Thesis (PH. D.)--Bryn Mawr college, 1913. / Vita. Published also as Bryn Mawr monographs; monograph series, vol. XIII. Bibliography: p. [70]-77.

Inaug.-Diss.--Tübingen. / Vita. Bibliography: p. 162-172.

Thesis (Ph. D.)--University of Pennsylvania, 1939. / Includes bibliographical references.

Habilitationsschrift--Leipzig.

Thesis (Ph. D.)--Harvard, 1981. / Summary in pocket. Includes bibliographical references (leaves [467-490]).

The contemporary era is dominated by an Apollonian visual language, i.e. the visual language of mainstream cinema and the mass media, and this study concerns the role that critical cinema, as Dionysian subverter, plays under such conditions. I argue that critical cinema should not be viewed as something completely ‘new’ but rather as a new, or at least the latest, manifestation of an older subversive ‘Dionysian’ voice that has made its presence felt since the dawn of the hegemony of an Apollonian disposition in Homeric epic. (I maintain that the history of western culture can be understood in terms of the persistent tension between Apollonian and Dionysian dispositions, and I use the distinction Derrida makes in Différance, between restricted and general economies, to distinguish between them, respectively.) I begin by considering the Dionysian echoes within Homer’s Iliad and then consider the way in which they became a ‘roar’ in the tragedies of Aeschylus. After Aeschylus a predominantly Apollonian voice asserted itself once again (to various degrees) through the work of Sophocles and Euripides. This was in keeping with the trend towards a more (Apollonian) restricted economy that is reflected in the writings of Homer’s literary successors, and which reached a crucial stage in Plato’s valorisation of ‘dialectics’, or what I term ‘dialecticis m’, which saw the birth of ‘dialectical language’. Through Plato dialecticism, or dialectical language, became instantiated as the ‘language’ of western philosophy and this predisposed western culture to develop along predominantly Apollonian lines. This continued from Plato, through the Middle Ages, until in the 17th century this Apollonian trend became manifest in the concept of the stable, integral, autonomous and self -transparent Cartesian ego, which is inextricably linked to dialectical language that promises certainty of ‘truth’ and maintains the possibility of representing the world in its entirety (as a system). In the contemporary ‘age of a world picture’, the hegemonic (Apollonian) visual language of mainstream cinema and the mass media propagates and perpetuates the belief in the possibility of representing the world in its entirety through the image, and insofar as it caters to audiences’ needs for stability and certainty (of ‘truth’) through providing such ‘complete’ representations, shapes their subjectivity along the lines of the Cartesian ego. According to Baudrillard, in contemporary society and culture the hyperreal realm of visual language has become far more significant for individuals than their immediate, empirical experiences, and that, as a result, they are far less predisposed to discussion and reflection and far more prone to passive ‘watching’. Also, Adorno maintains that it is impossible to have a form of critical cinema because of the way in which features inherent to cinema predispose it towards being an ideological apparatus. However, if both Baudrillard and Adorno are correct then the future appears increasingly bleak as it involves nothing other than the continuation and propagation of the hegemony of the visual language of mainstream cinema and the mass media, with no possibility for critical resistance. I argue instead that critical cinema is possible because the move towards a more restricted economy, motivated by an Apollonian disposition, did not develop from Homer to the contemporary era without meeting Dionysian resistance. I trace the presence of a subversive Dionysian voice through Homer’s Iliad, through Aeschylus’ Prometheus Bound, and through Plato’s Dialogues, where it echoes in the sentiments of some of Plato’s interlocutors, such as Callicles. In addition, I maintain that a ‘Dionysian’ voice resonates through both Nietzsche’s and Heidegger’s respective criticisms of ‘dialectical language’ and the ‘validity’ of the Cartesian ego. I argue that critical cinema, particularly Aronofsky’s postmodern critical cinema, parallels their similar epistemological and ontological perspectives in the way in which it engages with the (Apollonian) visual language of mainstream cinema and the mass media, and thereby, potentially, facilitates a more porous and protean subjectivity.

