Dans la litterature international, l’ amour est sûrement un sujet privilégié, qui se exprime des façons divers. Dans mon projet de these nous examinerons une variante historique, poetique et très specifique, connue sous le nom de néohellénique dionysiasme”. Ce courant apparaît au debut de 20eme siècle, porté principalement par les poets de génération littéraire de 1910, dans le plus représentantif est Aggelos Sikelianos. Dans l’ oeuvre de ce poet l’ amour prend une valere global et religieux, exprime la tendance originelle a l’ union de tout chose et se met en rapport avec l’ esprit dionysiaque. Dans notre these nous etudierons en detail les expressions de l’ amour dionysiaque dans l’ oeuvre poetic d’ Aggelos Sikelianos, nous entreprendrons une typologie systématique des cas et nous examinerons la relation avec l’ art et la mythologie du monde grec ancient. Spécifiquemement, a partir de la typologie des expressions de l’ esprit dionysiaque dans la poésie de Sikelianos, nous examinerons les correspodances dans des oeuvres de l’ art grec ancient où le sujet de l’ amour a une dimension dionysiaque et nous montrerons des codes communs entre l’ art ancien et la poésie de Sikelianos. / The relationship between Angelos Sikelianos and the ancient spirit is well-known and has been the object of extensive research. Within the unique universe of his poetic mythology, the ancient world and its intellectual expressions (poetry, arts, religion, philosophy) constitue for Sikelianos the components of the Greek cultural diachrony. The intertextual relations between Sikelianos’ poetry and the artistic representations of the great myths of the ancient Greec religion (sculpture and painting) are crucial in order to interpret this universe. Out of these relations, we have chosen the research thematic of the Dionysiac love which represents a key-element in order to understand the Sikelianos cosmology.Indeed, in the poet’s work, love is of cosmological and religious value. It expresses the original tendency appearing in the union of all thinks and can be related to the Dionysian spirit. Reiterating the significance of the ekphrasis as practiced by the ancient Greek tradition, the expression of the Dionysiac love in the poetic work of Angelos Sikelianos has been affirmed via its links to the Greek vase-painting and the ancient Greek sculpture. We have recorded in a systematic way the texts where the poet passes throught the description of a work of art in order to express the Dionysian spirit. In the frame of an inter-semiotic approach, we attempted to highlight the eventual common codes between poetry and art, in order to assess the profound influence of the ancient Greek spirit on the personality and the work of of Sikelianos.

The aim of this essay is to examine how Donna Tartt’s The Secret History expresses the sublime experience and what its’ primary function is in the novel. The essay begins with discussing the concept of the sublime through a historical perspective, connecting primarily to Edmund Burke’s ideas and further contrasting them with the feminist criticism of Kristina Fjelkestam. A critical aspect of this study is to examine the notion of terror in the definitions of the sublime and to analyze how Tartt incorporates it into the story by introducing the theme “beauty is terror”, in the beginning of the novel. The essay introduces different techniques used to express this terror, and simultaneously touches upon gothic conventions – such as sublime nature – as well as the postmodern convention of “the unpresentable”, put forward by Jean-Francois Lyotard. This leads to a minor presentation of gothic-postmodernism – a fairly new genre which highlights similarities in the terror experience of the French Revolution and the one we experience from terrorism and media in the modern world. Further, the essay wants to demonstrate how Tartt uses Friedrich Nietzsche’s idea of the Apollonian and Dionysian – how it is concretely embedded in the storyline but also how it functions as a theme throughout the novel, expressing not only a Nietzschean philosophy but also using this dichotomy to further establish a sublime expression.

Η μεταπτυχιακή διατριβή έχει ως θέμα της τη Διονυσιακή λατρεία. Συγκεκριμένα αναφέρεται στην είσοδο του θεού Διονύσου στην αρχαία Ελλάδα και στη Ρώμη βασιζόμενη σε δύο πηγές, στις "Βάκχες" του Ευριπίδη και το "Ab Urbe Condita" του Τίτου Λίβιου (39.8-19). / The thesis's theme is based on Dionysian religion. Spesifically, it is based upon the introduction of Dionysus in ancient Greece and Rome. For this study I have used two literary works, Euripides' "Bacchae" and Livy's "Ab Urbe Condita" (39.8-19).

