Modernists have expressed their views on literature in various ways. Ford Madox Ford’s Ladies Whose Bright Eyes seemingly participates in a discussion regarding the value of imagination in contrast to reason. This thesis argues that Ford Madox Ford’s Ladies Whose Bright Eyes (1911, revised 1935) represents the imagination in ways that suggest that the value of the imagination is greater than the value of reason in order to show the transformative power of literature. The novel’s treatment of the imagination has didactic implications for teaching literary interpretation and for fostering a joy of reading. The present thesis aims to explore how the novel treats the imagination by connecting the novel to modernist discussions of the imagination in Wallace Stevens’ “Imagination as Value” (1951) and Stevens’ “The Irrational Element in Poetry” (1936) as well as to Ford’s essay on literary impressionism “On Impressionism” (1914). The thesis expands upon Max Saunders’ argument that the protagonist, Sorrell, is transformed into a man of imagination. The literary analysis is structured around Sorrell’s transformation, from a rational man living in blissful ignorance of the world of imagination to a man of imagination instructed by Dionissia on living with the imagination in the rational world, through faith. A joy of reading and autonomous reading motivation can be fostered by providing students with choice, cognitively challenging tasks related to commenting on and analysing the novel, and by training students to use quotes via the use of reading logs. The novel’s indirect treatment of the imagination suggests the transformative power of literature, which makes fostering a joy of reading seem all the more important as it may provide students with a gift that will last long after their school years are over.

According to philosopher, Emmanuel Levinas, alterity can exist only in its infinite and fluid nature in which the aspects of it that exceed the human ability to fully understand it remain unthematized in language. Levinas sees the encounter between self and other as the moment that instigates ethical responsibility, a moment so vital to avoiding mastering what is external to oneself that it should replace Western philosophy’s traditional emphasis on being as philosophy’s basis, or “First Philosophy.” Levinas’s conceptualization of language as a fluid, non-mastering saying, which one must continually re-enliven against a congealing and mastering said, is at the heart of his ethical project of relating to the other of alterity with ethical responsibility, or proximity. The imaginative poetic language that some contemporary poetry enacts, resonates with Levinas’s ethical motivations and methods for responding to alterity. The following project investigates facets of this question in relation to Levinas: how do the contemporary poets Peter Blue Cloud, Jorie Graham, Joy Harjo, and Robert Hass use poetic language uniquely to engage with alterity in an ethical way, thus allowing it to retain its mystery and infinite nature? I argue that by keeping language alive in a way similar to a Levinasian saying, which avoids mastering otherness by attending to its uniqueness and imaginatively engaging with it, they enact an ethical response to alterity. As a way of unpacking these ideas, this inquiry will investigate the compelling, if unsettled, convergence in the work of Levinas and that of Blue Cloud, Graham, Harjo, and Hass by unfolding a number of Levinasian-informed close readings of major poems by these writers as foregrounding various forms of Levinasian saying. / Ph. D. / This project grounds itself on questions of what makes something that is outside of oneself unique, and of how to use language to let that entity, or being, retain its uniqueness alongside the human quest to understand the world that is always in danger of overtaking the not-I. Philosopher Emmanuel Levinas thought these questions were the critical ones for reframing basic issues of humanity. His work asserts that in order to become conscious selves and to relate to other people without dominating them, it is necessary to open up to the force of the encounter with those who are different from you, and whom you cannot fully conceive, allowing them to remain partially inconceivable. The site for relating in this ethically responsible way exists in language that constantly acknowledges that it cannot capture the object of its descriptions, as opposed to language that attempts to appropriate the other through its usual operations. A unique intersection between these ideas regarding ethics occurs when one considers contemporary poetry, which engages with similar considerations. Therefore, by reading four contemporary poets with vastly different cultural backgrounds: Peter Blue Cloud, Jorie Graham, Joy Harjo, and Robert Hass in a way that considers how they use language to relate ethically to the world beyond their material and intellectual grasp, it is possible to see how Levinas’s ideas might operate in actual language sensitive to these issues.

