaka łączy filozofię Georga Wilhelma Friedricha Hegla i późną myśl Nikołaja Bierdiajewa. Relację tę analizuję na dwóch poziomach, którym odpowiadają dwie części pracy. W części pierwszej rekonstruuję obraz Hegla w pismach Bierdiajewa i sytuuję go wobec ówczesnej tradycji recepcyjnej. Szczególną uwagą obdarzam przy tym przemiany obrazu Hegla w filozofii niemieckiej i francuskiej I połowy XX wieku (zwłaszcza prace Richarda Kronera i Jeana Wahla), rekonstruując ich związek z sytuacją historyczną i zmianami paradygmatu filozoficznego (pojawienie się filozofii życia i narodziny egzystencjalizmu). Wskazuję, że choć Bierdiajew krytykował Hegla jako impersonalistę, deterministę i monistę, zarazem interesował się jego projektem filozoficznym ze względu na jego dynamizm, a także przełamanie perspektywy przyznającej prymat przedmiotowi, którą uważał za charakterystyczną dla tradycyjnej ontologii. Jego zainteresowanie Heglem tłumaczyć więc można zarówno wzrostem znaczenia Heglowskiego dziedzictwa w ówczesnym polu filozoficznym, jak i ewolucją jego własnego stanowiska – pod koniec lat dwudziestych Bierdiajew rozpoczyna bowiem oczyszczanie własnej filozofii z „przesądów ontologizmu”. W drugiej części rozprawy podejmuję natomiast analizę pojęciowo-porównawczą koncepcji Hegla i Bierdiajewa w tych obszarach problemowych, które okazały się kluczowe dla obrazu Hegla u Bierdiajewa. Są to problematyka wolności i konieczności (związana z oskarżeniem o determinizm), problematyka przedmiotowości (związana z zarzutem monizmu) oraz problematyka metafilozoficzna (związana z wypowiedziami Bierdiajewa o dialektyce i jego uznaniem dla egzystencjalnego wymiaru Heglowskiej filozofii). Wskazuję, że choć koncepcje wolności Bierdiajewa i Hegla łączy nacisk na wolność jako samodeterminację i niezależność ducha od zewnętrznych determinacji, to pierwszy z nich rozumie wolność jako coś źródłowego, drugi zaś – jako coś wytwarzanego. Prowadzi ich to do całkowicie odmiennego waloryzowania przedmiotowości, co wyraża się u Bierdiajewa w negatywnym zabarwieniu neutralnej u Hegla kategorii eksterioryzacji. Jak argumentuję, ta różnica w ocenie przedmiotowości wpływa także na ich ideę metody filozoficznej – widać to zwłaszcza u Bierdiajewa, u którego postulowana symboliczność opisu jest bezpośrednim korelatem dualizmu ducha i przedmiotowości. Rekonstrukcja ta pozwala ukazać ich koncepcje jako dwa fundamentalnie odmienne sposoby konceptualizowania relacji między wolnością a przedmiotowością.The primary aim of my dissertation is a thorough analysis of the relationship between the philosophy of G. W. F. Hegel and the late thought of Nicolai Berdyaev on two levels, which are discussed in two respective parts. The first part is devoted to the reconstruction of Hegel’s image in Berdyaev’s works and its relation to the traditions of reception at that time. Special attention is given to how Hegel’s image changed in German and French philosophy in the first half of the 20th century (especially in the works of Richard Kroner and Jean Wahl) and the ways in which it was shaped by the historical situation and the change of philosophical paradigm (the emergence of the philosophy of life and existential philosophy). I argue that although Berdyaev criticized Hegel for being an impersonalist, determinist, and monist, he was interested in his philosophical project because of its dynamic character and the fact that it overcame the perspective of giving primacy to the object, which he associated with traditional ontology. His interest in Hegel can therefore be explained both by the growing significance of Hegel’s legacy and the evolution of his own philosophical position (in the late 1920s, Berdyaev began purging his own philosophy from what he called “the errors of ontologism”). The second part of the dissertation is devoted to the conceptual and comparative analysis of Berdyaev and Hegel in regard to three themes crucial for Berdyaev’s image of Hegel: freedom and necessity (in relation to the accusation of determinism), objectivity (in relation to the accusation of monism), and metaphilosophical questions (in relation to Berdyaev’s statements about dialectics and existential aspects of Hegel’s philosophy). I argue that although both Hegel and Berdyaev show freedom as self-determination and the spirit’s independence from external determination, the latter understands freedom as something primary, while the former conceptualizes it as a historically produced relationship between subject and object. It leads them to two completely different evaluations of objectivity, which is manifested in Berdyaev’s philosophy by the negative overtone he adds to Hegel’s neutral notion of exteriorisation. I claim that this difference also affects their understanding of the philosophical method, which is evident in the case of Berdyaev – the symbolic description of the spiritual experience he postulates is directly linked to his idea of the duality of spirit and objectivity. This reconstruction allows me to show Hegel’s and Berdyaev’s philosophies as two fundamentally different conceptualizations of the relationship between freedom and objectivity.
