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Text in English / Summary: This work aims at establishing Jung's importance as a Nietzsche commentator. Although Jung's work is generally unacknowledged by the mainstream of Nietzsche scholarship, a number of philosophers have joined him in recognizing the relevance of Iranian religious lore to Nietzsche; the visionary nature of Nietzsche's experiences of Zarathustra; and the link between these experiences and his criticism of ethics. Jung sees Nietzsche as something of a kindred spirit, "and refers to that philosopher again and again throughout his writings. In his seminar on Nietzsche's Also sprach Zarathustra, Jung analyzes that work much as he would a patient's dream. While this approach allows Jung to project his own views onto Nietzsche, it also succeeds in restoring essential aspects of Nietzsche's thought which other, less foolhardy commentators fail to capture. Nietzsche and Jung both speak of going "beyond good and evil" (jenseits von Gut und Bose) as an integral part of their respective conceptions of human fulfillment. The notion that we ought to try to transcend the distinction between good and evil, rather than obstinately cling to the good, potentially constitutes an immense, fundamental challenge to our ordinary beliefs about ethics. At the same time, Jung's elaboration of this into a more general form of nonduality suggests a solution to that most basic problem of ethics--which Nietzsche raised most forcefully--namely that of how ethical standards might be justified without falling prey to such basic obstacles as the "is/ought" problem. / Philosophy, Practical and Systematic Theology / D.Litt. et Phil. (Philosophy)

[pt] A tese analisa a relação entre arte e pensamento, atuante nas culturas arcaicas, e problematizada pela ruptura da filosofia com o legado mítico-literário, desde o momento grego que instaurou a epistemologia ocidental. Essa relação insere os dois autores destacados — Friedrich Nietzsche e João Guimarães Rosa — no contexto dialógico entre esses dois saberes que os ultrapassa e os transforma enquanto movimento repetitivo e insistente na trajetória do pensamento. A leitura de Nietzsche segue os tópicos apropriados por Gilles Deleuze para considerá-los em contraponto às proposições de Guimarães Rosa, correspondentes às perguntas que resultaram nos conceitos nietzschiano-deleuzianos. A tese observa o interesse desses autores em explorar a linguagem como ambiente de experimentação de seus processos escriturais inovadores. Lança-se o foco crítico sobre o ponto de contato da obra de Nietzsche com a chamada Filosofia do Trágico, momento em que os filósofos alemães modernos debruçaram-se sobre a tragédia, por haverem reconhecido nela uma visão de mundo, um documento de filosofia primeira, na qual estão reveladas questões relevantes sobre a existência, o ser. É nesse ambiente que o pensador se forma filólogo e se torna filósofo, construindo, pelo viés do estilo de escrita, a peculiaridade de seu sistema de pensamento. A potência desse pensamento trágico vem da valorização radical da literatura, o lugar e a verdade do poeta, a arte como máxima afirmação. De outro lado, definindo-se como amante da linguagem, do literário, João Guimarães Rosa passa também a integrar a antiga relação pensamento e arte. Sua escrita articula modos de pensar arcaicos e modernos, resíduos de diferentes tradições orais e experimentos de vanguarda. São observados pontos em que essa escrita constrói novas formulações para os problemas de que os filósofos sempre se ocuparam. A estratégia adotada se dedica a captar momentos nos quais o autor enfrenta, através dos instrumentos especulativos da arte e das práticas rurais cotidianas, questões caras ao que ficou conhecido como filosofia. / [fr] La thèse analyse la relation entre l art et la pensée, active dans les cultures archaïques, et devenue problématique par la rupture de la philosophie avec l héritage mythico-littéraire, à partir de l époque grecque qui instaura l épistémologie occidentale. Cette relation introduit deux auteurs mis en lumière - Friedrich Nietzsche et João Guimarães Rosa –, le contexte dialogique entre ces deux savoirs les dépasse et les transforme, pour traduire un mouvement répétitif et insistant sur la trajectoire de la pensée. La lecture de Nietzsche inspire à Gilles Deleuze les thèmes dont il s est ensuite approprié pour les rapprocher des propositions de Guimarães correspondantes aux questions issues des concepts nietzscho-deleuzien. La thèse observe l intérêt des ces auteurs à explorer le langage comme champs d expérimentation de leurs processus d écriture innovatrice. Elle développe un focus critique sur la rencontre entre l oeuvre de Nietzsche et la dite Philosophie du Tragique, époque durant laquelle les philosophes allemands se sont penchés sur la tragédie, pour avoir reconnue en elle une vision du monde, un document de philosophie première, dans lequel sont révélées des questions significatives sur l existence, l être. C est dans cet environnement que le penseur apprend la philologie et devient philosophe, construisant, par le biais du style de l écriture, la particularité de son système de pensée. La force de cette pensée tragique vient de la valorisation radicale de la littérature, le lieu et la vérité du poète, l art comme affirmation maximale. D un autre côté, se définissant comme amant de la langue, du littéraire, João Guimarães Rosa vient aussi à intégrer la relation ancienne pensée et art. Son écriture articule des modes de penser archaïques et modernes, restes des différentes traditions orales et d expériences d avant-garde. Sont observés les points avec lesquels cette écriture construit de nouvelles formulations pour les problèmes dont les philosophes se sont toujours occupés. La stratégie adoptée se dédit à capter les moments dans lesquels l auteur affronte, à travers les instruments théoriques de l art et des pratiques rurales quotidiennes, les questions chères, désormais connues comme philosophie.