La maladie soit un mal dont il faille guérir, c’est ce que déjà l’instinct nous dicte, mais il s’agit de savoir si l’instinct suffit à rendre raison de l’évidence, autrement dit si la raison peut même rendre raison de ce qui résiste à son emprise de rationalité. En bref s’il est possible de tenir un discours “raisonnable” sur une question qui d’emblée met en jeu le sujet.Ce travail s’inscrit dans une perspective de phénoménologie herméneutique. Il questionne cette occurrence critique du vivre qui est la confrontation à la “grande maladie”, c’est-à-dire celle que la “nature” ne suffit pas à guérir, et recherche ce que l’effort fait pour entreprendre de guérir nous apprend sur notre humanité. A distance d’une perspective qui voudrait saisir “l’essence de la guérison,” mon propos est d’interpréter ce qui se joue dans la dynamique du sujet qui entreprend de guérir autrement dit de garder le sens de l’engagement, indépendamment des conditions objectives de sa guérison. Car la prise en compte de l’exigence individuelle et collective de santé pourrait occulter la part subjective du rapport à la santé dans la part croissante accordée à la conception du soin et du bon soin. Avec les meilleures intentions du monde la recherche de la santé pourrait faire l’économie de la question de la participation du sujet au projet de bien vivre et se traduire par une nouvelle entreprise de normalisation de l’humanité. Je choisis d’examiner les conditions de possibilité et de maintien de notre résistance en tant que sujet car la confrontation à la maladie nous dessaisit de notre pouvoir et nous assigne à prendre position pour la vie, pour un sens de la vie, malgré l’exposition à la mort. Moment de vérité – et en ce sens événement - où l’être du sujet, est mis en jeu. Ainsi, à contre-courant de l’évidence qui est que la maladie est l’épreuve, nous explorerons l’hypothèse d’une épreuve de la guérison même. Je tente alors d’éclairer de biais à quel sujet s’adresse la pratique médicale pour susciter un questionnement et si possible ouvrir un champ de ressources pour les personnes en charge de guérison. Un champ de ressources qui invite à réinvestir autrement notre rapport au sensible et à l’illusion de sa maîtrise compassionnelle. Un champ de ressources qui tisse et retisse le lien à la vie, dont la première épreuve pour nous est toujours “affective,” convaincue que si seul le sujet décide de sa guérison, nul ne peut guérir seul.Le déploiement de mon argumentation explore l’enracinement ou non du sujet dans l’affectivité du vivre, réinterroge le lien contingent ou nécessaire de l’affectivité et de la liberté ainsi que le rapport du même et de l’autre dans la responsabilité.Je voudrais montrer que le phénomène de la résilience ne permet pas de fonder l’hypothèse d’une possibilité d’intégrité du sujet. J’émets l’hypothèse sans doute épineuse que la culpabilité chemine en complice du mal physique et moral et altère ainsi la possibilité d’engagement d’un sujet résistant. Qu’une intégrité affective, au cœur du sujet a toujours précédé le mal et affirme avant toute destructivité et tout négativité une générosité de soi.Je m’engage enfin à explorer la faculté d’aimer comme une réalité de premier ordre pour penser l’intégrité d’un sujet, animé de joie de vivre qui entreprend de porter le bien. De ce dont procède cette générosité, c’est ce que nous appelons dans le cadre de notre recherche guérison. / Instinct tells us that sickness is an ill from which we must recover, but we must know if instinct is enough to explain what is evident, in other words, if reason can even account for what resists its hold on rationality. In short, if it's possible to argue "with reason" on a question which, from the outset, involves the subject. This work falls within the scope of hermeneutic phenomenology. It questions the critical life experience of confronting "serious illness", meaning an illness that "nature" cannot cure, and looks at what the effort required to recover teaches us about our humanity. Separate from the perspective which seeks to identify “the essence of the cure,” my aim is to interpret what is at play in the subject's personality, who undertakes to recover, in other words maintains their commitment, independently of the objective conditions for recovery. As taking into consideration both individual and collective health requirements could mask the subjective element of the relationship to health in the growing importance accorded to the concept of care and ‘’good’’ care. With the best intentions in the world health research could avoid the question of the subject's participation in defining "living well" and transform itself into a new attempt to normalize humanity. I have chosen to examine the conditions for the possibility of and upholding of our resistance as a subject for the confrontation with illness strips us of our power and obliges us to make a stand for life, for a meaning to life, despite being exposed to death. The moment of truth – and in this sense an event – where the self of the subject, is at stake. Faced with illness, the subject experiences an ordeal which is intimately bound to their attitude to life, which itself is no longer evident. I try to throw some light on which subject medical practice addresses to elicit interrogation and if possible to open a new area of resources for people responsible for healing. Resources which lead to a rethinking of our relationship to sensitive subjects and the illusion of one’s compassionate control. Resources which reconsider the subject’s capacity to resist “the way things are”. Resources which make and remake the vital link to life, of which the primary test for us is always “emotional,” convinced that if the subject alone decides their recovery, none can heal alone.My reasoning will explore the entrenchment, or not, of the subject in the affectivity of life, look again at the potential or necessary link between affectivity and liberty as well as the connection between the one and the other to responsibility.This will lead us to question the paradigm of resilience to consider the subject's capacity for integration, to question guilt as the norm which regulates the moral conscience and disaffection with love in order to remain master of one's self.I want to show that the phenomenon of resilience does not permit the hypothesis of a possible integrity of the subject; resilience can also be considered as an artifact produced by an individual who assembles an attitude to the disaster residing in them and destroying them bit by bit.I put forward the, without doubt thorny, hypothesis, that guilt is an accomplice of the physical and moral ill and thereby alters a resistant subject's ability to confront the situation. That emotional integrity, “at the heart of the subject” has always preceded the ill and affirms before any destructiveness and negativity a “generosity of self.”Lastly, I will explore the ability to love as a reality of the highest importance to consider the integrity of a subject, filled with the love of life who undertakes to spread "good". From this, comes this generosity, this is what, in the framework of our research, we call “healing.”