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FORDHAM, Elizabeth. "The adventure years : French intellectuals, 1905-1914." Doctoral thesis, 2006. http://hdl.handle.net/1814/6589.
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Letendre, Daniel. "À la cheville des temps : la construction du présent dans la littérature narrative française au tournant du XXIe siècle." Thèse, 2013. http://hdl.handle.net/1866/10355.
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Cette thèse de doctorat met en lumière les stratégies narratives déployées dans le récit français actuel pour représenter et construire son présent. L’hypothèse principale que cette recherche vérifie est la suivante : la littérature narrative d’aujourd’hui, par le recours à une énonciation entremêlant discours et narration ainsi que par une utilisation critique et pragmatique du passé, réplique au « présentisme » observé par François Hartog, cette perspective sur les temps dont le point d’observation et le point observé sont le présent. Les écrivains contemporains mettent en place un régime de temporalités où passé et avenir sont coordonnés au présent pour pacifier le rapport entre les trois catégories temporelles et faire apparaître un présent qui, sinon, demeure narrativement insaisissable ou soumis à l’autorité d’un passé ou d’un avenir qui dicte ses actions.
En distinguant leurs textes du genre romanesque et du mode narratif qui le compose, Pierre Bergounioux, François Bon, Olivier Cadiot, Chloé Delaume, Annie Ernaux, Jean Echenoz et Olivier Rolin, entre autres, s’inscrivent dans la tradition énonciative du récit, ici entendu comme genre littéraire où l’énonciation et le texte en formation sont à eux-mêmes leur propre intrigue. Le sujet d’énonciation du récit contemporain cherche à élucider son rapport au temps en ayant recours à des scènes énonciatives qui ont à voir avec l’enquête et l’interlocution, de manière à ce que d’une anamnèse personnelle et intellectuelle, de même que de la confrontation d’une mémoire avec son récit jaillissent les caractéristiques d’une expérience du présent. Or, une des caractéristiques du présent expérimenté par le sujet contemporain semble être une résistance à la narration et au récit, rendant alors difficile sa saisie littéraire. Cette opposition au récit est investie par des écrivains qui ont recours, pour donner à voir l’immédiateté du présent, à la note et au journal, de même qu’à des genres littéraires qui mettent en échec la narration, notamment la poésie. En dépit de leurs efforts énonciatifs pour extraire le présent de l’opération qui le transforme en passé, ces écrivains font tout de même l’expérience répétée de la disparition immédiate du présent et de leur incapacité à énoncer littérairement un sentiment du présent. Le seul moyen d’en donner un aperçu reste alors peut-être de chercher à construire le présent à partir du constat répété de l’impossibilité d’un tel accomplissement.This doctoral thesis highlights present-day French authors’ narrative strategies used to illustrate and conceive the present. Our central hypothesis is that through an act of utterance intermeshing discourse and narration, as well as the critical and pragmatic use of references to the past, today’s narrative literature offers a counterpoint to the “presentism” described by François Hartog (i.e. a retrospective look at eras in which the present is both the vantage point and the point under observation). By so doing, contemporary authors offer a system of historicities where the past and the future are linked to the present in order to reconcile the link between the three temporal categories and reveal a present which, otherwise, would remain narratively elusive or subrogated to the authority of a past or a future that dictates its behaviour. By distancing their works from the fictional genre and from the narrative form it embodies, Pierre Bergounioux, François Bon, Olivier Cadiot, Annie Ernaux, Chloé Delaume, Jean Echenoz and Olivier Rolin, amongst others, are part of the enunciative tradition of the narrative, considered here as a literary genre in which the enunciation and the text in gestation are, in and of