Thèse (M.E.L..) -- Université du Québec à Chicoutimi, 2006. / Bibliogr.: f. 103-105. Document électronique également accessible en format PDF. CaQCU

Orientador: Oswaldo Giacoia Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T13:54:54Z (GMT). No. of bitstreams: 1 DallaVecchia_RicardoBazilio_M.pdf: 1648012 bytes, checksum: 5aff149d03681932ce7503f721266816 (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa visa discutir aspectos interpretativos pontuais da obra do filósofo alemão Friedrich Nietzsche (1844-1900), mais especificamente de sua tese de Metafísica do artista desenvolvida no denominado período da juventude (1870-1876). Articulada em três movimentos nossa pesquisa iniciará por um mapeamento geral do contexto histórico e intelectual do filósofo, o que nos permitirá situá-lo no projeto de crítica da modernidade política e cultural do séc. XIX, em seguida faremos uma reconstituição das discussões que permeiam o período da juventude, visando destacar os principais alicerces teóricos e metodológicos sobre os quais erigiu a tese de Metafísica do Artista, e, por fim, empreenderemos uma análise pontual desta tese tendo como ponto de vista a teoria dos processos criativos. Mediante estes três movimentos notaremos que a Metafísica do Artista se origina a partir da articulação entre um sentido especial e um registro especial, nomeadamente o retro-sentido (Hintersinn) de artista e terceiro registro, que, segundo propomos, podem ser compreendidos como fio condutor, ou Fio de Ariadne, para interpretação do programa filosófico da juventude, que denominamos por Labirinto. / Abstract: This research aims at to argue prompt aspects of the workmanship of the German philosopher Friedrich Nietzsche (1844-1900), more specifically of its Metaphysics thesis of the Artist developed in the period of youth (1870-1876). Articulated in three movements our research will start for a general mapping of the historical and intellectual context of the philosopher, it will allow us to point out it in the critical project of modernity cultural politics of century. XIX, after that we will make an reconstitution of the quarrels across the period of the youth, having aimed at to detach the main theoretical foundations and methodological on which it erected the thesis of Metaphysics of the Artist, and, finally, we will undertake a prompt analysis of this thesis having had as point of view the theory of the creative processes. By means of these three movements we will notice that the Metaphysics of the Artist originates from the joint between a special direction and a special register, nominated the backwarddirection (Hintersinn) of artist and third register, that, as we consider, can be understood as conducting wire, or Ariadne's wire, for interpretation of the philosophical program of youth, that we call Labyrinth. / Mestrado / Filosofia / Mestre em Filosofia

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-06T12:07:35Z No. of bitstreams: 1 Camilo de Jesus Dantas.pdf: 1072364 bytes, checksum: 3c72637c93d07f5a70923b8d93da22a0 (MD5) / Made available in DSpace on 2018-06-06T12:07:35Z (GMT). No. of bitstreams: 1 Camilo de Jesus Dantas.pdf: 1072364 bytes, checksum: 3c72637c93d07f5a70923b8d93da22a0 (MD5) Previous issue date: 2018-03-19 / This final paper approaches the relation between Greek religiosity, and the Attica tragedy in the final stage of Friedrich Nietzsche’s thinking and it intends to explain the relevance of the religion within the Hellenic cultural development process. It intends, from Nietzsche’s writings during the years of 1869 to 1875, handled by interpreters, Hellenists and old Greek texts, to achieve a clearer comprehension as religion, from which soil the Greek art has come, in a special way the tragedy. It is, therefore, an investigation of how in the light of the young Nietzsche´s Philosophy would have been articulated religiosity and art in ancient Greece / A presente dissertação aborda a relação entre a religiosidade grega e a tragédia ática na fase inicial do pensamento de Friedrich Nietzsche, com a intenção de explicitar a relevância da religião dentro do processo de desenvolvimento cultural helênico. Pretende-se, a partir dos escritos de Nietzsche compreendidos entre os anos de 1869 a 1875, apoiados por intérpretes, helenistas e textos da Antiguidade grega, chegar a uma compreensão mais clara da religião como solo do qual floresceu a arte grega, em especial a tragédia. Trata-se, portanto, de uma investigação de como teria se articulado a religiosidade e a arte na Grécia Antiga à luz da filosofia do jovem Nietzsche

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished