A tragédia grega As bacantes, de Eurípides, considerada de grande relevância, não apenas literária e teatral, mas, sobretudo, histórica e política, é analisada, nesta dissertação, sob o viés mítico-social, observando-se os diálogos que o poeta estabelece entre um aspecto do passado mítico de sua cultura e seu próprio tempo. Para tal, apresenta-se uma pesquisa acerca do momento histórico da tragédia grega, abordando seu intrínseco valor político, discussões teóricas a respeito de suas características, suas origens, os três principais tragediógrafos e sua recepção, bem como um olhar específico sobre Eurípides e seu legado. Na obra de arte em questão, ressaltamos, em especial, a relação entre as personagens Dioniso e Penteu, como indicadoras dos debates acerca do que se considera civilizado, selvagem ou bárbaro. A esse respeito, verificamos, ainda, pelo lugar de cultura tradicionalmente ocupado por Apolo, em também tradicional oposição a Dioniso, diferentes considerações sobre civilizado, selvagem e bárbaro, bem como a indissociabilidade entre barbárie e civilização, podendo ser balizados conforme valores políticos preponderantes. Tal indissociabilidade consiste na coexistência de elementos de barbárie e de civilização tanto em Dioniso quanto em Apolo, tomados como parâmetros arquetípicos dentro de uma sociedade / Euripides Greek tragedy Bacchae, highly praised for its relevance not only literary and theatrical, but specifically historical and political is analyzed throughout this thesis with a mythic-social idiosyncrasy, by perceiving the inter-established dialogs between the aspect of the poet's own cultural mythic past and his living epoch. Thus, presented is a research about Greeks tragedy historical moment, its intrinsic political value and theoretical discussions upon its characteristics, origins, its three most important play writers and its reception, as well as a specific examination over Euripides and his legacy. In the selected work of art we have mainly observed the relationship between the characters of Dionysos and Pentheus, as debate gauges around what is considered to be civilized, wild or barbaric. In this regard, we uphold, through the position of culture traditionally occupied by Apolo, in traditional as well opposition to Dionysos, different considerations about civilized, wild and barbaric, as well as the indissoluble connection between barbarism and civilization, concepts that can be delimited according to ruling political values. Such inseparable connection consists in the coexistence of barbaric and civilized elements, both in Dionysos as in Apolo, taken after archetypal parameters within a society

Na contemporaneidade nenhum deus da Grécia antiga exerce tanto fascínio quanto o deus do vinho, Diônisos. Filho de Zeus e de Sêmele, perseguido por Hera, protegido por Hermes e duas vezes nascido, estranho estrangeiro, veste máscaras, é coroado de hera, senhor da videira, impera nas Antestérias e nas Lenéias, está representado nos textos antigos, em vasos, frisos, frontões e nos legou o lugar de sua identidade, o teatro. O teatro é por excelência o espaço de Diônisos. Livre e libertador, o deus a céu aberto, com o passar do tempo tem para si um espaço singular. A presente pesquisa se detém na arquitetura teatral como uma tecnologia simbólica e sua disposição na paisagem para tentar compreender os códigos implícitos que denotam indícios de uma comunicação não verbal, presente no ambiente construído. Entendemos lugar como um conceito relacional, repositório de sequências e ações que se torna parte da tradição de um povo. Aliamos documentação textual às fontes materiais e, para desenvolver nosso tema, selecionamos um repertório com dezesseis teatros do mundo grego. Na Grécia situam-se nas seguintes cidades: Atenas, Argos, Delfos, Delos, Dodona, Epidauro, Mileto, Priene e Sicione. Na Itália eles estão localizados em Heracleia Minoa, Lócris, Metaponto, Morgantina, Segesta, Siracusa e Taormina. Utilizamos o nosso corpus documental como um registro a revelar aspectos do culto dionisíaco na pólis grega do séc. VI ao III a.C. / In the contemporary world, there is no other ancient Greek god who is found as fascinating as Dionysus, the god of wine. Son of Zeus and Semele, pursued by Hera, protected by Hermes and twice-born, strange foreigner, wearer of masks, crowned with ivy, lord of the vines, he is represented in ancient texts, vases and friezes, and he bequeathed to us the home of his identity: the theatre. The theatre is the Dionysian space par excellence. Liberated and liberating, the god of the open sky, with the passing of time he comes to possess a singular space for himself. This research project focuses on theatrical architecture as a symbolic technology, and on its use within the landscape, with the aim of understanding the implicit codes that denote the indices of a non-verbal communication present in the built environment. Space is understood as a relational concept, a repository of sequences and actions that become part of a people\'s tradition. We will link textual documents to material sources and, in order to develop the subject further, we have made a selection of sixteen theatres in the Greek world. In Greece, they are situated in the following cities: Athens, Argos, Delphi, Delos, Dodona, Epidaurus, Miletus, Priene and Sicione. In Italy, they are located in Heracleia Minoa, Locri, Metaponto, Morgantina, Segesta, Syracuse and Taormina. We will use our body of documents as a register through which to reveal aspects of the Dionysian cult in the Greek polis during the period VI-III BC.

