The creation, implementation, and ratification of the Trafficking Victims Protection Act (TVPA), as well as the growth of parallel private initiatives against human trafficking, have emerged from a neoliberal political agenda that focuses on redefinitions of labor, sexuality, securitization of humanitarian campaigns, and immigration policies. In this thesis, I explore some of the meanings and effects of those redefinitions by focusing on the affective registers of pity and panic in their ability to mobilize publics toward restrictive forms of assistance to real and imaginary victims of the so-called phenomenon of “modern-day slavery.”

The creation, implementation, and ratification of the Trafficking Victims Protection Act (TVPA), as well as the growth of parallel private initiatives against human trafficking, have emerged from a neoliberal political agenda that focuses on redefinitions of labor, sexuality, securitization of humanitarian campaigns, and immigration policies. In this thesis, I explore some of the meanings and effects of those redefinitions by focusing on the affective registers of pity and panic in their ability to mobilize publics toward restrictive forms of assistance to real and imaginary victims of the so-called phenomenon of “modern-day slavery.”

In order to reconcile the deus ex machina at the end of Sophocles' Philoctetes with the actions of the rest of the play, this project analyzes the role of Odysseus within the play with special attention to rhetoric. By considering the character of Odysseus as a complex construct referencing both literary and historical contexts, this study suggests that Neoptolemus in fact errs in siding with Philoctetes to the degree that he does by the tragedy's end. The themes of the play involving Philoctetes and Neoptolemus then become warnings against inappropriate emotional responses, again consistent with Heracles' advice in the deus ex machina at the play's end.

Quando o interesse pelos afetos surgiu na semiótica greimasiana, a problemática da enunciação, do discurso em ato, ainda não era trazida à luz de modo significativo. Propôs-se um estudo no domínio do discurso debreado, com a investigação - ainda que constatando as indicações e características de um outro universo de significação, o sensível - orientada predominantemente pela gramática da ação, amplamente desenvolvida no quadro teórico-metodológico da disciplina. As paixões passaram a ser vistas, desde então, na perspectiva da teoria, como um arranjo de modalidades, como efeitos de sentido de qualificações modais que alteram o sujeito de estado. A articulação modal permite, sem dúvida, definir a maneira de ser que \"sensibiliza\" o esquema narrativo e o rege, identificando os estados dos sujeitos narrativos. Ela está, de fato, na base da configuração patêmica, uma vez que os arranjos modais definem mesmo o ser do sujeito e o conflito que caracteriza seus \"estados de alma\", tornando possível a depreensão das fases da manifestação afetiva enunciada e o seu papel na produção de uma dada paixão. Por outro lado, as modalidades por si mesmas não explicam o \"excesso\" propriamente dito, a intensidade das modulações que subjazem à estrutura modal e a patemizam. Nesse sentido, a pesquisa aqui apresentada se concentra na tentativa de contribuir para a expansão e reformulação do modelo semiótico de análise das paixões, mostrando a legitimidade e os rendimentos da incorporação das circunstâncias perceptivas, de articulação entre o sensível e o inteligível, como dispositivos constituintes e determinantes da configuração de uma dada interação patêmica. Retomando a discussão apresentada nas páginas introdutórias de Semiótica das paixões (GREIMAS; FONTANILLE, 1993) e aquela presente em alguns dos verbetes de Tensão e significação (FONTANILLE; ZILBERBERG, 2001), defenderemos - a partir da análise de paixões semelhantes, como é o caso da compaixão e da piedade - que, além do exame das modalidades estruturantes do núcleo passional, é preciso atentar também, senão sobretudo, às precondições desta articulação modal, concebida, a paixão, como resultado de correlações sensíveis e inteligíveis. Consideraremos, pois, o estado juntivo que caracteriza sujeito e objeto, a existência semiótica, como uma relação de percepção, na qual prevalece a problemática das modulações e do discurso em ato. Importa a nossa investigação compreender o processo de configuração da interação passional na própria manifestação do acontecimento da semiose, para o que postulamos uma análise dos afetos que não se prenda unicamente à passionalidade do sujeito enunciado, ou ao discurso apaixonado do sujeito enunciante, mas sim à própria emergência passional da relação intersubjetiva, às condições enunciativas de sua produção / By the time the interest in affections arose in Paris School (Greimassian) semiotics, the issue of enunciation, of the discourse in act had not been significantly raised yet. A proposal for a study in the field of the enunciated discourse was then put forward. Even though signs and characteristics of another universe of signification - the sensitive one - were perceived, the analysis of the enunciated discourse remained primarily oriented by the grammar of action, widely developed in the theoretical-methodological scope of this field of study. Since then passions have been seen from the theoretical perspective as an arrangement of modalities, as signification effects of modal qualifications which alter the subject\'s state. Modal articulation definitely helps to define the subject\'s way of being, which not only makes the narrative scheme more sensitive but also rules it, identifying the subject \'s states in the narrative. In fact, the modal articulation provides the basis for the pathos configuration, as modal arrangements define both the subject\'s being and the conflict which characterizes the subject\'s state of feelings, making it possible to notice the manifestation phases of the enunciated affections and their role in the creation of a given passion. On the other hand, modalities by themselves do not explain excess - the intensity of the modulations underlying the modal structure and making it more sensitive. Therefore, this research aims to contribute to expand and restructure the semiotic model of passion analysis, showing the legitimacy and the improvements resulting from the incorporation of perceptive circumstances, the articulation between sensitive aspects and intelligible ones used as constituent and defining devices to outline a given integration of affections. Retrieving the discussion presented in the introductory pages of The Semiotics of passions (Greimas; Fontanille, 1992) as well as in some chapters of Tension and signification (Fontanille; Zilberberg, 1998), we intend to defend the idea, based on the analysis of similar passions such as compassion and pity, that it is not only important to examine the structural modalities in the passionate nucleus but it is also mostly important to focus on the preconditions of such modal articulation conceiving a passion as a result of sensitive and intelligible correlations. We will therefore consider the junction state, which characterizes subject and object, the semiotic existence, as a relation of perception in which the issue of modulations and discourse in act is dominant. It is also relevant for this study to understand the configuration process of the emotional interaction in the actual manifestation of the semiosis event, for which we propose an analysis of affections. As well as dealing with the enunciated subject\'s passions and the enunciator\'s passionate discourse, this analysis aims to highlight the passionate emergency of the intersubjective relation and the enunciating conditions of its creation process

