Made available in DSpace on 2014-12-17T14:20:10Z (GMT). No. of bitstreams: 1 RafaelRPT_DISSERT.pdf: 591721 bytes, checksum: eaa2ba7564c2572266b16e14bfa5ac7b (MD5) Previous issue date: 2013-03-20 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This paper is about the form of social modulation, The Facebook. The social order is the form that all parties. The modulations (there are several) are aspects of social order and therefore capable formant. The Facebook, then, is searched as a Dionysian aspects of the social form that appears with cyberculture and the mass consumption. Thus, it is to display the attitude of Dionysian that consume otherness and give up the KEYWORDS: social form, modulation, Dionysian, cyberculture, Facebook consumption on Facebook / Esse trabalho trata de uma modula??o da forma social, o Facebook. A forma social ? o todo que forma as partes. As modula??es (existem v?rias) s?o aspectos da forma social e, portanto, com capacidade formante. O Facebook, ent?o, ? pesquisado como um dos aspectos dionis?acos da forma social que surge com a cibercultura e o consumo de massa. Assim, trata-se de mostrar a atitude dionis?aca de consumir a alteridade e dar-se ao consumo no Facebook

This study offers a comparative investigation into selected figurative and nonfigurative, monochromatic (and mainly monochromatic) artworks by Ad Reinhardt, Ultimate Painting nr 39 (1963), Yves Klein, Monochrome bleu (IKB 3) (1956) and The thin red line (1970) by Douglas Portway. The aim of this research is to examine the possible subjective, meaningful function of the seemingly objective artworks. The selected artworks represent the formalist tendency of the high-Modernist conception of art-as-art, or the artwork as an autonomous objective object. At first sight the objective artworks seem to refute the subjective intentions of the artists who present them as both an externalisation of subjective experience and as possibly meaningful to the viewer. The investigation into the possible subjectively meaningful artworks is guided by an Existential approach to the aesthetic experience, as proposed by Nietzche’s Dionysian and Apollonian concepts as well as Sartre’s conceptualisation of néantisation and the imagination respectively. Both philosophers describe aesthetic experience as a meeting between both subjective and objective elements of their philosophy. The experience of the aesthetic (in the artworks) ultimately leads to a subjective space within which the seemingly objective artworks function as a subjective platform on which the Existential search for meaning can be considered (and possibly relieved). / MA (History of Art), North-West University, Potchefstroom Campus, 2014

This study offers a comparative investigation into selected figurative and nonfigurative, monochromatic (and mainly monochromatic) artworks by Ad Reinhardt, Ultimate Painting nr 39 (1963), Yves Klein, Monochrome bleu (IKB 3) (1956) and The thin red line (1970) by Douglas Portway. The aim of this research is to examine the possible subjective, meaningful function of the seemingly objective artworks. The selected artworks represent the formalist tendency of the high-Modernist conception of art-as-art, or the artwork as an autonomous objective object. At first sight the objective artworks seem to refute the subjective intentions of the artists who present them as both an externalisation of subjective experience and as possibly meaningful to the viewer. The investigation into the possible subjectively meaningful artworks is guided by an Existential approach to the aesthetic experience, as proposed by Nietzche’s Dionysian and Apollonian concepts as well as Sartre’s conceptualisation of néantisation and the imagination respectively. Both philosophers describe aesthetic experience as a meeting between both subjective and objective elements of their philosophy. The experience of the aesthetic (in the artworks) ultimately leads to a subjective space within which the seemingly objective artworks function as a subjective platform on which the Existential search for meaning can be considered (and possibly relieved). / MA (History of Art), North-West University, Potchefstroom Campus, 2014

尼采認為藝術的來源是自然中的兩種藝術衝動：戴奧尼索斯式的與阿波羅式的衝動。戴奧尼索斯式藝術是在生命原始的衝動所造成的「過度」中，沈浸在迷醉與狂喜的出神忘我狀態，是充滿力量的宇宙生機的流現。阿波羅式的藝術則提供一種夢幻似的美麗外觀，以幻象的形式遮掩生命本質的恐怖。而希臘悲劇可以作為藝術精神的最完美呈現的理由，就在於它結合了這兩種衝動。悲劇結合了藝術衝動的兩種積極力量，也就是變形(transfiguration)和超越(overcoming)；而悲劇的作用則在於提供尼采所謂的「形而上的安慰」。藝術不只是以美的形象掩蓋住生命令人畏懼的真實面貌，它更透過變形的作用來超越現實的恐怖，以美的形式展現自然豐沛的力量。因此，藝術指出了一種積極的面向：生命中的美學創造力使得人的生存儘管是充滿悲苦，但卻不是沒有價值而必須被否定的。生命的價值由藝術來支持，藝術的優劣也由它表現的生命力來評斷了。尼采在《悲劇的誕生》中呈出的藝術觀具有以下幾個特點： 　　(1)尼采放棄以主／客觀作為評判藝術品好壞的標準。他重新定義主觀是一種主體自我與自然融合的表現，這種主體才能分受自然源源不絕的創造生機，因而能表現出普遍性。 　　(2)藝術與生命的緊密連結使尼采反對以認知的態度看待藝術。蘇格拉底式的認知態度即是因為對生命的無知而產生不恰當的了解，也僵化藝術的創作力。 　　(3)自然孕育了創造與破壞兩種力量，為了吸納創造力，藝術同時也把醜放入它的表現內容裡，豐富了藝術的內涵。尼采並不像當時大部分美學家，把對藝術的討論局限在對美感的分析，但他也並未因此就認為藝術缺少美的形式還可以是藝術。 　　(4)以美的態度面對人生，說明生存的價值。這種態度不是把生命當成一種對象來欣賞，而是投注其中的創造精神；這是以創作者為中心的美學態度。生命價值就是建基在人對生存的苦痛不斷的超越，藝術一方面作為生命合理化的理由，同時自然的豐富創造力也使得藝術更形深刻。