Tout est force, or la force agit comme séduction : elle est une relation qui modifie et se modifie. Dionysos est le dieu de la séduction, que Socrate tente de renverser par la modification de la tragédie. Socrate, Platon et les philosophies traditionnelles sont des individus et des pensées réactifs : ils refusent la séduction, mais pour cela doivent séduire le monde pour le figer, et séduire d’autres individus pour qu’ils adhèrent à leur pensée. Ce refus du devenir et de la transformation inaugure cependant toute une histoire humaine. Nietzsche veut renverser cette histoire, c’est-à-dire la séduire, afin de produire le surhomme. Pour ce faire, il faut inverser le langage, le défaire de l’identité pour le faire renouer avec la métaphore : sortir du figement pour retrouver la métamorphose. Le style et l’art permettent cela, ainsi que la sophistique. De cette façon, Nietzsche trouve un langage et une logique permettant une forme de connaissance ne trahissant pas la séduction, mais au contraire l’affirmant : sa pensée agit comme une force, transformant ce qu’elle « connaît ». La séduction est le système métaphysique décrivant le monde comme un jeu de séduction, autrement dit de forces en lutte. Cette métaphysique se décrit elle-même comme une force parmi les autres, luttant contre les autres. La pensée nietzschéenne est féminine : elle est double, contradictoire, stylée et masquée. Elle révèle la contradiction inhérente à toute pensée, et particulièrement dans celles qui rejettent la contradiction en se fondant sur l’identité, comme c’est le cas des métaphysiques traditionnelles. Elle reconnaît même la possibilité de sa propre inversion, c’est-à-dire qu’elle peut elle aussi devenir réactive en figeant par sa description le monde du devenir. / Everything is force. Now, force acts as seduction : it is a relation that modifies and is modified. Dionysus is the god of seduction, that Socrates attempts to topple by modifying tragedy. Socrates, Plato and traditional philosophies are reactive individuals and forms of thinking : they refuse seduction, but to do so, they have to seduce the world to freeze it, and seduce other individuals for them to embrace their line of thought. This refusal of becoming and transformation nevertheless opens up a whole human history. Nietzsche intends to topple this history, that is to say, to seduce it, in order to produce the superman. In order to do so, language needs to be reversed and parted from identity, for it to revive metaphor : break the freezing to renew with metamorphosis. Such a process is allowed by style and art, as well as sophistics. Thus, Nietzsche finds a language and logic allowing a form of knowledge which doesn’t betray seduction, but on the contrary, asserts it : his thinking acts as a force transforming what is « known » by it. Seduction is the metaphysical system which describes the world as a game of seduction, that is to say of struggling forces. Such metaphysics describes itself as a force among the others, struggling against the others. Nietzschean thinking is feminine : it is double-sided, contradictory, stylish and masked. It reveals the inherent contradiction in all forms of thinking, particularly in those rejecting contradiction on the basis of identity – and such is the case in traditional metaphysics. His thinking even acknowledges the possibility of its own inversion, that is to say that it can also become reactive, freezing the world of becoming by its description.

