[pt] A associação que procuramos fazer entre a linguagem na filosofia de Nietzsche e a idéia do termo grego phármakon nos apareceu quando da leitura de O Nascimento da Tragédia. Segundo Nietzsche, a origem da tragédia se deu na busca de realizar a união da embriaguez com a lucidez, numa experiência de simultaneidade dos impulsos artísticos apolíneo e dionisíaco. É nesse ponto que, para ele, se configura a função terapêutica da linguagem, como o principal elemento apolíneo a incorporar os impulsos dionisíacos através da união e harmonização do texto com a música. Mas por outro lado, Nietzsche atribui a Sócrates a responsabilidade pela decadência da arte trágica por meio da influência sobre Eurípides, traduzida na supervalorização da linguagem frente à música em suas peças, com a conseqüente perda da tensão dramática e da força artística, em virtude de uma maior clareza intelectual da história representada. O que para Nietzsche acaba por se tornar um veneno que veio a matar a tragédia antiga. Ou seja, a problematização nietzschiana acerca da origem e ocaso da tragédia sugere a idéia de que a primeira investida do racionalismo sobre a cultura grega se deu justamente sobre o domínio da linguagem. O nosso objetivo no presente trabalho é ampliar a análise de Nietzsche a respeito do papel da linguagem no nascimento e ocaso da tragédia grega a todo o percurso de sua filosofia, e com isso fazer uma releitura do seu pensamento a partir da sua concepção acerca da linguagem. / [en] This thesis associates language in Nietzsche s philosophy with the Greek concept of phámakon. In The Birth of Tragedy, Nietzsche claims tragedy was born when drunkenness and soberness were combined in one art form that was driven simultaneously by Apollonian and Dionysian artistic drives. In this context, language, an Apollonian element, has a therapeutical function - it integrates Dionysian drives and get music and text together harmoniously. In spite of this, Nietzsche blames Socrates influence on Euripides for the death of tragedy. The Greek playwright emphasized language and rationality over music in his plays, losing dramatic tension and artistic power. It turned into the poison that ultimately exterminated ancient tragedy. Therefore, Nietzsche argues that the first rationalist assault over Greek culture was made through language. In this thesis, we try to broaden Nietzsche analysis about the role of language on the birth and death of Greek tragedy, studying his works from his ideas about language.

Zugl.: Stuttgart, Univ., Diss., 2006

Thesis advisor: John Sallis / This dissertation begins with a brief literature review of contemporary scholarship about sacrifice and the <italic>Phaedo.</italic> Chapter 1 provides a description of a Greek sacrificial ritual. Drawing on recent scholarship concerning Greek sacrificial practice, I conclude that the most significant feature of animal sacrifice was that it maintained a proportion between gods and men. In a sacrifice, a proportion between gods and men was enacted and set forth that would have been deeply interwoven with the day-to-day life of the <italic>polis,</italic> Chapter 2 argues that there are many similarities between the death scene and a Greek sacrificial ritual such that the entire <italic>mise-en-scène</italic> of the death scene has "the look" of a Greek sacrificial ritual. Since a Greek sacrificial ritual enacts a proportion between gods and men that is crucial for the maintenance of the city, we should expect that the death of Socrates in the <italic>Phaedo</italic> would enact a similar proportion by providing a logos of life and death. Nevertheless, there are elements in the death scene that also suggest a rupture of sacrificial economy. Chapter 3 offers a close reading of the "second sailing" passage in the Phaedo and argues that through it Socrates provides a way of doing philosophy that both acknowl-edges the limitations of mortals while seeking to set forth an account of life and death, of generation and destruction as a whole, that is proportionate. Although the death of Socrates in the <italic>Phaedo</italic> unfolds according to sacrificial themes it is not a tragedy, for its goal is to restore a version of the archaic ratio that is now appropriate for mortals who, after Socrates' self-sacrifice, are aware of their limitations. In witnessing the <italic>Phaedo</italic> one is offered a vision of an enactment of a proportion between gods and men such as one might have witnessed at a Greek sacrificial ritual. Chapter 4 explores the discussion of the soul and its relationship to the body in the Phaedo. An examination of the section in which Socrates calls death "nothing but a separation of the soul from the body" reveals that such a logos is really disproportionate and comic. In contrast to this view of the soul, I argue that Socrates presents a <italic>logos</italic> of the soul that can act "as if" it is other than itself. In this way, the soul is able to reconsti-tute itself as proportional. Finally, the epilogue points out the differences between my interpretation of the <italic>Phaedo</italic> and Nietzsche's. While Nietzsche sees the death of Socrates as enacting a pes-simistic view of embodiment, I contend that Socrates' death--seen as a sacrifice--may be linked to a Derridean notion of triage to reveal how the ethical situation of the Phaedo is really one of vigilance without reserve rather than salvation or escape. / Thesis (PhD) — Boston College, 2012. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

Zugl.: Marburg, Universiẗat, Diss., 2008.

Thesis (doctoral)--Christian-Albrechts-Universität zu Kiel, 2002.

Universiẗat, Diss.--Kiel, 2002.

