10 resultados para STORIA MODERNA,00929,Lettere e Filosofia,0012,Dams - discipline delle arti, della musica e dello spettacolo,0343,,,CURRICULUM 1 (ARTE),489,,,2007,10
em Helda - Digital Repository of University of Helsinki
Resumo:
Les participes prsents apparaissent, entre autres, dans des constructions prdication seconde dtaches : (1) Intervenant hier soir Ankara, [], Vladimir Poutine sest risqu []. (Le Figaro 7.12.2004 : 4) Mme si les grondifs, formes adverbiales du verbe ( converbes , cf. Haspelmath & Knig 1995), nont pas dincidence nominale, contrairement aux participes prsents, formes adjectivales du verbe, et ne sont donc pas toujours compts parmi les constructions prdication seconde (p.ex. Neveu 1998), les deux ont des emplois assez proches : dans des noncs du type (2a-b), le participe adjoint peut tre paraphras par un grondif, mme si son statut fonctionnel nest pas le mme (Halmy, 2003 : 156-157) : (2a) Arrivant Paris, Emile a propos La de [...]. (2b) En arrivant Paris, Emile a propos La de[...]. (Halmy, 2003 : 157) Le finnois ne connat ni ce genre de constructions dtachs ni de forme appele grondif, et les deux participes prsents finnois (actif et passif) ne correspondent jamais un participe prsent dtach franais : en plus de subordonnes, on trouve leur place le deuxime infinitif, soit linessif, soit linstructif, formes nominales quon trouve galement dans la traduction des grondifs : (3a) [] ? me demanda-t-elle schement en me montrant lune des lignes incrimines. (Nothomb, p. 62) [] : hn kysyi minulta kuivakkaasti nytten erst Unajin moittimaa rivi. (Suni, p. 4) (3b) Lespace dun instant, il sourit, croyant que [] je mtais trompe de commodits. (Nothomb, p. 138-139) Hetken hn hymyili luullen, ett min [] olin erehtynyt mukavuuslaitoksesta. (Suni, p. 94) : Dans cette communication, nous examinerons quatre traductions littraires en nous demandant dans quels cas et de quelle manire la diffrence entre le participe et le grondif a ventuellement t prise en considration.
Resumo:
The Internet has made possible the cost-effective dissemination of scientific journals in the form of electronic versions, usually in parallel with the printed versions. At the same time the electronic medium also makes possible totally new open access (OA) distribution models, funded by author charges, sponsorship, advertising, voluntary work, etc., where the end product is free in full text to the readers. Although more than 2,000 new OA journals have been founded in the last 15 years, the uptake of open access has been rather slow, with currently around 5% of all peer-reviewed articles published in OA journals. The slow growth can to a large extent be explained by the fact that open access has predominantly emerged via newly founded journals and startup publishers. Established journals and publishers have not had strong enough incentives to change their business models, and the commercial risks in doing so have been high. In this paper we outline and discuss two different scenarios for how scholarly publishers could change their operating model to open access. The first is based on an instantaneous change and the second on a gradual change. We propose a way to manage the gradual change by bundling traditional big deal licenses and author charges for opening access to individual articles.
Resumo:
The Internet has made possible the cost-effective dissemination of scientific journals in the form of electronic versions, usually in parallel with the printed versions. At the same time the electronic medium also makes possible totally new open access (OA) distribution models, funded by author charges, sponsorship, advertising, voluntary work, etc., where the end product is free in full text to the readers. Although more than 2,000 new OA journals have been founded in the last 15 years, the uptake of open access has been rather slow, with currently around 5% of all peer-reviewed articles published in OA journals. The slow growth can to a large extent be explained by the fact that open access has predominantly emerged via newly founded journals and startup publishers. Established journals and publishers have not had strong enough incentives to change their business models, and the commercial risks in doing so have been high. In this paper we outline and discuss two different scenarios for how scholarly publishers could change their operating model to open access. The first is based on an instantaneous change and the second on a gradual change. We propose a way to manage the gradual change by bundling traditional big deal licenses and author charges for opening access to individual articles.