Quando o interesse pelos afetos surgiu na semiótica greimasiana, a problemática da enunciação, do discurso em ato, ainda não era trazida à luz de modo significativo. Propôs-se um estudo no domínio do discurso debreado, com a investigação - ainda que constatando as indicações e características de um outro universo de significação, o sensível - orientada predominantemente pela gramática da ação, amplamente desenvolvida no quadro teórico-metodológico da disciplina. As paixões passaram a ser vistas, desde então, na perspectiva da teoria, como um arranjo de modalidades, como efeitos de sentido de qualificações modais que alteram o sujeito de estado. A articulação modal permite, sem dúvida, definir a maneira de ser que \"sensibiliza\" o esquema narrativo e o rege, identificando os estados dos sujeitos narrativos. Ela está, de fato, na base da configuração patêmica, uma vez que os arranjos modais definem mesmo o ser do sujeito e o conflito que caracteriza seus \"estados de alma\", tornando possível a depreensão das fases da manifestação afetiva enunciada e o seu papel na produção de uma dada paixão. Por outro lado, as modalidades por si mesmas não explicam o \"excesso\" propriamente dito, a intensidade das modulações que subjazem à estrutura modal e a patemizam. Nesse sentido, a pesquisa aqui apresentada se concentra na tentativa de contribuir para a expansão e reformulação do modelo semiótico de análise das paixões, mostrando a legitimidade e os rendimentos da incorporação das circunstâncias perceptivas, de articulação entre o sensível e o inteligível, como dispositivos constituintes e determinantes da configuração de uma dada interação patêmica. Retomando a discussão apresentada nas páginas introdutórias de Semiótica das paixões (GREIMAS; FONTANILLE, 1993) e aquela presente em alguns dos verbetes de Tensão e significação (FONTANILLE; ZILBERBERG, 2001), defenderemos - a partir da análise de paixões semelhantes, como é o caso da compaixão e da piedade - que, além do exame das modalidades estruturantes do núcleo passional, é preciso atentar também, senão sobretudo, às precondições desta articulação modal, concebida, a paixão, como resultado de correlações sensíveis e inteligíveis. Consideraremos, pois, o estado juntivo que caracteriza sujeito e objeto, a existência semiótica, como uma relação de percepção, na qual prevalece a problemática das modulações e do discurso em ato. Importa a nossa investigação compreender o processo de configuração da interação passional na própria manifestação do acontecimento da semiose, para o que postulamos uma análise dos afetos que não se prenda unicamente à passionalidade do sujeito enunciado, ou ao discurso apaixonado do sujeito enunciante, mas sim à própria emergência passional da relação intersubjetiva, às condições enunciativas de sua produção / By the time the interest in affections arose in Paris School (Greimassian) semiotics, the issue of enunciation, of the discourse in act had not been significantly raised yet. A proposal for a study in the field of the enunciated discourse was then put forward. Even though signs and characteristics of another universe of signification - the sensitive one - were perceived, the analysis of the enunciated discourse remained primarily oriented by the grammar of action, widely developed in the theoretical-methodological scope of this field of study. Since then passions have been seen from the theoretical perspective as an arrangement of modalities, as signification effects of modal qualifications which alter the subject\'s state. Modal articulation definitely helps to define the subject\'s way of being, which not only makes the narrative scheme more sensitive but also rules it, identifying the subject \'s states in the narrative. In fact, the modal articulation provides the basis for the pathos configuration, as modal arrangements define both the subject\'s being and the conflict which characterizes the subject\'s state of feelings, making it possible to notice the manifestation phases of the enunciated affections and their role in the creation of a given passion. On the other hand, modalities by themselves do not explain excess - the intensity of the modulations underlying the modal structure and making it more sensitive. Therefore, this research aims to contribute to expand and restructure the semiotic model of passion analysis, showing the legitimacy and the improvements resulting from the incorporation of perceptive circumstances, the articulation between sensitive aspects and intelligible ones used as constituent and defining devices to outline a given integration of affections. Retrieving the discussion presented in the introductory pages of The Semiotics of passions (Greimas; Fontanille, 1992) as well as in some chapters of Tension and signification (Fontanille; Zilberberg, 1998), we intend to defend the idea, based on the analysis of similar passions such as compassion and pity, that it is not only important to examine the structural modalities in the passionate nucleus but it is also mostly important to focus on the preconditions of such modal articulation conceiving a passion as a result of sensitive and intelligible correlations. We will therefore consider the junction state, which characterizes subject and object, the semiotic existence, as a relation of perception in which the issue of modulations and discourse in act is dominant. It is also relevant for this study to understand the configuration process of the emotional interaction in the actual manifestation of the semiosis event, for which we propose an analysis of affections. As well as dealing with the enunciated subject\'s passions and the enunciator\'s passionate discourse, this analysis aims to highlight the passionate emergency of the intersubjective relation and the enunciating conditions of its creation process