Orientador: Andrea Lucia Dorini de Oliveira Carvalho Rossi / Resumo: A presente tese tem por intento compreender e questionar a existência, a atuação e o papel desempenhado pelo mito de Dioniso-Zagreu na tradição órfica da Grécia clássica, e na eventual dramatização desses mistérios. Seria este realmente o mito cardinal do orfismo ou ele é uma ficção intencionalmente provocada pelas leituras apologéticas dos estudiosos do século XIX? Integra-se a ele uma antropogonia inovadora ou não há evidências para tal construção teórica? A antiguidade, o conteúdo e a centralidade do mito têm sido motivo de amplo debate entre os estudiosos do tema. E esses debates, muitas vezes, se ajustam a imagens viciadas e induzidas das fontes, referências, métodos e materiais de investigação. Enquanto alguns intérpretes e comentadores inserem sua origem e, sobretudo, sua propagação, a partir V século AEC, outros, influenciados pelo cetiscimo e pelos apelos da hipercrítica, advogam pela inexistência tanto do mito, quanto da doutrina do pecado original que supostamente faria parte da composição desta narrativa. Munida de perspectivas e interpretações plurais, esta pesquisa visa a percorrer a história da tradição órfica, em busca de imagens que deem conta dessa multiplicidade intrínseca e característica do universo dionisíaco, a fim de analisar também as crenças peculiares às práticas de representação dramática e se elas estariam presentes no ritual órfico, em especial no período clássico, a partir da simbologia estabelecida à época pelos testemunhos, pela iconografia e ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis aims to understand and question the existence, the performance and the role played by the myth of Dionysos-Zagreus in the Orphic tradition of classical Greece, and in the eventual dramatization of these mysteries. Is this really the cardinal myth of Orphism or is it a fiction intentionally provoked by the apologetic readings of nineteenth-century scholars? Is an innovative anthropogony integrated into it or is there no evidence for such a theoretical construction? The antiquity, content and centrality of the myth have been the subject of wide debate among scholars. These debates often fit in with misleading and induced images of sources, references, methods, and research materials. While some interpreters and commentators insert its origin and, above all, its propagation, from the 5th century BCE, others, influenced by the eighteenth century and the appeals of the hypercritic, advocate the inexistence of both, myth and the doctrine of original sin, that supposedly would be part of the composition of this narrative. Armed with perspectives and plural interpretations, this research aims to search the history of the Orphic tradition, looking for images that account for this intrinsic multiplicity and characteristic of the Dionysian universe, in order to analyze also the beliefs peculiar to the practices of dramatic representation and if they would be present in the Orphic ritual, especially in the classical period, from the symbology established at the time by the te... (Complete abstract click electronic access below) / Doutor

Un grand nombre de dramaturges français aussi différents qu’André Gide, Antonin Artaud,Albert Camus, Jean-Paul Sartre, Henry de Montherlant et Jean Vauthier se sont emparés de la pensée de Nietzsche pour la représenter sur scène. Si des études ont été menées sur les liens entre la pensée de Nietzsche et les écrivains français, aucune n’a abordé de manière synthétique la présence de la pensée de Nietzsche dans le théâtre français du XXème siècle et notamment dans l’élaboration même du texte théâtral. Pourtant, cette pensée tragique qui part du Dionysos de La Naissance de la tragédie jusqu’à Ecce homo, ne cesse d’entretenir des liens consubstantiels avec le genre même du théâtre. La conception esthétique du dionysiaque présente des affinités avec l’art dramatique et semble prédisposée à se retrouver transposée et incarnée sur une scène de théâtre. La réflexion de Nietzsche sur la physiologie de l’art a pu entraîner un renouvellement de l’écriture des pratiques et écritures dramaturgiques traditionnelles au profit d’un théâtre vivant, incarné, usant de toutes les ressources dela scène. Paradoxalement, le théâtre métaphysique d’inspiration nietzschéenne va de pair avec une affirmation du corps et des passions. Á l’opposé d’un théâtre d’idées ou à thèse, certaines des oeuvres étudiées montrent que le théâtre métaphysique nietzschéen est avant tout un théâtre du corps, à la recherche d’une fusion entre l’art et la vie, le spectacle et le réel, au rebours de la conception mimétique aristotélicienne. / Many different french playwrights such as André Gide, Antonin Artaud, Albert Camus, Jean-Paul Sartre, Henry de Montherlant and Jean Vauthier took up Nietzsche's thoughts to impicture it onstage. If studies were made on the links between Nietzsche's thought process and french writer, noneadress the question of Nietzsche's thought in the XXth century french theatre synthetically. None theless, this tragic thought starting in «La Naissance de la tragedie» 's Dionysos and ending with «Eccehomo» keeps maintaining consubstantial links with the theatre genre. Dionisyan esthetical conceptionshows affinities with dramatic art and seems predisposed to be transposed and embodied on stage.Nietzsche's thought on art's physiology has caused a renewal of traditionnal writing for theatre for thebenefit of a living theatre, incarnated, using all the stage's ressources. Paradoxically, this nietzschean metaphysical theatre goes with assertion of body and passions. In contrast with « theatre of ideas »,some of the studied works show that Nietzsche's metaphysical theatre is above all an embodied theatre, seeking a fusion between art and life, show and reality, against Aristote’s Poetics.

Cette thèse présente une étude mythocritique de la production romanesque de Manuel de Lope [1949] postérieure à son retour en Espagne en 1993 et jusqu’à aujourd’hui : El libro de piel de tiburón (Alfaguara,1995); Bella en las tinieblas (Alfaguara,1997), (Suma de Letras, 2000), (RBA, 2010) ; Las perlas peregrinas (Espasa-Calpe,1998), (RBA, 2007) ;
 La sangre ajena (Editorial Debate, 2000); Otras islas (RBA, 2008). En effet, un séjour de vingt-cinq ans hors d’Espagne lui a permis d’exercer un regard extérieur et fécond sur son propre pays où désormais, il vit et écrit. Son œuvre romanesque recourt aux mythes antiques pour développer les thématiques essentielles dans l’Espagne de ce début de XXI ème siècle que sont la mémoire et l’oubli face à l’Histoire, la quête identitaire à travers les mythes du labyrinthe, du caïnisme, de Dionysos, de Saturne et de Chronos. Tous ces mythes s’organisent autour d’un mythe dominant, celui de Chronos, grâce à une image phare qui éclaire l’identité collective espagnole, image déjà présente dans l’ œuvre goyesque : celle de Saturne dévorant ses fils. / This thesis presents a mythocritical analysis of the novels written by Manuel de Lope (born in 1949) from 1993, when he returned home to Spain, until nowadays: El libro de piel de tiburón (Alfaguara,1995); Bella en las tinieblas (Alfaguara,1997), (Suma de Letras, 2000), (RBA, 2010) ; Las perlas peregrinas (Espasa-Calpe,1998), (RBA, 2007) ;
 La sangre ajena (Editorial Debate, 2000); Otras islas (RBA, 2008). As he had stayed away from Spain for twenty-five years, he was able to look with an external and creative perspective at his own country where he is now living and writing. In his fiction he resorts to ancient myths in order to develop the themes which are essential in the Spain of the early 21st century: memory and obliviousness as regards history as well as the search for identity through the myths of the Labyrinth, cainism, Dionysus, Saturn and Chronos. In Manuel de Lope's work, all these myths are structured around a dominant myth - that of Chronos- thanks to a highly influential image which sheds light on Spanish cultural identity, an image which was already present in Goya's work: Saturn devouring his sons.

This essay describes my work as a director in a specialized orientation within psychodrama, surrealistic psychodrama. Using the language and performance techniques of theater and under the guidance of a director, psychodrama creates an improvised narrative or story. The essay describes several dramas I have directed, reflecting on my actions and choices as a director and group leader. I examine whether my working method has allowed me to be spontaneous and creative, which I believe the example of "The dangerous bear" demonstrates. The process enabled me to establish trust and receptivity so that a newly constituted group dared to investigate conflicts in symbolic ways associated with illness and death. In addition I have investigated connections between the theory and philosophy of psychodrama and that of the theater of ancient Greece and Friedrich Nietzsche, all of which share the view that Dionysian or unbounded energy is significant for change. At the same time J. L Moreno, the founder of psychodrama, has made me aware that the philosophy of ancient Greek theater and Nietzsche require boundaries and fixed forms for this amorphous energy: Apollonian energy, calling for reflection and new roles. The essay also addresses developments in the Swedish healthcare system’s approach to treatment, where the requirement that methods be predicable and proven effective weighs more heavily than developing the individual’s own ability to function personally and professionally using good judgment and an increased ethical awareness. In conclusion I consider how, on a personal level, the essay has made it possible for me to combine creativity, logical reasoning and scholarly writing, which has been a great challenge.