Profondeur et complexité de la pensée poétique d’Hermann Hesse ont souvent échappé à une réception critique induite en erreur par la limpidité d’une écriture qui, aux antipodes de « la consternation » requise dans l’après-guerre, obéit à une poétique de l’allégresse, de la Heiterkeit. Identification et analyse de cette poétique exigent d’adopter la perspective active de Hesse, celle de lecteur-créateur, afin de mieux le suivre dans sa libération progressive de divers cadres de pensée philosophico-poétiques. Hesse se démarque d’abord, lors d’une première crise, des canons weimariens de la Heiterkeit puis, dans une seconde crise, de l’esthétique créatrice nietzschéenne de l’allégresse. Confronté à l’urgence de la situation historique, Hesse trouve alors à la fin des années vingt sa propre poétique de résistance aux idéologies totalitaires, notamment au national-socialisme : une poétique de l’allégresse originale qui, utopique et initiatique, n’évacue pas le non-rationnel de l’esprit, comme Thomas Mann à la même époque. L’auteur parvient, en incluant le non-rationnel dans le fondement historique et anthropologique qu’il retire de sa lecture de Jacob Burckhardt, à éviter les écueils d’une autre poétique se dédiant au même moment au combat historique et transhistorique contre le fascisme – la poétique benjamienne de l’aura et de « l’image dialectique ». La poétique hesséenne de l’allégresse sera initiation par traces de témoignages à une lecture-écriture allégoricienne faisant participer l’individu à une communication authentique, créatrice de vrai et de joie dans le partage culturel d’une parole poétique originaire où, avec l’autre, l’homme advient historiquement à lui-même. / Depth and complexity of Hermann Hesse’s poetical thinking have been foregone by many of his critics misled by the limpidity of a prosa which, displaying his concept of serene joy (Heiterkeit), dissented from « the consternation» litterature that prevailed after the war. To identify and to analyse this poetics we need to adopt Hesse’s active perspective of reader-creator while following his progressive liberation from different kinds of philosophical and poetical frames: in a first crisis, he struggles himself free of the Heiterkeit canons of the Weimar Classics whereas the second crisis enables him to break the spell of Nietzsche’s creative poetics of joy. Urged by the historical context of the late twenties, Hesse creates his own poetics of resistance against totalitarian ideologies, in particular against National Socialism: an utopian and initiatory poetics of joy, that does not dismiss the non-rational of the mind like does Thomas Mann. Hesse’s poetics is based on the historical and anthropological foundations originating from his reading of Jacob Burckhardt’s works. It therefore prevents itself from the pitfalls of another poetics dedicated to the historical and transhistorical fighting against fascism, i.e. Walter Benjamin’s poetics of the aura and the “dialectical image”. Hesse’s poetics of joy is an initiation, through traces of testimony, towards an allegorical reading-writing which allows the individual to take part in an authentic communication that creates both truth and joy by the cultural sharing of an original poetical language through which the human being is coming, together with the other, historically to himself.