Made available in DSpace on 2016-08-03T12:18:48Z (GMT). No. of bitstreams: 1 RUY ROCHA JUNIOR1-90.pdf: 751585 bytes, checksum: 2ff074277ec7c52d395fb6c1819f5fc3 (MD5) Previous issue date: 2011-08-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study examines some symbolic resignifications of the Ancient Mystery Cults, as well some developments of their historical realities. This dissertation evaluates the possible flows and exchanges occurring in Mediterranean environments, focusing on the reframes that the mysteries suffered in these borders, also discussing on their possible influence on a biblical passage. In the investigation some hypothesis will be made concerning the relation with the mysterical cults of the Hellenistic expansion, as well their possible interfaces with a primary source of the New Testament. Based on the study of the major mysteries in the Roman frontiers, and in the evaluation of the New Testament literature, will be considered the approaches and symbolic differences between the Dionysian cult and the text of John 2, 1-11. / O presente estudo analisa algumas ressignificações simbólicas dos Antigos Cultos de Mistério, bem como alguns desdobramentos de suas realidades históricas. Essa dissertação avalia os possíveis fluxos e trocas ocorridos nos entornos mediterrâneos, concentrando-se nas ressignificações que os mistérios sofreram nessas fronteiras, discorrendo igualmente sobre sua possível influência numa perícope bíblica. Na investigação serão levantadas hipóteses referentes a relação dos cultos mistéricos com a expansão helenística, bem como suas possíveis interfaces com uma fonte primária do Novo Testamento. Com base no estudo dos principais mistérios presentes nas fronteiras romanas, e na avaliação da literatura neotestamentária, serão consideradas as aproximações e distanciamentos simbólicos entre o culto Dionisíaco e o texto de João 2, 1-11.

[pt] O cangaço lampiônico, considerado aqui de 1920 a 1940, se deu entre os vestígios de um sertão arcaico e a incipiência de um sertão moderno. Viveu intensamente a tensão desta transição. Nalguns momentos, paradoxalmente, mostrou-se agarrado ao passado, noutros se lançou sem receios ao futuro e, entre essas investidas guiadas pela violência, pilhagem e vingança da honra maculada, criou uma estética exuberante, afirmativa da vida e moderna. Realizaram uma transgressão de fisionomia arcaizante e transcriaram no sertão os impulsos apolíneos e dionisíacos. Remixaram o arcaico lhe dando ares modernos, e através de intervenções estéticas conferiram a objetos comuns aura e autenticidade. Nos trajes e acessórios, criaram uma moda que ultrapassou os umbrais da indumentária. Na música, incorporaram novas batidas à ritmos tradicionais e criaram o xaxado. Na dança, inovaram com a criação da pisada, dança guerreira e festiva, hoje denominada xaxado. Os cangaceiros se tornaram performáticos de si mesmos. A estética do cangaço influenciou e influencia diversas manifestações artísticas, além de ter se tornado marca cultural da região nordeste do Brasil. / [en] The Lampion cangaço, considered here from 1920 to 1940, it took place between the vestiges of an archaic sertão and the beginnings of a modern sertão. He lived intensely the tension of this transition. At times, he stands himself out clinging to the past, at others he fearlessly launched himself into the future and, among these onslaughts guided by violence, plunder and revenge of the tarnished honor, he created an exuberante, life-affirming and modern aesthetic. They carried out a transgression of archaic physiognomy and transcribed the apollonian and dionysian impulses into the sertão. They remixed the archaic, giving it a modern look, and through aesthetic interventions they gave common objects an aura and authenticity. In costumes and accessories, they created a fashion that went beyond the threshold of clothing. In music, they incorporated new beats to traditional rhythms and created xaxado. In dance, they innovated with the creation of footsteps, a warrior and festive dance, today called xaxado. The cangaceiros became performers of themselves. The cangaço aesthetic has influenced and influences various artistic manifestations, in addition to having become a cultural mark of the northeast region of Brazil.