Summaries in English and German / Text in German / The question is dealt with, whether or not the calls to joy in the book of Qoheleth are dependend from another source. Seven key-texts are taken as a basis (2:24-26; 3:12.13; 3:22; 5:17-19; 8:15; 9:7-10; 11,7-12,7) which have the form of ::titl"[i'~]-sayings and share the root "1.liU. Three further texts (2:1-11; 6:9; 7:14) are also relevant. In the exegesis the content, reasoning and contextual function of these texts are analyzed. Qoheleth quotes, comments on and corrects traditional views of wisdom. He sets them in polar structured arguments in which the calls to joy are significant since the arguments always lead to a double conclusion: a vanity statement and an ethical instruction. The latter form the books teaching on wisdom which consists of joy and the fear of God. In this way the calls to joy in the key texts function as a refrain which increases as the book progresses and becomes the main message. The theme of the joy of life is next examined in Old Testament, Egyptian, ancient Near Eastern, Greek and apocryphal texts. These leads to the conclusion that the call to joy in the book of Qoheleth comes closest to the Egyptian "heretical" harper's songs. These texts agree not only in the content and reasoning of joy, but also in the use of idioms und comparisons. These occur not just in the key texts but throughout the whole book. The "heretical" harper's songs were originally used in the cult of the dead. Later they were used at feasts and banquets. This makes it possible to interpret them in the same Egyptian complex of tradition as other belletristic texts, especially love songs. They can therefore be assigned with the calls to joy to the genre of feast and banquet poetry. Since the adoption of the Jove songs in the Song of Songs has already been shown, the same can now be said for the harper's songs. Presumably this happened through Canaanite influences in premonarchic times. / Es wird der Frage nachgegangen, ob in den Aufforderungen zur Lebensfreude des Buches Kohelet eine Vorlage rezipiert worden ist. Dazu werden sieben Kerntexte (2,24-26; 3,12.13; 3,22; 5,17-19; 8,15; 9,7-10; 11,7-12,7) zugrunde gelegt, welche durch die Wurzel n~tu und die Form des l11'"[1'~]-Spruchs miteinander verbunden sind. Drei weitere Texte gehiiren der Sache nach dazu (2,1-11; 6,9; 7,14). Diese Texte werden exegesiert, um sie nach ihren Inhalten, Begriindungen und ihrer kontextualen Funktion zu erfassen. Der Verfasser des Buches Kohelet zitiert, kommentiert und korrigiert traditionelle Ansichten der Weisheit. Dazu stellt er sie in polar strukturierte Argumentationseinheiten, in welchen die Aufforderungen zur Lebensfreude Signifikanz haben, da diese Argumentationseinheiten jeweils auf eine Nichtigkeitsaussage und eine ethische Anweisung hinaus laufen. Letzere bildet die Lebenslehre des Buches, die auf den Sii.ulen Lebensfreude und Gottesfurcht fuBt. Dabei bilden die Kerntexte der Lebensfreude einen Refrain, der im Fortgang des Buches gesteigert wird und am Ende als Hauptanliegen hervortritt. Dem Motiv der Lebensfreude wird daraufhin in alttestamentlichen, ii.gyptischen, altorientalischen, griechischen und apokryphen Texten nachgegangen. Dabei stellt sich heraus, da8 die Aufforderungen zur Lebensfreude im Buch Kohelet die griiBte Nii.he zu den "haretischen" Harfnerliedern Agyptens aufweisen. Zu diesen Texten gibt es Ubereinstimmungen nicht nur in den Inhalten und Beweggriinden des Lebensgenusses, sondern auch in der Verwendung einzelner Idiome und Vergleiche, und zwar nicht nur in den Kerntexten, sondern verstreut im Buch. In der Verwendungssituation der "hii.retischen" Harfnerlieder Iii.flt sich eine Verschiebung vom Totenkult zu Fest und Gelage aufzeigen. Dariiberhinaus lassen sie sich in Agypten in einen Traditionskomplex mit anderen Texten der schiinen Literatur, insbesondere den ii.gyptischen Liebesliedern stellen. So kann eine gemeinsame Gattungszuweisung mit den Aufforderungen zur Lebensfreude in der Fest- und Gelagepoesie erfolgen. Da fiir die Liebeslieder eine alttestamentliche Rezeption schon wahrscheinlich gemacht worden ist, kann diese nun auf die Harfnerlieder ausgedehnt werden. Dieser Traditionsweg verlief vermutlich iiber kanaanii.ische Vermittlung in vormonarchischer Zeit. / D.Th.(Old Testament)

Thesis (MPhil)--Stellenbosch University, 2005. / ENGLISH ABSTRACT: Two literary conversion narratives with much historical detail, are compared in this thesis: the Confessiones written by the renowned fourth century church-father, St. Augustine, and Surprised by Joy written by the twentieth century writer and scholar, C.S. Lewis. In order to understand St. Augustine's conversion to the Christian faith, Christian religion as a social phenomenon in the Ancient World is discussed. As background for the discussion and comparison of the two conversion narratives, a brief biography is given of St. Augustine and of Lewis, as well as a description of each one's course of conversion. The research is structured In terms of beacons that St. Augustine identified during the course of his conversion: people who played a significant role, events that influenced his life, and inner conflict that spurred him on his way. By means of an analysis regarding theme and content, it is shown that there are clear similarities between the beacons identified by Augustine and Lewis in their conversion narratives. / AFRIKAANSE OPSOMMING: In hierdie tesis word twee literêre bekeringsverhale waarin die historiese werklikheid deur die skrywers weergegee word, met mekaar vergelyk: die Confessiones van die vierde eeuse kerkvader Augustinus, en Surprised by Joy van die twintigste eeuse skrywer en geleerde C.S. Lewis. Om Augustinus se bekeringsverhaal histories te kan plaas teen die agtergrond waarin hy geleef en tot bekering gekom het, word 'n uiteensetting gegee van die Christelike godsdiens as 'n sosiale fenomeen in die Antieke Wêreld. 'n Kort lewensbeskrywing van Augustinus en Lewis en 'n oorsig van die weg wat elkeen se bekering gevolg het, dien as agtergrond vir die bespreking en vergelyking van die twee bekeringsverhale. Die navorsing word gestruktureer aan die hand van bakens wat Augustinus op sy bekeringsweg uitgelig het: persone wat 'n beduidende rol gespeel het, gebeure wat hom beïnvloed het, innerlike konflik wat hom voortgedryf het. Die tesis toon deur 'n analise op grond van inhoud en tematiek aan dat daar duidelike ooreenkomste is tussen die bakens op Augustinus se bekeringsweg en dié op Lewis se bekeringsweg.

This thesis is an ethnography of how places like mountain pastures (jailoos), hydro-electric dams and holy sites (mazars) matter in striving for a good life. Based on eighteen months of fieldwork in the Toktogul valley of Kyrgyzstan, this study contributes to theoretical questions in the anthropology of post-socialism, time, space, work and enjoyment. I use the term ‘moral geography’ to emphasize a spatial imaginary that is centred on ideas of ‘the good life’, both ethical and happy. This perspective captures an understanding of jailoos which connects food, health, wealth and beauty. In comparing attitudes towards a Soviet and post-Soviet dam, I reveal changes in the nature of the state, property and collective labour. People in Toktogul hold agentive places like mazars and non-personalized places like dams and jailoos apart, implying not one overarching philosophy of nature, but a world in which types of places have different gradations of object-ness and personhood. I show how people use forms of commemoration as a means of establishing connections between people, claims on land and aspirations of ‘becoming cultured’. I demonstrate how people draw on repertoires of epic or Soviet heroism and mobility in conceiving their life story and agency in shaping events. Different times and places such as ‘eternal’ jailoos and Soviet dams are often collapsed as people derive personal authority from connections to them. Analysing accounts of collectivization and privatization I argue that the Soviet period is often treated as a ‘second tradition’ used to judge the present. People also strive for ‘the good life’ through working practices that are closely linked to the Soviet experience, and yet differ from Marxist definitions of labour. The pervasively high value of work is fed from different, formally conflicting sources of moral authority such as Socialism, Islam and neo-liberal ideals of ‘entrepreneurship’. I discuss how parties, poetry and song bring together jakshylyk (goodness) as enjoyment and virtue. I show how song and poetry act as moral guides, how arman yearning is purposely enjoyed in Kyrgyz music and how it relates to nostalgia and nature imagery. The concept of ‘moral geography’ allows me to investigate how people strive for well-being, an investigation that is just as important as focusing on problem-solving and avoiding pain. It also allows an analysis of place and time that holds material interactions, moral ideals, economic and political dimensions in mind.

Made available in DSpace on 2016-04-28T20:39:36Z (GMT). No. of bitstreams: 1 Cartografias_da_Alegria.pdf: 958980 bytes, checksum: aa379b0e13699e161928b286c178cb53 (MD5) Previous issue date: 2005-05-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present work seeks to englobe Joy in a clinical situation and in literature. In its writing we sought to reconstruct fragments of clinical cases presented throughout a decade in several places and institutions. It has also sought to redeem a series of literary fragments, which in this way or the other, has maintained a curious proximity to the cases mentioned. The dissertation reveals this same joy, in the clinic and in critique, in four specific lines of work which compose a unique architectural structure. In the first one, there is a relation with the intensive that transforms a clinic in a space for the metamorphosis of sensations into intense vibrations. In the second one, joy appears situated in its relation to time and duration. However, in the third line of work, joy is formulated as strength and the expression of this same strength. And, in the last one we show how pain and suffering constitutes a plan conducive to joy, albeit, pain and suffering as material in a clinic, however accosted of this perspective. The conceptual research carried out in an attempt to deal with the problems was made from the encounter with the thoughts of several authors, especially Nietzsche, Espinosa and Blanchot, and mainly Gilles Deleuze and Félix Guattari. The strategy used consisted of the minute research into clinical cases and literary short stories, the elaboration of a thought surrounding the theme joy and the careful note-taking of concepts with the persistent concern about the writing and the actual production of the paper. Concerning the procedures involved in the elaboration of the dissertation, a procedure that contemplates its own ethics, we reassure it was done with utmost joy. / O presente trabalho procura dar conta da Alegria na clínica e na literatura. Sua escrita buscou reconstituir fragmentos de casos clínicos atendidos ao longo de uma década em diversos locais e instituições. Buscou também resgatar uma série de fragmentos literários, que de uma maneira ou de outra, guardam uma curiosa proximidade com os casos referidos. A dissertação revela essa mesma alegria, na clínica e na crítica, em quatro vertentes de trabalho a compor sua singular arquitetura. Na primeira, as relações com o intensivo transformando a clínica em um espaço de metamorfose das sensações em vibrações intensivas. Na segunda, a alegria aparece situada em suas relações com a temporalidade e a duração. Já na terceira vertente, a alegria é formulada enquanto potência e expressão dessa mesma potência. E na última, mostramos como a dor e o sofrimento configuram planos compossíveis para a alegria, ou seja, dor e sofrimento como matérias de uma clínica, porém abordadas desta perspectiva. A pesquisa conceitual realizada na tentativa de lidar com os problemas levantados fez-se a partir do encontro com o pensamento de vários autores. Especialmente, Nietzsche, Espinosa, Blanchot, mas principalmente Gilles Deleuze e Félix Guattari. As estratégias utilizadas consistiram do levantamento minucioso de casos clínicos e contos literários, da elaboração de um pensamento em torno da temática da alegria, e da anotação cuidadosa dos conceitos afins, não sem uma preocupação persistente com a escrita e o corpo do trabalho. Quanto ao procedimento de elaboração da dissertação, procedimento que contempla uma ética própria, também ele não se fez sem alegria.