<p>Contemporary political events reveal a serious partisanship divide in which serious, non-bombastic political conversation appears limited. The theatrical effect is to make Americans appear as enemies of each other. And, while compassion might be bandied about as an ideological tool, it seemingly has little to offer the body politic. Yet I believe that not only is compassion possible but it is necessary at a critical time like now. After reviewing compassion's definitions and the broad literature around it in Chapter One, I take seriously Hannah Arendt's concerns - that compassion is not only apolitical but anti-political in its encouragement of violence or apathy, its sentimentality, and its eradication of political capacities like thinking. To address Arendt I turn to Jean-Jacques Rousseau and retrieve a neglected form of pity, one not only sociable but tied to action in the polity at large. I then consider how Merleau-Ponty's phenomenology of perception opens compassion's inter-corporeal dimensions, creating distance and depth between people while aligning their gestures and mannerisms. The ability of compassion to enter politics and create or strengthen solidarity via Robert F. Kennedy's politics is discussed in the conclusion. Compassion is a discursive and varied phenomenon that appears according to context while also remaining a psycho-physical and emotional capacity to see, acknowledge, and respond to another person. It also acts as a necessary but not sufficient condition for politics, enriching and enlivening other "political" virtues like justice, equality, and freedom by focusing political sight on "the pulse of hearts beating with red blood" (DuBois, Souls of Black Folks).</p> / Dissertation

