Η ερμηνεία του ελέου και του φόβου έχει απασχολήσει ευρέως τους μελετητές στην προσπάθειά τους να κατανοήσουν τον ορισμό της τραγωδίας και να ερμηνεύσουν την έννοια της κάθαρσης. Οι απόψεις είναι πολλές και η έρευνα ανά τους αιώνες δεν έχει καταλήξει σε κάποια κοινώς αποδεκτή θέση. Η ευρύτερη μελέτη άλλων έργων του φιλοσόφου, στα οποία υπάρχουν αναφορές στις δύο έννοιες, αλλά και γενικότερα στις απόψεις του περί παθῶν, είναι άκρως ενδιαφέρουσα, καθώς αποκτούμε ευρύτερη εποπτεία των συλλογισμών και της φιλοσοφικής του σκέψης. Υπό το πρίσμα αυτό στην παρούσα εργασία διερευνώνται και εξετάζονται συγκριτικά διάφορα έργα του Αριστοτέλη, στα οποία υπάρχουν εκτεταμένες ή συντομότερες αναφορές στους δύο όρους, από τη μελέτη των οποίων αντλούνται αρκετά στοιχεία σχετικά με το πώς ο φιλόσοφος αντιλαμβανόταν τις δύο έννοιες σε βιολογικό, κοινωνικό, ψυχολογικό και ηθικό επίπεδο, και προκύπτουν συμπεράσματα ιδιαίτερα χρήσιμα για την ερμηνεία των δύο όρων στην Ποιητική. Αναλυτικότερα η δομή της εργασίας είναι η ακόλουθη: I. Εισαγωγή: Προβληματισμοί και επιμέρους ζητήματα II. Ο έλεος και ο φόβος πριν από τον Αριστοτέλη III. Η πλατωνική κριτική και η αριστοτελική θέση IV. Ο έλεος και ο φόβος στην αριστοτελική Ποιητική V. Απόψεις και ερμηνείες των μελετητών περί ελέου και φόβου στην Ποιητική VI. Ευρύτερη εξέταση του ελέου στο έργο του Αριστοτέλη VII. Ευρύτερη εξέταση του φόβου στο έργο του Αριστοτέλη VIII. Αἰδώς - αἰσχύνη, κατάπληξις - ἔκπληξις: Ανάλυση και συσχετισμός τους με τον έλεο και το φόβο IX. Προσδιορισμός της σχέσης ελέου και φόβου μέσα από τη μελέτη του έργου του Αριστοτέλη X. Σχέση ελέου – φόβου και οἰκείας ἡδονῆς XI. Συμπεράσματα: Η ερμηνεία του ελέου και φόβου στην Ποιητική και η συμβολή σ’ αυτή των άλλων έργων του Αριστοτέλη / The interpetation of pity and fear has widely been a subject of questioning for commentators and critics in their effort to comprehend the definition of tragedy and interpret the meaning of katharsis. The existing opinions are many and various and the research throughout the centuries has not reached to a common acceptable position. The indagation of Aristotle’s works, in which there are references to the two terms, and generaly the study of his opinion about pathê, is extremly interesting as we are able to comprehend Aristotle’s syllogism and philosophical thought. In the light of that meaning, various Aristotle’s works, comparatively inquired and eximined in the present study, contain extensive or shorter references to these two meanings. Their study will hopefully help us to collect enough evidence on the way the philosopher has conceived the two meanings in biological, sociological, psychological and moral level, and result in conclusions particularly useful for the interpretation of pity and fear in Poetics. Specifically, the structure of this study is the following: I. Introducion: Consideration and particular isssues II. Pity and fear before Aristotle III. Platonic criticism and Aristotelian position IV. Pity and fear in Aristotle’s Poetics V. Interpreters’ opinions and explanations about pity and fear in Poetics VI. Wider examination of fear in Aristotle’s work VII. Wider examination of pity in Aristotle’s work VIII. Aidôs – aischunê, kataplêxis – ekplêxis: analysis and correlation with pity and fear IX. The relation between pity and fear through the study of Aristotle’s works X. The relation between the two emotions and oikeia hêdonê XI. Conclusions: The contribution of the other Aristotle’s works to the interpretation of pity and fear in Poetics

The alignment of business and information technology (IT) strategy is an important and enduring theoretical challenge for the information systems discipline and has remained a top issue in practice for the past twenty years. The extant literature makes two implicit assumptions. One is that IT strategy is aligned with a single business strategy, either at the corporate level or within a single strategic business unit (SBU). The other is that strategies are developed at a single point in time. Therefore, multi-business organisations present a particular alignment challenge, because business strategies are developed at both the corporate level and SBU levels, and these strategies are developed over time. This dissertation contributes a dynamic, capabilities-based