The central tenet of the study is that language and madness are bound together, language both including madness and perpetuating the exclusion of madness as 'other'. The first chapter considers the representation of madness in Atwood's novels The Edible Woman, Surfacing and Alias Grace from the perspective ofFoucauldian and Kristevan theories oflanguage and madness. Alias Grace becomes the focus in the second chapter. Here the syntax of madness is traced during Grace's stay in the mental asylum. Language, madness and sexuality are revealed as a palimpsest written on Grace's body. The final chapter looks at Grace's incarceration in the penitentiary and her dealings with the psychologist Dr. Simon Jordan where Grace's narrative tightly threads language and madness together. Underlying each chapter is a concern with how language and madness are in permanent interaction and opposition writing themselves onto society and onto Grace. / English Studies / M.A. (English)

L’ambition de cette thèse, qui se présente en sept chapitres regroupés en trois parties, est de reprendre l’ensemble du Corpus dionysien pour en définir un principe de cohérence : la théologie négative. Dans le sillage des recherches antérieures, souvent centrées sur une des œuvres qui lui sont attribuées ou sur une thématique particulière, on s’est interrogé sur l’histoire et la complexité de plusieurs concepts centraux de l’œuvre : théologie négative, symbole, hiérarchie. Et, en proposant de considérer la Hiérarchie ecclésiastique comme l’achèvement du Corpus – c’est au bref traité de la Théologie mystique qu’on attribuait volontiers cette place – nous montrons comment l’apophase ou la théologie négative s’enrichit, s’approfondit, d’une dimension liturgique, au-delà de l'affirmation et de la négation. / The purpose of this thesis, consisting of seven chapters grouped under three sections, is to reconsider the whole dionysian Corpus and to define the principle of its consistency, that is negative theology. Following the previous research, often focusing on one of the treatises or a main theme, we start with the history and the complexity of several key concepts within the Corpus: negative theology, symbol, hierarchy. We suggest that Ecclesiastical Hierarchy should be considered as the final step of Dionysius’ theology (rather than Mystical Theology as usually), and that leads us to study how the apophasis or the negative theology deepens into a liturgical dimension, beyond affirmation and negation.

The central tenet of the study is that language and madness are bound together, language both including madness and perpetuating the exclusion of madness as 'other'. The first chapter considers the representation of madness in Atwood's novels The Edible Woman, Surfacing and Alias Grace from the perspective ofFoucauldian and Kristevan theories oflanguage and madness. Alias Grace becomes the focus in the second chapter. Here the syntax of madness is traced during Grace's stay in the mental asylum. Language, madness and sexuality are revealed as a palimpsest written on Grace's body. The final chapter looks at Grace's incarceration in the penitentiary and her dealings with the psychologist Dr. Simon Jordan where Grace's narrative tightly threads language and madness together. Underlying each chapter is a concern with how language and madness are in permanent interaction and opposition writing themselves onto society and onto Grace. / English Studies / M.A. (English)

