An examination of the literary-historical record suggests that the comic spirit undergoes a definite and proscribed dialectic. As a culture progresses from a robust infancy, to a self-reflective maturity, and eventually on to an introspective senescence, there is a corresponding development of the aesthetic forms through which that society expresses its sense of humor. Using the metaphysical and aesthetic principles of Hegelian philosophy, I construct a theory of three broad-based komische Formen, or "comic forms," that describe and analyze the general stages through which this dialectic passes. The symbolic, classical, and romantic komische Formen represent distinct phases in the growth of man's spiritual and comic sensibilities. As Geist propels man from sense-consciousness, to self-consciousness, to reason, it also reshapes his sense of humor. Eventually, when the comic spirit has maximized its full potential and gained the power to laugh at everything, it dissolves within its own mirth and paves the way for a transcendent rebirth of values. / To demonstrate the validity of this thesis, I apply this theoretical construct to representative works from classical antiquity. It is there that we find both the beginning of comedy as an art form, as well as many of the original models that have influenced later periods. The comedy of antiquity originates in the symbolism of Old Comedy; attains its perfection in the refinement of New Comedy; and transcends itself in the more prosaic genres that emerged in the last phases of the Greco-Roman world. / Source: Dissertation Abstracts International, Volume: 47-07, Section: A, page: 2572. / Thesis (Ph.D.)--The Florida State University, 1986.

This work is an effort to determine what theories of comedy the ancient world held. The first portion is a compilation of comments of ancient authors which impact on comic theory. This is presented essentially as raw data with summary statements included. Modern areas of controversy which concern comedy are then compiled and clarified. These areas include Platonic (mu)(iota)(mu)(eta)(sigma)(iota)(sigma) and (kappa)(alpha)(theta)(alpha)(rho)(sigma)(iota)(sigma), Aristotelian (mu)(iota)(mu)(eta)(sigma)(iota)(sigma) and (kappa)(alpha)(theta)(alpha)(rho)(sigma)(iota)(sigma), the Tractatus Coislinianus, and the comic emotions. Finally, a common core of ancient comic theory is revealed. Whereas, modern comic theory is in a state of disarray, with critics unable to agree upon general parameters for discussion, antiquity did have common parameters for discussion, was much interested in comic theory, and was generally homogeneous in their theories of comedy. / Source: Dissertation Abstracts International, Volume: 47-02, Section: A, page: 0524. / Thesis (Ph.D.)--The Florida State University, 1985.

Source: Dissertation Abstracts International, Volume: 40-09, Section: A, page: 5040. / Thesis (Ph.D.)--The Florida State University, 1979.

R 65,T 5This dissertation examines the attitudes of Homer and Virgil toward the agricultural life. In the Iliad and the Odyssey Homer displays a special interest in bridging the heroic distance between the world of the warrior and that of the common laborer in his audience. By the use of agricultural similes, the description of Achilles' shield, and other digressions, Homer presents in the Iliad the peaceful life of the farmer as an attractive alternative to the heroic code. In the Odyssey Homer elevates the dignity of the agricultural life by his characterization of Eumaeus the swineherd, whom the poet casts in a heroic light. Homer also shows that Odysseus and his father Laertes are themselves well acquainted with the techniques of farming. / In the Georgics Virgil glorifies the life of the farmer in heroic terms. The victory of the farmer's labor is described with martial imagery, as a battle that is won at heavy cost. The farmer appears as a strong and moral hero who is responsible for Rome's greatness. Virgil stresses in particular two qualities of the farmer that make him noble, his inner peace and his willingness to fight for Rome's defense. The Aeneid stresses many of the same virtues that are seen in the Georgics, such as the importance of labor, simplicity, and bravery, all of which Virgil associates with the agricultural way of life. Virgil's epic shows that Rome was built upon the native Italians, whom the poet describes as hearty rustics at home with either the sword or the plow. / Source: Dissertation Abstracts International, Volume: 49-08, Section: A, page: 2207. / Major Professor: Will White de Grummond. / Thesis (Ph.D.)--The Florida State University, 1988.

Source: Dissertation Abstracts International, Volume: 35-02, Section: A, page: 1072. / Thesis (Ph.D.)--The Florida State University, 1974.

Source: Dissertation Abstracts International, Volume: 38-05, Section: A, page: 2756. / Thesis (Ph.D.)--The Florida State University, 1977.

Source: Dissertation Abstracts International, Volume: 34-04, Section: A, page: 1877. / Thesis (Ph.D.)--The Florida State University, 1973.

Source: Dissertation Abstracts International, Volume: 40-06, Section: A, page: 3280. / Thesis (Ph.D.)--The Florida State University, 1979.

Source: Dissertation Abstracts International, Volume: 32-09, Section: A, page: 5209. / Thesis (Ph.D.)--The Florida State University, 1971.

The following thesis is an examination of the way Seneca constructs Phaedra, the main character of an eponymous tragedy. It aims to prove that the tragedian uses a mixing of mainly two literary genres, tragedy and elegy, and it analyzes the way the elegiac genre is transformed so it can fit this new generic hybrid. Seneca finds inspiration for the elegiac topoi in Ovid's love poems. The author uses the recurrent elegiac convention involving a soft man, the lover, and a dominant woman, the beloved, but he reverses this literary tradition: Phaedra becomes the lover while Hippolytus becomes the beloved. Besides a series of elegiac topoi such as fiery love metaphors, servitium amoris or symptoms of love, Seneca also deals with the erotic hunting. Roman love elegy often associates the lover, the feeble man, with a hunter, while it represents the beloved, the dominant woman, as his prey. In Phaedra, Hippolytus, a true hunter, becomes an erotic prey, while the female character takes on the role of the erotic predator, which causes the young man's tragic death. / Dans ce mémoire de maîtrise on examine la manière dont Sénèque construit Phèdre dans la tragédie portant le même nom. On prouve que pour créer son personnage, le tragédien romain mélange deux genres littéraires : la tragédie et l'élégie. On analyse aussi la façon dont Sénèque altère le genre élégiaque afin qu'il puisse créer un nouveau genre littéraire hybride. L'auteur trouve son inspiration pour les topoi élégiaques dans les poèmes érotiques ovidiens. En dépit de l'utilisation d'une convention élégiaque par excellence qui concerne la relation entre un amoureux, un homme faible, et une bien-aimée, une femme forte et dominante, Sénèque inverse ces éléments et Phèdre devient l'amoureux, tandis qu'Hyppolite se voit attribué le rôle du bien-aimé. À part une série de topoi élégiaques comme les métaphores érotiques du feu, le servitium amoris ou les symptômes de l'amour, le tragédien emploie aussi le lieu commun de la chasse érotique. L'élégie romaine associait très souvent l'homme faible à un chasseur et la femme forte à sa proie. Dans Phèdre, Hippolyte, un vrai chasseur, devient une proie érotique, tandis que le personnage féminin prend le rôle du prédateur, ce qui mène le jeune homme à une fin tragique.