Le présent travail s’inscrit dans une démarche de reconstitution de la notion de vie au sein de la pensée antique. Il s’agit de rétablir son sens au coeur de la langue et de la culture grecque, et particulièrement, à l’intérieur de la philosophie et de la pensée aristotélicienne. L’étude s’organise autour de deux termes fondamentaux et propres à la langue grecque, à savoir les mots βίος et ζωή. La première partie s’attache à dégager la forme et le sens «original» des mots, et étudie les facteurs linguistiques et culturels intervenant dans la formation et l’évolution de la forme et du sens des mots en question. Les mots βίος et ζωή se présentent donc comme les éléments structurants de cette étude. La reconstitution du contexte historico-linguistique des mots conduit à la deuxième partie de ce travail, où sont analysés le travail de poètes tels Homère et Hésiode, ainsi que des premiers philosophes, usuellement nommés présocratiques. Dans cette partie du travail de recherche, la notion de vie est dégagée de l’enquête naturelle menée par les premiers penseurs, ainsi que des images fournies par la tradition poétique. Après avoir replacé la notion de vie au sein de son contexte historico-culturel et linguistique, on entame l’étude de la pensée aristotélicienne sur la vie. L’interrogation de départ tient au fait de déterminer si la notion de «vie» chez Aristote passe nécessairement et uniquement par l’étude des êtres vivants et de l’âme, ou si elle dépasse la finalité biologique pour embrasser autres domaines de sa philosophie. Cette partie vise une approche intégrationniste et dynamique de la vie à l’intérieur de la pensée aristotélicienne. La reconstitution de la notion de vie chez Aristote amène à une réflexion sur son lien avec l’enquête naturelle menée par les premiers penseurs. En dernier ressort, l’hétérogénéité de cette étude permet de voir de quelle façon Aristote, certes pionnier dans les recherches sur la vie, conserve pourtant toujours une structure de pensée propre à la Grèce antique : Aristote élabore sa pensée à partir et à l’intérieur de son temps et de la tradition qui lui précède. / The reconstitution of the notion of life within the ancient philosophy is the principal idea of the present study. The aim is to re-establish the conception of this notion within the Greek language and culture, especially within the knowledge of early philosophers and the philosophy of Aristotle. The arrangement of this contribution is based on the meaning and relation of the words βίος and ζωή, two fundamental terms, exclusive to the Greek language. The first part of the study shed new light on the formal constitution and «original» meaning of these words. In particular the linguistic and cultural factors which converge in their formation and evolution are investigated in detail. The reconstruction of the historical and linguistic context of the words βίος and ζωή gives rise to the second part of the study by the means of reconstructing the notion of life within the poetical tradition and investigation of nature, conducted by the early philosophers. The third part of the study approaches the notion of life in the philosophy of Aristotle from the principle question at issue: whether the idea of life is reduced to the investigation of living organisms and his theory of soul or if it exceeds the biologic purpose to encompass other categories of his philosophy. This analysis of the notion of life within the philosophy of Aristotle is conducted by an integrating and dynamic perspective. The reconstitution of the notion of life in the work of Aristotle leads to a reflection about the closeness of his ideas to anterior investigations of natural objects and processes done by the early philosophers. Apart from being a pioneer in the investigation of life, he is also tributary to a particular kind of thinking in ancient Greece. Aristotle’s way of thinking, although far-reaching, is based within his period and preceding traditions

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Ce mémoire de maîtrise vise à comprendre le symbolisme de la mosaïque de Ganymède de la Maison de Dionysos à Néa Paphos (Chypre) datée de la fin du IIe ou du début du IIIe siècle p.C. et à préciser le contexte d’utilisation de la salle. Ce double questionnement découle de l’observation des motifs géométriques associés à la scène qui représente l’enlèvement de l’éphèbe troyen par un aigle. D’une part, la nature du « fleuron », associé au panneau figuratif, est analysée à l’aide de documents iconographiques et de textes anciens. Les résultats de cette analyse permettent de discuter du sens symbolique, idéologique ou philosophico-religieux que ces motifs confèreraient à la scène. D’autre part, la disposition des « fleurons » et des autres motifs géométriques suggère que la salle aurait pu être utilisée dans un contexte précis. Outre ces indices décoratifs, la fonction de la salle est aussi discutée selon les données architecturales et planimétriques. Certaines conclusions sur le symbolisme, qui découlent de l’étude de la mosaïque de Ganymède, sont ensuite confrontées à certains pavements figurés de la domus. / This masters essay aims to understand the symbolism of the Ganymede mosaic of the House of Dionysus in Nea Paphos (Cyprus) dated to the end of the 2nd or the beginning of the 3rd century AD and to determine the room’s use. This double inquiry arises from the observation of the geometric details associated with the scene representing the rapt of the Trojan ephebe by an eagle. Firstly, the nature of the "rosette" associated with the figurative panel is analyzed with the iconographic documents and the ancient texts. The results of this analysis allow us to discuss the symbolic, ideological or philosophical-religious meaning that motifs would confer on the scene. Secondly, the arrangement of the "rosette" and other geometric patterns suggests that the room could have been used in a specific context. In addition to these decorative clues, the function of the room is also discussed according to architectural and planimetric data. Some conclusions about the symbolism that emerge from the study of the mosaic of Ganymede are then confronted with certain figured pavements found in the domus.