theory of business and IT strategy alignment. Rather than extending existing models, this study draws on theory from the resource-based view of the firm and path dependence to address business and IT alignment within and between corporate and SBU levels across the strategy cycle. A new dynamic alignment model conceptualises IT alignment as the fit between business and IT strategies within the corporate and SBU levels and the coherence between these two levels. Value is created by complementary relationships among business and IT capabilities. IT alignment (or misalignment) is embedded over the strategy cycle, with the degrees of freedom declining quickly over time. The new model is validated using pattern matching with a single critical case of strategy development in a multi-business organisation across a complete strategy cycle. The strong match between the empirically observed and theoretically predicted patterns, and the complex nature of these patterns, provides strong support for the model. The model reconceptualises the way IT alignment drives organisational performance and how IT alignment changes over time. This has implications for existing IT alignment models, providing alternative theoretical explanations of how IT alignment creates value and how IT alignment changes over time. The new model also has implications for practice across the IT investment value chain and its governance.

This thesis explores the development of naturalistic rendering of emotion in the art of Greece through facial expression and body posture from 525 to 400. Why does emotional naturalism arise in the art of Greece, and in which particular regions? Why at this period? In which contexts and media? What restrictions on situation and type of figure can be interpolated or reconstructed? The upper chronological limit is based on simple observation. It is about this time, in many media, that naturalistic emotional expression is employed, although there are exceptions that blur this line slightly. The lower limit marks a major historical turning point, a culmination in Beazley's chronology of Attic vase painting and a common dating threshold for small finds. Emotional expression accelerates from the fourth century, and requires a different set of questions. 400 is for this reason held as a strict end-point. Many categories of physical object were considered; gems and coins did not offer substantial results, but are used for comparison. The rest have formed the armature of the thesis. Only original objects are included, as emotionality undergoes marked changes in Hellenistic and Roman copies. The first section treats publically-commissioned sculpture – sculpture integrated into architecture. The second section treats privately-commissioned sculpture, stone and terracotta; the third pottery: black-figure, red-figure and whiteground. Within these sections, material is arranged broadly chronologically. Human figures are the focus, and semi-humans such as Centaurs and satyrs are included; figures with essentially non-human faces such as the Gorgon are not. Human anatomy is constant, so the method of analysis is physiological. Rather than putting facial expressions in folk terms – a frown, a smile – they are described anatomically for precision: by muscular contractions and extensions and their correspondent manifestations on the surface of the body. Moving beyond description to explanation, neurochemistry and psychology are the preferred tools, although neither discipline has a consensus on the nature of emotion or its expression. History, religion, location, maker, commissioner, viewer, medium and technique are brought to bear in order put expressivity in context. An important methodological tool has been the separation of emotional 'input' and ‘output’. Output is the evocation or intended evocation of an emotional state in the viewer, and the thesis is constantly aware of the disconnect between the 'intended audience' and a modern one. It focuses instead on input – the methods used to render the inner state of the figures shown. This has twofold benefit: it avoids insurmountable subjectivity – one might laugh at the expression of fear on a maenad being raped by a satyr, while another might not – and allows for comparison across genre and medium.