A partir du concept « philosophie tragique », nous proposons une approche de l’ensemble de la philosophie de Rosset, qui a jusqu’ici peu été étudiée en France. Nous envisageons le rapport, dans son œuvre, entre philosophie tragique et esthétique à partir de ses analyses d’œuvres d’art dramaturgiques, littéraires et musicales. Pour ce faire, nous analysons le terme même de tragique, la fortune du drame antique et l’usage que propose Nietzsche de la tragédie pour déterminer la ligne philosophique propre à Rosset. Nous proposons ainsi une cartographie de l’ensemble de son œuvre pour analyser les nouvelles tactiques qu’il met en œuvre pour renouveler l’approche du tragique, et par là, pour évaluer la manière de philosopher singulière qu’il met en œuvre. Analysant dans ses premiers travaux le tragique à travers une analyse de l’événement tragique et de son expérience individuelle, Rosset élargit son champ de réflexion pour faire du tragique l’objet d’une philosophie du réel. Ce tournant dans son œuvre nous amène à penser le tragique non comme une question circonstancielle ou réservée à l’analyse dramaturgique ou esthétique mais comme le programme d’une nouvelle philosophie, qui conteste l’idée de nature, et propose une nouvelle philosophie du réel. En précisant cette philosophie comme « logique du pire », « anti-nature » et philosophie du hasard, nous confrontons ainsi ses ouvrages de la maturité avec son premier geste philosophique, qui détermine la philosophie comme tragique. Cela nous amène à distinguer le tragique de l’absurde et du pessimisme, en insistant sur le rapport paradoxal à la joie qu’il comporte, qui détermine le tragique comme une philosophie de l’approbation. Le rôle que tiennent la littérature et la musique est alors évalué à la lumière de cette nouvelle rencontre, que Rosset nous propose, entre une esthétique de l’artifice et une éthique de l’approbation tragique. Nous espérons ainsi contribuer à l’ouverture en France d’une réception de la philosophie de Clément Rosset. / Starting from the concept of “tragic philosophy”, we offer a complete analysis of the complete philosophy of Rosset, up to now little studied in France. We contemplate the link in his work between tragic philosophy and the arts, based on his analysis of works of dramatic art, literature and music. In doing this, we analyse even the term ‘tragic’ itself, the fortune of ancient drama and the usage of tragedy proposed by Nietzsche, in order to establish the philosophical approach that belongs to Rosset. We thus present a mapping of the whole of his works in order to analyse the new tactics that he puts to work in order to re-invent the approach to tragic, and in this manner, evaluate the singular manner of the philosopher that he puts to work. Analysing in his earliest works on tragic by means of the tragic event and his personnel experience, Rosset then enlarges his field of reflexion to make tragic the object of the philosophy of reality. This twist in his work brings us to think not of the tragic as a circumstantial question or the reserve of the dramatical or artistic analysis but as the plan for a new philosophy, which contests the idea of nature, and offers a new philosophy of reality. By clarifying this philosophy as the « logic of the worst », « anti-nature » and the philosophy of chance, we thus consider his works with the maturity of his first philosophical gesture that sets out the philosophy as tragic. This method in his work leads us to distinguish the absurd tragic from that of pessimism, whilst insisting on the paradoxical link of the joy that it brings, that determines the tragic as a philosophy of approval. The role played by literature and music is thus evaluated in the light of this new encounter that Rosset proposes to us, between an art of the subtle and the ethics of tragic approval. We hope in this manner to contribute to opening France up to the philosophy of Clément Rosset. / Esta tesis tiene como objetivo comprender y precisar los términos a partir de los cuales Clément Rosset retoma y reelabora el termino filosofía trágica. Para hacerlo, hemos hecho una travesía que abarca el conjunto de su obra, para así hacer visibles los diferentes estratos que conforman este concepto. En primer lugar, la filosofía trágica de la que Rosset nos habla en sus libros de juventud aparece a une escala humana: él se interroga sobre el acontecimiento trágico y la relación del humano con ese tipo de situaciones. El describe, por tanto, el sujeto trágico que se sorprende cada vez que esas situaciones aparecen. Su elaboración no solamente su nutre y está ligada definitivamente a Nietzsche, sino también a las tragedias antiguas y modernas, reforzando así el lazo entre estética y filosofía. En segundo lugar, Rosset extiende su visión de lo trágico al mundo. Así él nos invita a pensar en la actividad