Made available in DSpace on 2017-07-10T18:26:23Z (GMT). No. of bitstreams: 1 Leonardo Augusto Catafesta.pdf: 452585 bytes, checksum: 515c147274cd20b36866601e5be4e4ad (MD5) Previous issue date: 2010-12-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims to investigate the conception of Dionysian philosophy presented by Friedrich Nietzsche in his final writings. The German philosopher articulates the Dionysian notion along with the notion of Apollo in his first published book, namely, The birth of the tragedy (1872). In this work, there is a direct influence of Wagner s music and Schopenhauer s philosophy in the main theoretical conceptions, thus initiating a metaphysic of artist because, according to his conception, life can only be vindicated while aesthetic phenomenon. Since his work Too human (1878), the Dionysian concept disappears from Nietzschian texts, even in later fragments, returning only in the so called third phase, that is, from Thus spoke Zarathustra (1883), this time under a new approach Nietzsche completely disengages himself from Wagner and Schopenhoauer by not working with the metaphysic of artist or using the concept of Apollo. With a more mature thinking, the German philosopher diffuses his Dionysian philosophy proposing to be completely free from the metaphysic and at the same time affirming existence without boundaries. To do so, it is mainly necessary to transpose the Dionysian into philosophical pathos. Nietzsche makes use of tragic wisdom as the main instrument for such transposition for, only then, one can converse as regards Dionysian philosophy. Understanding tragic wisdom not as theoretical knowledge, but as the understanding and acceptance of the incessant fight that pervades all fractions of life, Nietzsche can declare himself as the first tragic philosopher. Not to fall in pessimism that depreciates life, due to his relentless fighting character, the philosopher exploits game notion. With it, man establishes common sense to the coming-to-be, interlining himself as supreme creator. Thus, a child s image is the example of the most skillful player because he or she inexorably throws him or herself at it without worrying about victory or defeat -- the important thing is to play the game. Hence, the path to understand Dionysian philosophy without presupposed metaphysisists is open. For Nietzsche metaphysic is articulated with the duplication of worlds a real world is envisioned as a condition of the apparent world . Having the need for truth as modus operandi, metaphysic mendaciously created a fixed and immutable world to justify the flow from the coming-to-be. According to the nietzschinian view, this entails the denial of effectiveness because by privileging the real world the apparent world is refuted, the only sphere on which the phenomenon life is possible. With the conception of the eternal recurrence of it, Nietzsche reaches a thought without metaphysic duality, overcoming the instant/everlasting dichotomy. For the metaphysic tradition, eternity has always been transcendent to the instant, as the eternal recurrence, eternity and instant have become equivalent, in other words, the instant is conceived as eternal. Moreover, to reach supreme affirmation of eternal recurrence, Nietzsche has notion of amor fati as being the great formula for the Yes, ie, of unrestricted affirmation for joy and pleasure as well as pain and suffering. In this sense, we can understand the Dionysian philosophy proposed by Nietzsche in his last writings while total suppression of affirmative pathos and metaphysic par excellence. / O objetivo do presente trabalho consiste na investigação da concepção da filosofia dionisíaca apresentada por Friedrich Nietzsche em seus escritos finais. O filósofo alemão lança a noção de dionisíaco, ao lado da noção de apolíneo, em seu primeiro livro publicado, a saber, O nascimento da tragédia (1872). Nesta obra há uma influência direta da música de Wagner e da filosofia de Schopenhauer nas principais concepções teóricas, surgindo, assim, uma metafísica de artista , pois a vida, na concepção de Nietzsche, só pode ser justificada enquanto fenômeno estético. Desde a obra Humano demasiado humano (1878), o conceito de dionisíaco desaparece dos textos nietzschianos, inclusive nos fragmentos póstumos, retornando apenas na chamada terceira fase do autor, ou seja, a partir de Assim falou Zaratustra (1883), só que agora sob uma nova abordagem: Nietzsche desvencilha-se completamente de Wagner e Schopenhauer, não trabalha sob uma metafísica de artista e não necessita mais da noção de apolíneo. Com o pensamento mais maduro, o filósofo alemão lança sua filosofia dionisíaca com a proposta de ser totalmente livre da metafísica ao mesmo tempo em que afirma irrestritamente a existência. Para isso, é necessário, primeiramente, transpor o dionisíaco em pathos filosófico. Nietzsche utiliza a sabedoria trágica como principal instrumento para tal transposição, pois, apenas assim, pode-se falar em filosofia dionisíaca. Entendendo a sabedoria trágica não como um conhecimento teórico, mas como a compreensão e aceitação da luta incessante que permeia todos os âmbitos da vida, Nietzsche pode declarar-se o primeiro filósofo trágico. E, para não cair num pessimismo que deprecie a vida, devido o seu caráter de luta sem trégua, o filósofo utiliza a noção de jogo. Com esta noção, o homem instaura sentido ao vir-a-ser, pautando-se como supremo criador. Deste modo, a imagem da criança é o exemplo do mais hábil jogador, pois se entrega inexoravelmente sem se preocupar com vitórias ou derrotas: o importante é jogar. Assim, abre-se o caminho para entender a filosofia dionisíaca sem pressupostos metafísicos. A metafísica, para Nietzsche, se articula com a duplicação de mundos: um mundo verdadeiro é concebido como condição do mundo aparente . Tendo a vontade de verdade como modus operandi, a metafísica criou mendazmente um mundo fixo e imutável para justificar o fluxo proveniente do vir-a-ser. Isso acarreta, segundo a visão nietzschiana, a negação da efetividade, pois, ao privilegiar o mundo verdadeiro, nega-se o mundo aparente, único âmbito no qual o fenômeno vida é possível. Com a concepção do eterno retorno do mesmo, Nietzsche atinge um pensamento sem dualidades metafísicas, superando também a dicotomia instante/eternidade. Para a tradição metafísica, a eternidade sempre foi transcendente ao instante, com o eterno retorno, eternidade e instante passam a ser equivalentes, ou seja, o instante é concebido como eterno. E, para atingir a afirmação suprema do eterno retorno, Nietzsche dispõe da noção de amor fati como sendo a grande fórmula para o Sim, ou seja, da afirmação irrestrita tanto da alegria e do prazer, quanto da dor e do sofrimento. Neste sentido, podemos compreender a filosofia dionisíaca, proposta por Nietzsche em seus últimos escritos, enquanto supressão total da metafísica e pathos afirmativo por excelência.