Thesis (Ph. D.)--Rheinische Friedrich Wilhelms-Universität Bonn, 1924. / Includes bibliographical references (p. 6-12).

Thesis (Ph. D.)--Rheinische Friedrich Wilhelms-Universität Bonn, 1924. / Includes bibliographical references (p. 6-12).

Num âmbito geral, nosso objetivo será identificar e analisar as origens da concepção estético-ética de estilo utilizada pelo jovem Nietzsche, bem como analisar a relação entre os conceitos de estilo (Stil) e formação (Bildung) nestes escritos juvenis. Num âmbito específico, o escopo do presente trabalho consiste em mostrar a tese de que o estilo, para o jovem Nietzsche, é tomado como um princípio estético-ético fundamental para que a filosofia realize a sua meta: a formação do homem. Pretendemos mostrar que Nietzsche pensa a ideia da formação do homem em estreita relação com a proposta classicista de uma educação estética através do caráter simples e ingênuo expresso no estilo da arte dos gregos. Retomando a luta pela formação (Bildungkampf)iniciada outrora pelos clássicos alemães, Winckelmann, Goethe e Schiller, Nietzsche se colocacomoherdeiro e continuador de uma corrente de pensadores que idealizaram a Grécia clássica como o modelo de cultura e, doravante, utilizaram este ideal como um ponto de fuga para superar a barbárie moderna. É neste registro que Nietzsche pensará o tema do estilo na filosofia, pois, uma vez que a tarefa da filosofia é realizar a formação do homem, o melhor estilo para o discurso filosófico deve ser o estilo simples e ingênuo dos clássicos. Como exemplo de simplicidade e ingenuidade no discurso filosófico moderno, Nietzsche apresenta Schopenhauer, o filósofo educador por excelência. / In a broad context, the main goal of this thesis will be to identify and analyze the origins of aesthetic-ethical conception in style used by the young Nietzsche, as well as to examine the relationship between the concepts of style (Stil) and education (Bildung) in these youthful writings. In a more specific context, the scope of this study is to describe the theory that style for young Nietzsche, is taken as an aesthetic-ethical fundamental principle for philosophy to achieveits goal: the formation of man. Nietzsche thinks the idea of the formation of man closely with the classicist proposal for an aesthetic education through the simple and naïve character expressed in the Greek art style. Returning to the \"struggle for formation\" (Bildungkampf) started once by German classics, Winckelmann, Goethe and Schiller, Nietzsche stands as an inheritor and continuer of a chain of thinkers who idealized the classical Greece as the model of culture and henceforth used this ideal as a breakout point for overcoming the modern barbarity. It is in this record that Nietzsche will think thetheme of style in philosophy, once, since the purpose of philosophy is to realize the formation of man, the best style for philosophical discourse should be simple and naïve style of the classics. As an example of simplicity and naivety in the modern philosophical discourse, Nietzsche presents Schopenhauer, the philosopher educator par excellence.

Thesis (Ph.D.)--Ohio University, March, 2006. / Title from PDF t.p. Includes bibliographical references (p. 215-229)

Originally presented as author's thesis (Ph. D.--University of Toronto). / Includes bibliographical references (p. [345]-365) and indexes.

Thesis (Ph. D.)--Universität Greifswald, 1924. / Vita. Includes bibliographical references (p. 222-223).

Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.

Thesis (Ph. D.)--Universität Greifswald, 1924. / Vita. Includes bibliographical references (p. 222-223).

Thesis (Ph. D.)--Yale University, 1896. / Prefatory note signed: A.S.C. [i.e. Albert S. Cook].

Thesis--Uppsala. / Bibliography: p. 285-293.