misma de la materia, lo cual implica que no solamente el individuo es trágico sino el mundo en su totalidad. En este momento de la reflexión es necesario precisar que Rosset no comprende lo trágico como el “hecho lamentable”, sino que su visión es mucho mas compleja, puesto él debe entenderse como el “indeterminismo” que acompaña cada acto de nuestra vida y la actividad del mundo en su conjunto. Así una filosofía trágica se dedica a pensar ese ingrediente crucial, el “indeterminismo”, de donde surgen todos los determinismos que vemos y habitamos constantemente: los acontecimientos y los seres (animados e inanimados). En tercer lugar, si Rosset instaura una nueva concepción de lo trágico, ella va permitirle, algunos años más tarde, conducir su reflexión hacia lo “real”. Es así que la palabra “trágico” se diluye, pero no su sentido, el “indeterminismo”, el cual se incrusta en el centro mismo de sus reflexiones sobre lo real. Vemos así como Rosset desliza su pensamiento hacia una filosofía de lo real que por tanto es completamente equiparable a la filosofía trágica de sus primeros libros. Eso no significa que la reflexión de Rosset permanezca estática, todo lo contrario, ella es muy activa - pero guardando una profunda coherencia -, puesto que se dedica a reformular el problema de lo real, esta vez a partir del “indeterminismo”, que aparecerá como la verdadera “naturaleza” de lo real. Finalmente si la filosofía de Rosset se dedica pensar lo real, su solo objetivo es proponernos una reconciliación con lo inmediato, con el empirismo de las cosas que nos rodean. De esta manera su filosofía es una celebración de lo real, la cual también podría leerse como una celebración del “indeterminismo”. Para garantizar mejor nuestra cohabitación con lo real, Rosset la refuerza a través de un campo de sensaciones provenientes de la música y la literatura. Es así que una filosofía de lo real, puede mejor comprenderse por las sensaciones que nos producen estas manifestaciones estéticas. De esta manera Rosset conserva el lazo entre filosofía y estética que habíamos descubierto al comienzo de su reflexión sobre lo trágico.

Summaries in English and German / Text in German / The question is dealt with, whether or not the calls to joy in the book of Qoheleth are dependend from another source. Seven key-texts are taken as a basis (2:24-26; 3:12.13; 3:22; 5:17-19; 8:15; 9:7-10; 11,7-12,7) which have the form of ::titl"[i'~]-sayings and share the root "1.liU. Three further texts (2:1-11; 6:9; 7:14) are also relevant. In the exegesis the content, reasoning and contextual function of these texts are analyzed. Qoheleth quotes, comments on and corrects traditional views of wisdom. He sets them in polar structured arguments in which the calls to joy are significant since the arguments always lead to a double conclusion: a vanity statement and an ethical instruction. The latter form the books teaching on wisdom which consists of joy and the fear of God. In this way the calls to joy in the key texts function as a refrain which increases as the book progresses and becomes the main message. The theme of the joy of life is next examined in Old Testament, Egyptian, ancient Near Eastern, Greek and apocryphal texts. These leads to the conclusion that the call to joy in the book of Qoheleth comes closest to the Egyptian "heretical" harper's songs. These texts agree not only in the content and reasoning of joy, but also in the use of idioms und comparisons. These occur not just in the key texts but throughout the whole book. The "heretical" harper's songs were originally used in the cult of the dead. Later they were used at feasts and banquets. This makes it possible to interpret them in the same Egyptian complex of tradition as other belletristic texts, especially love songs. They can therefore be assigned with the calls to joy to the genre of feast and banquet poetry. Since the adoption of the Jove songs in the Song of Songs has already been shown, the same can now be said for the harper's songs. Presumably this happened through Canaanite influences in premonarchic times. / Es wird der Frage nachgegangen, ob in den Aufforderungen zur Lebensfreude des Buches Kohelet eine Vorlage rezipiert worden ist. Dazu werden sieben Kerntexte (2,24-26; 3,12.13; 3,22; 5,17-19; 8,15; 9,7-10; 11,7-12,7) zugrunde gelegt, welche durch die Wurzel n~tu und die Form des l11'"[1'~]-Spruchs miteinander verbunden sind. Drei weitere Texte gehiiren der Sache nach dazu (2,1-11; 6,9; 7,14). Diese Texte werden exegesiert, um sie nach ihren Inhalten, Begriindungen und ihrer kontextualen Funktion zu erfassen. Der Verfasser des Buches Kohelet zitiert, kommentiert und korrigiert traditionelle Ansichten der Weisheit. Dazu stellt er sie in polar strukturierte Argumentationseinheiten, in welchen die Aufforderungen zur Lebensfreude Signifikanz haben, da