Homo Perfidus: An Antipathology of the Coward’s Betrayal identifies and speaks to an ethical and methodological lacuna in western metaphysics with regards to betrayal. Following Levinas’ call for an ‘Ethics as first philosophy,’ my research question is: ‘How can I think of betrayal responsibly?’ I offer to approach betrayal as an accusation, one that comports an excessive hatred towards the identified ‘traitor.’ Suspending its moral vilification, I construct a broadly phenomenological method – which I call ‘antipathology’ – that proposes to take this hatred seriously; not as the sign of a lack to be filled or purloined with shame, but of a communication to respond-to. Tracking western thought’s metaphysical engagements – mainly via Kant, Hegel and Heidegger – my antipathology witnesses an exceedingly systematic muting of this hatred. Such a principled effacement of hatred’s signs is the very mechanism by which western thought “de-problematizes” betrayal, appropriating its otherness for its own metaphysical ends. To those ends, betrayal ceases to be an event and becomes its ‘prefiguration,’ a twist on an assumed temporal and causal progression. I focus here on the coward’s betrayal, broadly defined as secession from a principle – seen to give cohesion and legitimacy to a ‘Whole’ – of which this traitor was nevertheless an integral part until the event of her betrayal. Antipathology follows young Hegel’s ‘antisemitic’ association of the “Jewish spirit” with a principle of alienation and secession, a vain and hateful self-assertion that only “Christian spirit” can successfully negate, turning this drive for hateful dissociation to one of loving association (with progressively diminishing “remainders”). Reading modern philosophy’s treatment of the skeptic I show how her doubt can be appropriated and turned to ‘Truth’ in the same way that the Jews’ hateful and cowardly betrayal can be turned to absolute faith/love; what Hegel calls “negating the negation.” Both ‘Jew’ and ‘Skeptic’ here become antibodies in a process through which a ‘Whole’ slowly becomes immune, or insensitive to, the threat of future interruptions: outside of this process – offering no ‘Whole’ of their own – their respective interruptions are seen as expressions of vanity, of a ‘self’ that breaks-away from the bonds of belonging and love in a fit of gratuitous hatred and doubt; all in the name of a “who knows what” that for Hegel, as well as for Kant and Heidegger, amounts to precisely ‘Nothing.’ I conclude by a performative ‘antipathological’ reading of Dante’s Inferno alongside Kafka’s In the Penal Colony: while Dante, as a faithful ‘Christian’ witness to Divine Justice (Hell), desires to internalize the Truth of God, progressively renouncing the vain resistances of a ‘self’ not yet fully reconciled to God’s Being (the theological ‘Pleroma’ of the ‘Whole’), Kafka’s nameless traveler, as a skeptical ‘coward-witness,’ not only remains “unconverted” but also causes the violence that is implicit in the Dante-esque ‘progression’ to show itself. ‘Faith’ is here shown as progression from one betrayal-event to another, all of which require the believer to sacrifice another part of their resistance to the demands of the ‘Whole’ until no such resistance remains (or, at least, felt/expressed). Similarly, the Dante that begins his journey weeping for the suffering of Hell’s sinners, ends up kicking one of them in the face; deliberately, yet without hatred, as if it were a mere rock on the road. The coward’s betrayal consists in her ‘vain witness’ to time as rupture, as event, as the opening that puts her previous beliefs and attachments in radical question. The hatred towards the coward and the accusation of ‘traitor’ mark this question as a threat to the ‘Whole;’ a mark that, approached antipathologically, can open a discourse concerning the violence (and self-violence) that was and is necessary to keep the ‘Whole,’ through a narrated causal-historical time, from breaking apart. Painful and dangerous, this approach is, nonetheless, the only way to keep a system that abolished all ‘positions to complain’ from being equated with a ‘wholly just’ system; or to keep a knowledge-machine that successfully tames all doubts from being absolved.

Presented work tries to reflect the structure of human world, which is able to create an overman as an artificial intelligence through its self-destructive tendency. It investigates the possibilities of our imagination and if we are able to think about artificial intelligence as a sui generis continuation of human species. Hand in hand it tries to create a tension between particular ethico-political decisions and subsequent binding structure, which they implies.

Cette étude vise à esquisser les fondements et influences philosophiques de la pensée de l’historien de l’art Aby Warburg par le biais de deux penseurs : Friedrich Nietzsche et Ernst Cassirer. La question de la mémoire offre un fil conducteur à cette investigation dans la mesure où, pour Warburg, celle-ci est véhiculée de manière insigne par et dans l’image. D’abord, il s’agira de souligner que la Renaissance italienne, point de départ de l’investigation mémorielle de ce dernier, s’est présentée avant tout en tant que question au sein de l’imagination historique allemande. C’est notamment chez l’historien de la culture Jacob Burckhardt et Nietzsche, deux maîtres à penser de Warburg, que cette période historique est thématisée pour repenser le rapport de l’individu à son passé. Ensuite, l’approche des sciences de la culture, une constellation disciplinaire duquel se revendique Warburg, nous permet de voir de quelle manière la méthode de celui-ci se distingue de l’abstraction esthétique afin de préserver le sens équivoque de la mémoire et la possibilité de faire l’expérience vivante ou posthume de l’image. Enfin, c’est par le biais du symbole, objet d’étude centrale de la philosophie de Cassirer, que Warburg en viendra à penser les polarités de l’image. Sans vouloir rabattre la pensée de Warburg sur celle d’un système, le dialogue avec Cassirer permettra de voir comment ceux-ci ont réussi leur pari de rendre compte de la pensée mythique et de ses intermédiaires avec la raison. / This study aims to outline the philosophical foundations and influences of art historian Aby Warburg's work through two thinkers: Friedrich Nietzsche and Ernst Cassirer. The question of memory offers a red thread to this investigation insofar as, for Warburg, it is conveyed in an insignificant way in and through the image. First, it will be emphasized that the Italian Renaissance, the starting point of his investigation of memory, was presented above all as a question within the German historical imagination. In particular, the cultural historian Jacob Burckhardt and Nietzsche, two of Warburg's influences, thematized this historical period in order to rethink the relationship of the individual to his past. Secondly, the approach of cultural sciences, a disciplinary constellation used by Warburg, allows us to see how his method differs from aesthetic abstraction to preserve the equivocal meaning of memory and the possibility of experience the life or the afterlife of images. Finally, it is through the symbol, the central object of study in Cassirer's philosophy, that Warburg comes to ponder the polarities of the image. Without seeking to reduce Warburg's thought to that of a system, the dialogue with Cassirer will make it possible to see how they succeeded in their wager to give an account of mythical thought and its intermediaries with reason.

Marie Eugenie delle Grazies Drama Der Schatten wurde am 28. September 1901 im Wiener Hofburgtheater, einer der bedeutendsten Bühnen Europas, uraufgeführt, jedoch nach nur vier Vorstellungen abgesetzt. Das mit dem Bauernfeld-Preis ausgezeichnete Stück bildet den Zenit von delle Grazies literarischem Schaffen und beinhaltet Diskurse von hohem damaligem Stellenwert, die uns einen tieferen Einblick, vom Standpunkt der modernen Frau, ins Fin-de-Siècle Wien geben können. Das Drama und seine Dichterin wurden im Wien der Jahrhundertwende sowohl gefeiert als auch gerügt. Delle Grazie hatte mit Vorurteilen gegen sie als Frau und Dichterin, sowie mit der Kritik an ihrer unkonventionellen Dramaturgie zu kämpfen. Betrachtet man Der Schatten jedoch im Kontext der Zeit, wird schnell erkennbar, dass die Wiener Dichterin sich vorzüglich darauf verstand die Diskurse ihrer Zeit aufzugreifen und künstlerisch und unikal zu verarbeiten. Inhaltlich ist ihr Protagonist, der Dichter Ernst Werner, die moderne Antwort auf Goethes Faust. Werner ist der faustische Künstler, der sich in freudscher Fasson mit seiner dunklen Seite, seinem Schatten, auseinandersetzt. Dabei werden immer wieder Nietzsches philosophische Ideen thematisiert, insbesondere die des Übermenschen, der sich seine Welt neu erschafft. Darüberhinaus weist das Drama in seiner Darstellung ritualistische Charakteristen auf und erschöpft in seiner Thematik postmodernes Gedankengut, wie es im Film der Jahrtausendwende problematisiert wird.

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An ethical understanding of responsibility should entail a richly qualitative comprehension of the links between embodied, unique individuals and their lived realities of behaviour. Criminal responsibility theory broadly adheres to ‘rational choice’ models of the moral self which subsume individuals’ emotionally embodied dimensions under the general direction of their rational will and abstracts their behaviour from corporeal reality. Linking individuals with their behaviour based only on such understandings of ‘rational choice’ and abstract descriptions of behaviour overlooks the phenomenological dimensions of that behaviour and thus its moral significance as a lived experience. To overcome this ethical shortcoming, engagement with the aesthetic as an alternative discourse can help articulate the ‘excessive’ nature of lived reality and its relationship with ‘orthodox’ knowledge; fittingly, the comics form involves interaction of rational, non-rational, linguistic, and non-linguistic dimensions, modelling the limits of conceptual thought in relation to complex reality. Rational choice is predicated upon a split between a contextually embedded self and an abstractly autonomous self. Analysis of the graphic novel Watchmen contends that prioritisation of rational autonomy over sensual experience is symptomatic of a ‘rational surface’ that turns away from the indeterminate ‘chaos’ of complex reality (the unstructured universe), instead maintaining the power of rational and linguistic concepts to order the world. This ‘rational surface’ is maintained by masking that which threatens its stability: the chaos of the infinite difference of living individuals. These epistemological foundations are reconfigured, via Watchmen, enabling engagement beyond the ‘rational surface’ by accepting the generative potential of this living chaos and calling for models of criminal identity that are ‘restless’, acknowledging the unique, shifting nature of individuals, and not tending towards ‘complete’ or stable concepts of the self-as-responsible. As part of the aesthetic methodology of this reconfiguration, a radical extension of legal theory’s analytical canon is developed.