themselves, their own intrigue. In the contemporary narrative, the aim of the enunciation subject is to clarify its relationship to time by using enunciative scenes having to do with this quest and the conversation so that from a personal and intellectual anamnesis, as well as from the clash of a memory with its recounting, emerge the characteristics integral to the present experience. And yet, one of the characteristics of the present that the contemporary subject experiences seems to be a resistance to narration and to storytelling, which makes it almost impervious to literary analysis. Authors take up this opposition to storytelling by using, in an effort to bring the immediacy of the present to the foreground, the note, the journal entry, and literary genres that thwart narration, such as poetry. In spite of their enunciative efforts to distil the present from the operation that transforms it into the past, these authors are nevertheless faced, time and again, with having to live the immediate dissipation of the present and their inability to capture in a literary form its essence. Perhaps the only way to offer a glimpse of this is to try to create the present by repeatedly showing the impossibility of such an achievement.
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Prášek, Petr. "LE DEVENIR-AUTRE DE L'EXISTENCE, ESSAI SUR LA PHÉNOMÉNOLOGIE CONTEMPORAINE." Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-404294.
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The Becoming-other of the Existence, Essay on Contemporary Phenomenology, is both a systematic and a historical study of phenomenology. By choosing a systematic problem of becoming-other of the existence it attempts to present and to confront five major contemporary phenomenologists in France within a single phenomenological field: Henri Maldiney, Claude Romano, Jean-Luc Marion, Renaud Barbaras, and Marc Richir. The study enters phenomenology with Edmund Husserl and presents some key original concepts invented by two generations of post-husserlian authors who marked out the road to contemporary phenomenology: Martin Heidegger, Erwin Straus, Maurice Merleau-Ponty, Jan Patočka, Emmanuel Lévinas. Then it turns to "evential empiricism" in the work of Maldiney and Romano who consider the existent and the world in their belonging-together: the event is thus understood as co-birth of the subject and the world. Nevertheless, because of the fact that the existence that "becomes-other" is necessarily a finite existence, a radically separated existence from the metaphysical transcendence of the world, three other authors must become involved in the discussion: Marion, whose adonné is a limit of the givenness, and then Barbaras and Richir who explore the most archaic layers of the subjectivity within a...
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Grobler, Susanna Elizabeth. "Letterkunde en die reg : die verhoor as romangegewe in enkele tekste van Andre P. Brink." Diss., 2014. http://hdl.handle.net/10500/18482.
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Summaries in Afrikaans and EnglishIn hierdie navorsingsverslag word die representasie van die reg en die verskynsel van die verhoor as romangegewe in enkele tekste van André P. Brink ondersoek. Die studie vind plaas binne die interdissiplinêre konteks van die reg en die letterkunde. Die studie: (i) fokus op die rol wat die reg in die literêre teks vervul; (ii) ondersoek uitbeeldings van die verhoor soos wat dit in Brink se romankuns aangetref word; en (iii) ondersoek die fiksionalisering van historiese en dokumentêre regsbronne met spesifieke verwysing na sekere eksemplariese Brink-‐romans.
In this research report, representations of the law and of the trial, as embedded in certain novels by André P. Brink, are explored. The study is structured within the interdisciplinary field of law and literature. This study: (i) focuses on the role of law within the literary text; (ii) explores the legal delineation of a trial in novels by Brink; and (iii) explores the fictionalisation of historic and documentary judicatory resources with specific reference to exemplary texts by Brink.