diese Argumentationseinheiten jeweils auf eine Nichtigkeitsaussage und eine ethische Anweisung hinaus laufen. Letzere bildet die Lebenslehre des Buches, die auf den Sii.ulen Lebensfreude und Gottesfurcht fuBt. Dabei bilden die Kerntexte der Lebensfreude einen Refrain, der im Fortgang des Buches gesteigert wird und am Ende als Hauptanliegen hervortritt. Dem Motiv der Lebensfreude wird daraufhin in alttestamentlichen, ii.gyptischen, altorientalischen, griechischen und apokryphen Texten nachgegangen. Dabei stellt sich heraus, da8 die Aufforderungen zur Lebensfreude im Buch Kohelet die griiBte Nii.he zu den "haretischen" Harfnerliedern Agyptens aufweisen. Zu diesen Texten gibt es Ubereinstimmungen nicht nur in den Inhalten und Beweggriinden des Lebensgenusses, sondern auch in der Verwendung einzelner Idiome und Vergleiche, und zwar nicht nur in den Kerntexten, sondern verstreut im Buch. In der Verwendungssituation der "hii.retischen" Harfnerlieder Iii.flt sich eine Verschiebung vom Totenkult zu Fest und Gelage aufzeigen. Dariiberhinaus lassen sie sich in Agypten in einen Traditionskomplex mit anderen Texten der schiinen Literatur, insbesondere den ii.gyptischen Liebesliedern stellen. So kann eine gemeinsame Gattungszuweisung mit den Aufforderungen zur Lebensfreude in der Fest- und Gelagepoesie erfolgen. Da fiir die Liebeslieder eine alttestamentliche Rezeption schon wahrscheinlich gemacht worden ist, kann diese nun auf die Harfnerlieder ausgedehnt werden. Dieser Traditionsweg verlief vermutlich iiber kanaanii.ische Vermittlung in vormonarchischer Zeit. / D.Th.(Old Testament)

Quanto mais nostálgicas e românticas se tornam as noções que apresentam sobre mundo idealizado de Austen, mais claramente podemos perceber as carências que fazem com que assim o percebam. Portanto, o objetivo desta tese é apresentar uma leitura de The Jane Austen Book Club através da aproximação com a obra de Austen, e assim entender o que as personagens de Fowler estão procurando, e por quê. A premissa é que essa busca revela muito a respeito do mundo contemporâneo. No âmbito da literatura, tomando Austen e Fowler como autoras que revelam os protocolos de leitura de suas épocas, espero explicitar algumas das razões do fascínio exercido por Austen sobre o leitor de hoje. Para tanto, utilizo como apoio teórico o contraste entre os conceitos de modernidade sólida e modernidade líquida propostos por Zygmunt Bauman, especialmente em relação às considerações sobre os termos fluidez, ética, velocidade, desimpedimento e medo. / Almost two hundred years separate Karen Joy Fowler from Jane Austen. The latter is a great English literary icon, author to six of the best treasured novels in English literature, admired for her style, wit and subtlety in the delineation of her characters and their social relations. The former is a contemporary awarded American Sci-fi and Fantasy writer, author to the novel The Jane Austen Book Club, which is the corpus of the present dissertation. In spite of the wide distance in time, subject matter, and even in literary stature that separates them, both authors are deeply involved in the investigation of human nature and human bonds. The Jane Austen Book Club not only pays homage to Jane Austen, it also offers a rich contrast between life as it was, in the 18th Century, in Austen’s rural England, and as it is now, in Fowler’s present-day sunny California. In Fowler’s novel we meet six interesting characters who undergo different kinds of personal crises. They form a book club and meet monthly, during half a year. In each meeting, they discuss one of Jane Austen´s novels. Each of them is in charge of leading the discussion on one of the novels. Fowler’s book is divided in six chapters, respectively: Jocelyn with Emma, Allegra with Sense and Sensibility, Prudie with Mansfield Park, Grigg with Northanger Abbey, Bernadette with Pride and Prejudice, and Sylvia with Persuasion. The way they interact with their assigned novels tells much not only about them and their circumstances, but also about the world in which they live. The more nostalgic and romantic their notion of Austen’s idealized past becomes, the clearer we can identify the circumstances in present-day life that provoke such reactions. The aim of this dissertation is to present a reading of The Jane Austen Book Club through an approximation with Austen’s work, so as to understand what Fowler’s characters are looking for, and why. The premise is that their quest tells about the world we live in nowadays, and about the difficulties we have in dealing with personal relations. To approach the contrast between the solid fictional world of Jane Austen and the liquid fictional world of Karen Joy Fowler, I rely on the theories presented by Zygmunt Bauman, especially on his use of concepts as fluidity, ethics, velocity, disengagement and fear.