Cette étude cherche à montrer de quelle façon une expérience socio-historique est incorporée à une œuvre littéraire et lui donne forme en devenant matière de sa composition. A partir des contradictions vécues par le peuple libanais dans leur mouvement de diaspora au Brésil, nous prétendons vérifier comment elles sont assimilées dans le cadre d’une création esthétique où elles sont symbolisées à différents degrés par le langage. Notre travail a pour objet d’analyser le roman Lavoura Arcaica de Raduan Nassar, publié en 1975. En partant de la contradiction centrale imposée par une réalité historique singulière, celle de l’immigration, régie par deux forces identiques et opposées, l’une endogène et l’autre exogène, le roman projette les effets de sa tension permanente. Ces effets se traduiront par des dédoublements qui, engendrant à chaque fois une nouvelle ambivalence contradictoire, attribuent au roman nassarien sa caractéristique la plus marquante. La poursuite de notre recherche nous mènera alors vers une configuration tragique imposée par un double commandement insoluble, ce dernier étant entièrement concentré sur le protagoniste romanesque. Face à une crise irréversible qui s’empare du récit, l’inceste surgit à la fois comme une réponse démesurée d’obéissance à la loi paternelle et comme une façon maligne de renverser l’ordre autoritaire d’un contexte patriarcal. Afin de cerner le jeu d’inversions proposé par le récit de Nassar nous ferons appel principalement aux études théoriques de Friedrich Nietzche, Jean-Pierre Vernant, Jacques Derrida, Marcel Mauss et René Girard. / This study intent to reveal how a socio-historical experience can be incorporated in a literally work shaping its form and becoming its content. Taking the contradictions into account experienced by Lebanese people regarding the moviment of the diaspora towards Brazil, we intent to verify how they were assimilated in the frames of an esthetic creation being simbolyzed by different levels of language. Our work aims analyse Raduan Nassar’s Lavoura Arcaica published in 1975. Since the central contradiction imposed by a singular historic reality, the Lebanese diaspora conducted by two identical and opposite strenghts, one endogenous and the other exogenous, the effects of this permanet tension are projected in the romance. These effects were translated by duplication that every time engenders a new contradictory ambivalence giving to the Nassar’s romance its most significant characterist. Our study will then lead us to a tragic configuration imposed by an insoluble double command, focused on its extensive totality on the romantic protagonist. Faced with an irreversible crisis that takes hold of the story, incest arises both as an excessive response to obedience to paternal law and as a malignant way to overthrow the authoritarian order of a patriarchal context. In order to define the set of inversions proposed by Nassar's narrative, we will mainly call upon the theoretical studies of Friedrich Nietzche, Jean-Pierre Vernant, Jacques Derrida, Marcel Mauss and René Girard.

Les pharmakons-aliments (aliments utilisés en thérapeutique sans être administrés selon les modes de la médecine conventionnelle) ont été ignorés des recherches en anthropologie de l’alimentation comme en ethnopharmacologie. Ils font l’objet de cette étude qui porte sur les rituels thérapeutiques de la zone Centre de la Mésoamérique, et plus particulièrement la limpia. Une étude anthropo-sémiologique des actes de cette pratique thérapeutique montre que ces aliments sont essentiellement utilisés dans deux métaséquences du rituel, qui correspondent à l’intervention du thérapeute sur le patient d’une part, sur son entourage d’autre part : l’acte fondamental réalisé avec un/des agent/s nettoyant/s et les offrandes aux entités non-ordinaires responsables de l’affection. Une recherche synchronique et diachronique est menée sur ces aliments particuliers, sur la place qu’ils occupent dans le rituel thérapeutique, sur les réseaux trophiques dans lesquels ils s’insèrent et sur les raisons de leur évolution au cours des siècles. / Pharmakons-foods used in therapeutics without being administered in accordance with established medical practices, have been ignored by research both in the anthropology of food and in ethnopharmacology. They are the matter studied in this exploration of therapeutic rituals in the Central Mesoamerican area, more particularly la limpia. The semiological-anthropological study of the acts which constitute this therapeutic practice shows that these foods are essentially used in two of the ritual’s metasequences, corresponding to the practitioner’s intervention on the patient on one hand and on the surrounding environment on the other: the fundamental act performed using one or several cleansing agents and the offerings to the non-ordinary entities responsible for the affliction. These particular foods are studied in their synchronic and diachronic aspects: the place they occupy in therapeutic rituals, the trophic networks they partake in, and the reasons behind their evolution over the centuries.

No description available.

By framing his deconstruction of Plato’s Phaedrus and Timaeus as a response to Platonism, Jacques Derrida overlooks the possibility of a Platonic philosophy beyond dogma and doctrine. This thesis argues that Derrida’s deconstructions target a particularly Platonist abstraction of the dialogues, and thus, his critique relies on the underlying assumption that Plato defends the metaphysics of presence. Derrida attempts to show how the thesis that Being is presence undermines itself in both dialogues through hints of différance like pharmakon and khôra. To answer the Derridean critique, I analyze the hermeneutics of Derrida’s deconstruction of Plato and identify what in the dialogues lies beyond the limits Derrida’s reading, for example Derrida’s notable exclusion of ἔρως.