Resumo:
The Gesture of Exposure On the presentation of the work of art in the modern art exhibition The topic of this dissertation is the presentation of art works in the modern art exhibition as being the established and conventionalized form of art encounter. It investigates the possibility of a theorization of the art exhibition as a separate object for research, and attempts to examine the relationship between the art work and its presentation in a modern art exhibition. The study takes its point of departure in the area vaguely defined as exhibition studies, and in the lack of a general problematization of the analytical tools used for closer examination of the modern art exhibition. Another lacking aspect is a closer consideration of what happens to the work of art when it is exposed in an art exhibition. The aim of the dissertation is to find a set of concepts that can be used for further theorization The art exhibition is here treated, on the one hand, as an act of exposure, as a showing gesture. On the other hand, the art exhibition is seen as a spatiality, as a space that is produced in the act of showing. Both aspects are seen to be intimately involved in knowledge production. The dissertation is divided into four parts, in which different aspects of the art exhibition are analyzed using different theoretical approaches. The first part uses the archaeological model of Michel Foucault, and discusses the exhibition as a discursive formation based on communicative activity. The second part analyses the derived concepts of gesture and space. This leads to the proposition of three metaphorical spatialities the frame, the agora and the threshold which are seen as providing a possibility for a further extension of the theory of exhibitions. The third part extends the problematization of the relationship between the individual work of art and its exposure through the ideas of Walter Benjamin and Maurice Blanchot. The fourth part carries out a close reading of three presentations from the modern era in order to further examine the relationship between the work of art and its presentation, using the tools that have been developed during the study. In the concluding section, it is possible to see clearer borderlines and conditions for the development of an exhibition theory. The concepts that have been analysed and developed into tools are shown to be useful, and the examples take the discussion into a consideration of the altered premises for the encounter with the postmodern work of art.
Resumo:
The Uppsala school of Axel Hgerstrm can be said to have been the last genuinely Swedish philosophical movement. On the other hand, the Swedish analytic tradition is often said to have its roots in Hgerstrm s thought. This work examines the transformation from Uppsala philosophy to analytic philosophy from an actor-based historical perspective. The aim is to describe how a group of younger scholars (Ingemar Hedenius, Konrad Marc-Wogau, Anders Wedberg, Alf Ross, Herbert Tingsten, Gunnar Myrdal) colonised the legacy of Hgerstrm and Uppsala philosophy, and faced the challenges they met in trying to reconcile this legacy with the changing philosophical and political currents of the 1930s and 40s. Following Quentin Skinner, the texts are analysed as moves or speech acts in a particular historical context. The thesis consists of five previously published case studies and an introduction. The first study describes how the image of Hgerstrm as the father of the Swedish analytic tradition was created by a particular faction of younger Uppsala philosophers who (re-) presented the Hgerstrmian philosophy as a parallel movement to logical empiricism. The second study examines the confrontations between Uppsala philosophy and logical empiricism in both the editorial board and in the pages of Sweden s leading philosophical journal Theoria. The third study focuses on how the younger generation redescribed Hgerstrmian legal philosophical ideas (Scandinavian Legal Realism), while the fourth study discusses how they responded to the accusations of a connection between Hgerstrm s value nihilistic theory and totalitarianism. Finally, the fifth study examines how the Swedish social scientist and Social Democratic intellectual Gunnar Myrdal tried to reconcile value nihilism with a strong political programme for social reform. The contribution of this thesis to the field consists mainly in a re-evaluation of the role of Uppsala philosophy in the history of Swedish philosophy. From this perspective the Uppsala School was less a collection of certain definite philosophical ideas than an intellectual legacy that was the subject of fierce struggles. Its theories and ideas were redescribed in various ways by individual actors with different philosophical and political intentions.
Resumo:
In the last thirty years, primarily feminist scholars have drawn attention to and re-evaluated the philosophy of Simone de Beauvoir (1908 1986). Her philosophical practice has been described as non-systematic, and her literary writing has been viewed as part of her non-systematic mode of philosophising. This dissertation radically deepens the question concerning Beauvoir s philosophical motivations for turning to literature as a mode to express subjectivity. It explicates the central concepts of Beauvoir s philosophy of existence, which are subjectivity, ambiguity, paradox and temporality, and their background in the modern traditions of existential philosophy and phenomenology. It also clarifies Beauvoir s main reason to turn to literature in order to express subjectivity as both singular and universal: as a specific mode of communication, literature is able to make the universality of existence manifest in the concrete, singular and temporal texture of life. In addition, the thesis gives examples of how Beauvoir s literary works contribute to an understanding of the complexity of subjectivity. I use the expression poetics of subjectivity to refer to the systematic relation between Beauvoir s existential and phenomenological notion of subjectivity and her literary works, and to her articulations of a creative mode of using language, especially in the novel. The thesis is divided into five chapters, of which the first three investigate Beauvoir s philosophy of existence at the intersection of the modern traditions of thought that began with Ren Descartes and Sren Kierkegaard s intuitions about subjectivity. Chapter 1 interprets Beauvoir s notion of ambiguity, as compared to paradox, and argues that both determine her notion of existence. Chapters 2 and 3 investigate the phenomenological side of Beauvoir s philosophy through a study of her response to early French interpretations of transcendental subjectivity, especially in the works of Jean-Paul Sartre and Maurice Merleau-Ponty. My analysis shows that Edmund Husserl s distinction between different levels of subjective experience is central to Beauvoir s understanding of subjectivity and to the different ego concepts she uses. Chapter 4 is a study of Beauvoir s reflections on the expression of subjective thought, and, more specifically, her philosophical conceptions of the metaphysical novel and the autobiography as two modes of indirect communication. Chapter 5, finally, compares two modes of investigating concrete subjectivity; Beauvoir s conceptual study of femininity in Le deuxime sexe and her literary expression of subjectivity in the novel L Invite. My analysis reveals and explicates Beauvoir s original contribution to a comprehensive understanding of the becoming and paradox of human existence: the fundamental insight that these phenomena are sexed, historically as well as imaginatively.