Orientador: José Carlos Bruni / Banca: Clélia Aparecida Martins / Banca: Franklin Leopoldo e Silva / Resumo: Esta pesquisa tem como objetivo analisar a construção filosófica de Friedrich Nietzsche acerca do sentido de sabedoria trágica, desde sua formulação no estudo sobre a tragédia até os escritos finais no que concerne ao trágico. Nesse intuito, busca-se aprofundar o estudo dos elementos tratados por Nietzsche ao longo de sua produção filosófica, passando pelos conceitos apolíneo e dionisíaco, a partir dos quais tratará do nascimento da arte trágica e do enfrentamento do pessimismo, e retratando as modificações sofridas por seu pensamento ao distanciar-se da concepção metafísica de arte e voltar-se a um projeto pelo qual enaltece a força dionisíaca em oposição ao conhecimento moral e metafísico. Desse modo, serão analisados os caminhos percorridos por esta filosofia trágica, que encontrará sua máxima na concepção do eterno retorno e na força dionisíaca de afirmação da existência / Abstract: This research aims to analyse the philosophical construction of Friedrich Nietzsche specifically the tragic wisdom's meaning, since when it was formulates in the study of the tragedy until the final writings in regard to the tragic. To this end, the focus was to analyse with details the study of elements that are used by Nietzsche throughout his philosophical production, through with the apollonian and dionysian's concepts, from which will deal with the begin of the tragic art and the confront of the pessimism, and reflecting the changes suffered from his thought that is to be distant from the metaphysical conception of art and to be with a project that extols the dionysian force in opposition to the moral and metaphysical knowledge. Thus, it will be analysed the paths that are taken by this tragic's philosophy, and that will find its maximum in the conception of eternal recurrence and Dionysian's power of life's affirmation / Mestre

Dans cette thèse, nous nous proposons d’analyser les composants apolliniens et dionysiaques qui dialoguent, s’affrontent ou complotent mutuellement dans la conception des techniques audiovisuelles. Pour ce faire nous suivons un parcours qui va du mythe de Narcisse jusqu’au cinématographe, en passant par la fixation de l’image issue de la chambre noire et la mise en mouvement des images avec le chronophotographe.Nous nous appuyons sur le distinguo de Friedrich Nietzsche développé dans La naissance de la tragédie entre ces deux impulsions (l'apollinien et le dionysiaque) dans la mesure où celles-ci ordonnent toute construction culturelle. Nous identifions ainsi dans l’archéologie des médias le combat entre les belles formes qui veulent être fixes, et le chaos ivre qui se perd dans le devenir actif.Dans ce contexte, nous aurons recours à des couples fondateurs indispensables pour aborder les techniques audiovisuelles depuis cet angle d’analyse : lumière/ombre, réalité/imagination, culture/nature, raison/corps et, bien entendu, art/technique.Bien que le combat entre l'apollinien et le dionysiaque donne lieu, selon Nietzsche, à un accouplement dans la tragédie grecque, nous verrons que tout au long de ce que nous appelons le « trajet de l’outil » – qui va du miroir au cinématographe –, les deux impulsions se rapprochent ou s’éloignent par intermittences.C’est à partir de cela que nous formulons l’hypothèse selon laquelle avec la naissance du cinématographe (en tant que technique) et du cinéma (en tant qu’art), Apollon et Dionysos vont à nouveau s’unir dans un accouplement qui engendre l’art et la technique de la civilisation des médias audiovisuels. / This dissertation aims to analyse the Apollonian and the Dionysian components that interact, compete or plot mutually in the design of audio-visual techniques. To achieve this, we follow a path from the myth of Narcissus to the cinematograph, to the process of fixing the image in the dark room such as the moving images of the chronophotograph.We rely on the distinction of Friedrich Nietzsche developed in The Birth of Tragedy between these two pulses (the Apollonian and the Dionysian) to the extent that they enjoin any cultural construction. We identify in the archeology of the media the battle between the beautiful forms that want to be fixed, and the drunken chaos that is lost in becoming active.In this context, we will use the essential founding couples to study audiovisual techniques from this angle of analysis: light / shadow, reality / fantasy, Culture / nature, reason / body and, of course, art / technique.Although the struggle between the Apollonian and the Dionysian elements results, according to Nietzsche, in a coupling in Greek tragedy, we see that throughout what we call the "Tool path" - which embraces all the instruments form the mirror to the cinematography - the two pulses towards or away intermittently.From this analysis, we assume that with the birth of cinema (as a technique) and film (as art), Apollo and Dionysus will unite again in a coupling that begets the art and technique of the audiovisual media civilization.