Afrikaans & Theory of Literature
M.A. (Afrikaans)
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Gonçalves, Diogo Pereira da Silva 1990. "A espacialidade na escultura do séc. XX : do espaço fechado ao espaço negativo." Master's thesis, 2018. http://hdl.handle.net/10451/33691.
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In this Master in Sculpture Studies we try to expose and analyze the question of space in sculpture, from the beginning of modernism to the present day, mentioning some close previous situations and following R. Krauss logic of expanded space in sculpture. In this sense, we look to a better understanding of how to transit from a closed space to a negative one, through the history of sculpture of the 20th century. Enunciating these same changes, focusing on the different approaches made before, from analyses of both artists thoughts, as well as artist’s deposition on writings and interviews among other sources. We wish above all, not loose sight of the relation’s between, artist, work of art and spectator, having has main concern the historical-conceptual dimension of the works of art in relation with space
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Serrano, Carolina 1994. "A dimensão espiritual da escultura através da obra de XIX artistas." Master's thesis, 2018. http://hdl.handle.net/10451/33652.
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The spiritual dimention in art, in the European context, has been, for centuries, almost exclusively related with religion. However, in the modernity, with the loss of prominence of religion, and with the divorce of art and the Church, that dimention has became accessible to be freely and autonomously explored by art, and in this specific case, by sculpture. If, in general, from the point of view of modernism, it is known that art has lost its notion of transcendence, in accordance with a destructive demand of the artistic tradition, concentrating, instead, on exploiring and evaluating its own possibilities, however, it is also possible to notice the presence of a strong spiritual dimension in the life and work of many modern and contemporary artists. This dissertation is the result of a research of this spiritual dimention in the 20th and 21st century sculpture, through an analysis of the life, work and/or cultural circumstances of nineteen artists, namely Constantin Brancusi (1876-1957), Marcel Duchamp (1887-1968), Jean Arp (1886-1966), Jacob Epstein (1880-1959), Alberto Giacometti (1901-1966), Henry Moore (1898-1986), Barbara Hepworth (1913-1975), Isamu Noguchi (1904-1988), Alberto Carneiro (1937-2017), Louise Nevelson (1899-1988), Lourdes Castro (1930), Germaine Richier (1902-1959), Barnett Newman (1905-1970), Anselm Kiefer (1945), Joseph Beuys (1921-1986), Richard Long (1945), Rui Chafes (1966), Anish Kapoor (1954) and Diogo Pimentão (1973)
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Noel, Bradley Truman. "Pentecostal and postmodern hermeneutics: comparisons and contemporary impact." Thesis, 2007. http://hdl.handle.net/10500/2155.
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The focus of this practical theological study is Pentecostalism, and the relationship between the hermeneutics of Pentecostalism and Postmodernism. Through a literary search, we observe the points of congruency between the hermeneutics of early Pentecostals and the key tenets of Postmodernism. We note the unprecedented acceptance of Pentecostal scholars into the larger theological world and question whether this is a result of the increased Modernization of Pentecostal hermeneutics. The Postmodern world of youth is explored, and we observe their tremendous openness to spirituality. This thesis will show that Pentecostals may contribute to the Christian world a Pentecostal hermeneutic that will speak a relevant message to generations of youth.
Chapters two and three examine the convergent viewpoints of Pentecostalism with Postmodernity, in terms of rationalism, narratives, and the place of experience in life and theology. Chapter four highlights the hermeneutical debate between Gordon D. Fee and his Pentecostal responders, noting the Modern approach in the principles debated. Chapter five seeks to provide interaction with a giant of theology seldom engaged by Pentecostals - Rudolf Bultmann - and his modern followers, and explores the world of Postmodern youth. Chapter six explores the work of Kenneth Archer, who has proposed a specific Pentecostal hermeneutical approach, and chapter seven discusses the role of the Holy Spirit in hermeneutics, including whether Pentecostal experience may be considered an ”edge” in hermeneutics. Chapter eight summarizes the findings of this study.Practical Theology
D. Th (Practical Theology)