Resumo:
Idyll or Reality? Albert Edelfelt, Gunnar Berndtson and the ambivalent breakthrough of modernity Albert Edelfelt (1854-1905) and Gunnar Berndtson (1854-1895) have much in common. In this dissertation, I study their paintings of local peasants and fishermen and of the gentrys summer in the county of Uusimaa in southern Finland, in the context of Nordic history of ideas. The breakthrough of modernity, with its attention on debating social problems, provides a novel angle into the oeuvres of the two artists. My focus is on the paintings which emerge in the collision of the public discussion of social matters and the values of the artists manorial milieu. The artists relation to the public discussion is scrutinized through two of the main topics: the question of the common people and democracy, and the question of equality between men and women. My dissertation is a contextual study which is based on the analysis of the artworks of Edelfelt and Berndtson, on their letters, and on the study of drama and fiction of their time. The notion libert, egalit, fraternit is linked to the breakthrough of modernity. Both artists were aware of the ideal of equality. They used the means and the themes of contemporary art in their presentations, but their pictures contain the ideal of an earlier epoch: the hardworking, but still complacent common people. This conception of the common people is also reflected in the poems of J. L. Runeberg. Women of the late 19th century challenged womans primary role as wife and mother. In Edelfelts and Berndtsons depictions of the gentry enjoying summer, women and children have the main role. Notwithstanding the debate of the breakthrough of modernity they depicted women almost without exception as good mothers. Their paintings often depict lazy days in the sunshine, which were, in reality, rare moments for the mistress of the house. Edelfelts and Berndtsons subjects from the Uusimaa countryside coincide with the topics of the breakthrough of modernity, but both the pictures of the common people and the depictions of the gentry enjoying summer, are a retouched picture of reality, often an idyll, in which the public discussion of social matters is evident only materially or not at all.
Resumo:
Tutkielmani aiheena on noin 2500 vuotta sitten Efesoksen kaupungissa elneen Herakleitoksen ajattelu. Selvitn, mik suhde Herakleitoksen ajattelulla on filosofiaan ja metafysiikkaan. Lhestyn tt kysymyst pasiassa kahden uuden ajan filosofin italialaisen Giorgio Collin (1917-1979) ja saksalaisen Martin Heideggerin (1889-1976) esittmien tulkintojen pohjalta. Osoitan, ett Herakleitoksen ajattelu eroaa olennaisesti Platonin ja Aristoteleen jlkeisest filosofisesta ja metafyysisest ajattelusta. Perusteluna tarkastelen Herakleitoksen ajattelua neljst nkkulmasta: 1) historiallisesti filosofian synty edeltneen viisauden ja uskonnollisen ajattelun edustajana, 2) loogisesti olevan ksitteeseen keskittyvst metafysiikasta poikkeavana ajatteluna, 3) vlittmn kokemuksen ajatteluna ja 4) fenomenologisena ilmin ja ktkeytymttmyyden ajatteluna. Ensimminen ja kolmas nkkulma edustavat Collin tulkintaa, toinen ja neljs nkkulma puolestaan Heideggerin tulkintaa. Trkeimpin lhteinni ovat Collin teokset Filosofian synty (1975), Filosofia dell'espressione (1969) ja La sapienza greca (1977-80) sek Heideggerin teokset Oleminen ja aika (1927), Einfhrung in die Metaphysik (1935/53), Aletheia (1951), Logos (1951) ja Heraklit Seminar (1966-67).
Resumo:
Clemens Aleksandrialainen oli sivistynyt varhaiskristillinen kirjoittaja. Tmn tutkielman plhteen on hnen Paedagogus-teoksensa, jota analysoimalla vastataan kysymykseen,millainen kristillisen elmn opas se on, ja mit kirjoittaja opettaa siin kristillisest elmst. Metodina on systemaattinen analyysi. Koska Clemens-tutkimuksessa on usein keskitytty hnen oletettuun pteokseensa Stromateis, avaa Paedagogus-teoksen opetukseen tutustuminen sek Clemensin ajattelusta ett varhaiskristillisest elmst uusia puolia. Kirjoittajan opetusta kristillisest kytnnn elmst (kr. praksis) on tutkittu hyvin vhn. Clemens on trke varhaisen kirkon opettaja, joka kehitti ratkaisevalla tavalla ihmisen jumalallistumiseen (kr. theosis) liittyv terminologiaa. Tutkielmassa keskitytn niden kahden osa-alueen suhteeseen, jossa Clemensin tunneteorialla on keskeinen merkitys.