The period of tumultuous religious reformation during which George Herbert lived demanded of people a strict adherence to the paradigmatic structures that prescribed the ways in which public displays of religious conviction were to be manifested. The freedom, indeed the necessity, to doubt is taken for granted by the modern reader, but for Herbert it was a matter of spiritual life and death. As country parson, he diligently labored to guide his parishioners, administer the sacraments, and exemplify the “right path.” This persona—reinforced by necessarily performative, faith-demonstrating actions—is continually destabilized by the experience of doubt, which leads Herbert to address his own persistent despair at the absence of God through poetry. His masterful use of the structural and thematic patterns of the Psalms in many of the poems of The Temple draws on the rich tradition of lament in contrast to the prescriptive, ideological agendas of the Book of Common Prayer and the Common Lectionary which privilege faith. The poems demonstrate an extensive knowledge of the epistemological foundations and history of both official Church doctrine and of medieval mystical thought and become a tool for exploring the paradoxes of human existence. His philosophical and rhetorical engagement with the Christological and ecclesiastical theology specific to Dionysian mysticism demonstrates the intensity of Herbert’s preoccupation with Divine absence and his near obsessive search for the ideal apophatic presence, that silent, knowing-unknowing that defines oneness with God. Nowhere are Herbert’s existential dilemmas more evident than in Memoriae Matris Sacrum, a sequence of poems written immediately following the death of his beloved mother, which reveals an inner life of the poet that his more controlled poetic voice of The Temple often conceals. These elegiac poems, written in Latin and Greek, show the poet as a “mourning child” and lay bare his most intimate fears about the constancy of his own faith and the uncertain terms of Christian death and resurrection embodied in the sacred ritual of the Eucharist. The poetic closure often ascribed to Herbert’s poems in fact disguises the nature of spiritual and psychological dilemmas which remain for Herbert persistent and unresolved.

This essay analyzes the theme of the pursuit of beauty in The Secret History. It analyzes the main characters’ concept of beauty, their manner of seeking beauty, as well as the result of this search. For this analysis, I use Friedrich Nietzsche’s theories of the Apollonian and the Dionysian as outlined in The Birth of Tragedy and in scholarly texts that analyze TBT— which describe the Apollonian/Dionysian dichotomy as the opposed worlds of order and madness— to define the main characters’ concept of beauty. The narrator of the novel once says that “beauty is terror” (Tartt 45), a statement which paints beauty as harsh and shocking, and potentially destructive. Likewise, in this essay I argue that for these characters beauty is created through the interplay between the Apollonian and the Dionysian, and that its pursuit leads to destruction. I analyze this through the characters of Richard Papen, Henry Winter, and Bunny Corcoran. Richard and Henry pursue beauty in that the actions they take are aimed at embodying an aesthetic ideal. In Richard’s case, it is his longing for beauty which leads him to imitate and join the classicists— particularly by mimicking their socio-economic class— and which eventually places him in a disordered Dionysian world of madness and murder. Henry, on the other hand, is the embodiment of Apollonian order, and it is his search for beauty through a bacchanal which leads him to commit murder twice and, eventually, to take his own life. Lastly, Bunny is different in that he is neither beautiful nor interested in beauty as his peers define it. It is because of this that he is excluded from the others’ pursuit of beauty, that he is murdered, and that his murder is justifiable in the eyes of his murderers. This study finds that, in The Secret History, where beauty is defined as the dance between Apollonian order and Dionysian madness, the Dionysian ends up as the victorious half of the dichotomy, causing the loss of reason and the triumph of destruction and disaster. This portrayal of beauty as destruction and vice versa, rather than serving as the vehicle for a moral indictment, is instead the very purpose of the novel.

Made available in DSpace on 2016-04-27T17:27:24Z (GMT). No. of bitstreams: 1 Mauro_-_tese_completa.pdf: 1152062 bytes, checksum: 5d3ce23686f92e645b4b1ad41a91c6ae (MD5) Previous issue date: 2005-05-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ascetism became known for the efforts made by metaphysician to reach their spiritual purpose. Nietzsche published a critique on ascetical ideals in the III Dissertation of the Genealogy of Morals because ascesis had taken transcendental life as a reference for all values beyond this life which is immanent. An ascetic metaphysical morality emphasized the dualism this life another life , which Nietzsche contested by stating it had philosophically originated with Plato as morality against nature . Thus, by returning to the cradle of Western culture, Nietzsche propounds a revision of ascesis based on transcendence, immutability, and truth from the standpoint of life, this life a constant flow, concerned exclusively with change, with outward aspects. In a nutshell, such ascesis refers to becoming a follower of Dionysus, to lead a dionysian life: a whirl of forces that continuously come together and apart, creating centres of will to power, giving rise to everything alive or, in other words, everything that appears and disappears into what is commonly called reality . Therefore, anyone willing to go further ahead of what is ordinary in the contemporary world could only demand of oneself the utmost self-overcoming, the utmost self-control in order to attain a quintessential spiritualization of instincts instead of the sterilization that transcendent values have long prescribed to the body as a rule for life. This hypothetical being is embodied in ascetic Nietzsche , here represented as a dionysian ascetic set against the ascetical ideal / O ascetismo ficou conhecido pelos esforços dos metafísicos para alcançar seus objetivos espirituais . Nietzsche dedicou, em especial, uma crítica aos ideais ascéticos na III Dissertação de A Genealogia da Moral, porque a ascese tomara a vida transcendente como referencial de todos os valores para além desta vida, que é imanente. Uma moral ascética metafísica reforçava o dualismo esta vida outra vida que Nietzsche combatia e que afirmava ter-se estabelecido filosoficamente com Platão, enquanto moral contranatureza . Assim, indo à origem da cultura ocidental, Nietzsche propõe que uma ascese com base na transcendência, no imutável, na verdade , seja revista a partir de uma perspectiva da vida, desta vida, fluir constante, com lugar somente para a mudança, para aparências . Trata-se, enfim, daquilo que, no filósofo seguidor de Dionísio , não é outra coisa senão uma vida dionisíaca, um baile de forças que se organizam e se desorganizam constantemente em centros de vontades de poder, originando tudo o que existe, ou, em outras palavras, tudo o que aparece e tudo o que desaparece naquilo que, normalmente , é denominado realidade. Portanto, alguém que deseja estar além do que seja o comum na contemporaneidade só poderia exigir de si o máximo de auto-superação, de um domínio de si mesmo, para se realizar em uma espiritualização dos instintos no lugar da castração que os valores transcendentes têm proposto para o corpo como vida. Este alguém se configura em Nietzsche asceta que, aqui, é apresentado como asceta dionisíaco contra o ideal ascético

If I relate beauty to nothingness, what happens? Is nothingness sort of an absence of beauty? Or it is portrayed by our culture and society, and, in such case, can I define this absence of beauty? Is it beauty that you cannot even catch? Is its appearance neutral, almost hidden? When we are born, we all have the same degree of beauty and purity, which is progressively lost as long as we start growing up. In a life span, we accumulate wrinkles, and defects and dirt which needs to be concealed in order to fit in certain social categories. But our bodies register all the marks, absorb all the signs and impurities, likewise filters. We don’t necessarly perceive our own dirt or impurities as disgusting, whereas, in the clash with the other, we automatically are ahsamed of it. Same way, we tend to regard the other’s dirt as disgusting, not our own, very private dirt. Dirt is matter out of place, so is ugliness. The stain must be cleansed, purified as it represents a threaten for beauty. It is subtracting clean space to beauty. We are part of a society that intimates us to clean up, shape up, hide your -very human- dirt under the carpet. But beauty, nor humanity, would not exist without that dirt. We do absorb impurities all life long. And that is what makes us what we ultimately are: humans. Dirt paradoxically works as a protection: the dirtier we are, the less afraid of getting dirty we will be. In the society we live in exist many difficulties when it comes to find an identity as humans and a position in it. We are often put in a situation of having to follow: a certain career, a living style, an ideology, somebody’s else opinion, what to consume, school systems. Etcetera. In such a society, and because of this “follower-like”, passive position, where we mostly have to repeat the same living patterns, it got harder and harder to retrieve the meaning of things and to understand where we come from. Who we really are. We tend to put on uniforms or masks to fit in different standardazied situations. Everything and everybody has to fit in its or his standard place. This way our intrinsic human beauty is concealed and somehow controlled. With my essai, I try to look under the carpet, undress, unmask and reach a new definition of beauty: a naked beauty, not concealed nor camouflaged. The beauty we all deeply share, unpretentious and honest. A beauty of nothingness: something I see or feel, but about which I keep wondering whether it is or it is not beauty. To develop such new definition of beauty, I recollect ideas and concepts of beauty from the past, with a main reference to western society: from beauty models in the ancient Greece, Apollonian VS Dionysian, to the Sublime, untill the present time. I try to define what purpose and non-purpose beauty is. What is ugliness and dirt and how they both are a prerequisites of beauty. I finally take a more personal look upon contemporary society and how its mechanisms define a beauty which is standard. It is starting from a reflexion about standard society and beauty, that I then define a more intrinsic human beauty. Such unevokable sensation of beauty is extremely subtle, hard to acknowledge: one needs to train ones eyes and go beyond the layers, to discover the beauty of nothingness.

Made available in DSpace on 2014-06-11T19:26:20Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-11-16Bitstream added on 2014-06-13T20:15:10Z : No. of bitstreams: 1 casado_tsm_me_mar.pdf: 371107 bytes, checksum: c916f1899683294270449329f8453f53 (MD5) / Esta pesquisa tem como objetivo analisar a construção filosófica de Friedrich Nietzsche acerca do sentido de sabedoria trágica, desde sua formulação no estudo sobre a tragédia até os escritos finais no que concerne ao trágico. Nesse intuito, busca-se aprofundar o estudo dos elementos tratados por Nietzsche ao longo de sua produção filosófica, passando pelos conceitos apolíneo e dionisíaco, a partir dos quais tratará do nascimento da arte trágica e do enfrentamento do pessimismo, e retratando as modificações sofridas por seu pensamento ao distanciar-se da concepção metafísica de arte e voltar-se a um projeto pelo qual enaltece a força dionisíaca em oposição ao conhecimento moral e metafísico. Desse modo, serão analisados os caminhos percorridos por esta filosofia trágica, que encontrará sua máxima na concepção do eterno retorno e na força dionisíaca de afirmação da existência / This research aims to analyse the philosophical construction of Friedrich Nietzsche specifically the tragic wisdom’s meaning, since when it was formulates in the study of the tragedy until the final writings in regard to the tragic. To this end, the focus was to analyse with details the study of elements that are used by Nietzsche throughout his philosophical production, through with the apollonian and dionysian’s concepts, from which will deal with the begin of the tragic art and the confront of the pessimism, and reflecting the changes suffered from his thought that is to be distant from the metaphysical conception of art and to be with a project that extols the dionysian force in opposition to the moral and metaphysical knowledge. Thus, it will be analysed the paths that are taken by this tragic’s philosophy, and that will find its maximum in the conception of eternal recurrence and Dionysian’s power of life’s affirmation