This study explores the normative role of emotional rhetoric and the social passions (with an emphasis on compassion) in politics through a consideration of the divergent perspectives of Rousseau and Nietzsche. These two invite comparison not only because of the wide range of ideas they represent, but also because each employed rare rhetorical skill to effect extensive cultural change. To analyze this dynamic relationship between theory and practice, I focus on how each philosopher sought to transform the sentimental basis of social and political life. I argue that Rousseau, through his intentional use of sentimental rhetoric, inspired cultural romanticism and the equity of the political left, and that Nietzsche, through his extreme attack on ordinary compassion, and his invocation of tragic pity and the “pathos of distance,” hoped to prevent nihilism from taking root in the modern spirit by bringing about an age of renewed cultural depth and robust individualism. My study is unique in its investigation of the autobiographical rhetoric of the two philosophers. I argue that both Rousseau and Nietzsche wrote autobiographies that exemplify their respective philosophical teachings on the sentiments, which is to say that in the autobiographical works they employ personal rhetoric aimed at illuminating and reinforcing these teachings. Rousseau’s pathos-filled self-presentation serves his vision for a withdrawn cultural elite that, while tolerated and quietly influential, does not enjoy public honors; Nietzsche, I suggest, worries that the cost of privatizing great individual virtue will be too high; his bombastic self-portrait not only satirizes faux Rousseauian vulnerability, but also serves personally to exemplify the possibility of a new cultural super-authority. In both cases, I suggest, a fundamental consistency exists between their theoretical teachings and their self-presentations, such that their autobiographical works should be understood as integrated parts of their greater philosophic projects. / text

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

'Tis Pity She's a Whore. An Elizabethan revenge tragedy by John Ford, was produced and directed by Kenneth Livingstone, in partial fulfilment of the requirements for a Master of Arts degree in the Department of Theatre of the University of British Columbia, at the Frederic Wood Studio Theatre, from March 8-11, 1967. The following is a detailed record of that production along with the director's analysis and interpretation of the script. 'Tis Pity She's a Whore was produced on a budget of $300.00, with a 90 hour rehearsal period and had a five performance run in a theatre seating approximately ninety people. The play was performed by a predominantly student cast in a setting designed by Harry Soloveoff and with original music composed by Leon Dubinsky which was played each night by a small group of musicians employing recorders, guitars, drums, bells and a virginal. This record is divided into three main sections. The first is an essay which starts by discussing the historical background of the play with reference to its position in the genre of Revenge Tragedy. This is followed by a brief biographical note on the author and then a detailed analysis of the play with reference to the significant critical interpretations available and concludes with a discussion of the directorial concept adopted for this production. The director's interpretation is compared to, and contrasted with, the various critical views already mentioned. The essay is followed by a short bibliography which is not intended as a complete academic record of works on Ford, but merely indicates those views which were taken into consideration in the preparation of this production. The second section is made up of the actual script; showing cuts, blocking, significant divisions and indicating light, music and scenery cues. Each scene is preceded by a brief analysis which indicates the major units within the scene and the directorial approach taken in terms of purpose, action, dominant emotions, character dominance, and particular difficulties Involved. The third section is made up of various tables, records, and illustrations relating directly to the production. Included are lists of light cues, music cues, set changes, properties, costumes, cost lists, and box office reports. Also included are transcripts of the music composed for the production, a sample of the program, and copies of the press reviews. The illustrations include colour photographs of the production, and finally, blueprints of the floor plan and working drawings. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Ce travail prend pour objet la correspondance sur la tragédie échangée par Lessing, Mendelssohn et Nicolai entre 1755 et 1757 selon une double approche. Un volume propose une traduction intégrale des lettres, accompagnées de textes qui en permettent une meilleure contextualisation. Un autre volume en établit une première interprétation, afin de la situer dans la genèse de l’esthétique philosophique en Allemagne. Il s’appuie donc sur une thèse liminaire : l’esthétique n’est pas d’abord une doctrine, mais le résultat, dans le milieu philosophique, du grand mouvement de constitution du système des arts qui traverse l’Europe au XVIIIe siècle. Il montre comment, en se rapportant chaque fois de manière différente à l’héritage baumgartenien et à la théorie de l’art française, chaque auteur se détache de la poétique classique de Gottsched qui constitue la référence intellectuelle en Allemagne à cette période. Abandonnant toute stratégie de légitimation du genre, Nicolai développe une approche critique, qui fait valoir l’autonomie du champ littéraire dans la détermination des règles d’écriture de la tragédie et en réfute toute fonction morale. Lessing, en revanche, développe une approche poétique et critique renouvelée, qui veut défendre à la fois l’autonomie du champ littéraire et l’utilité morale de la tragédie. Elle implique de redéfinir la pitié de manière inédite, puis finalement la nature de la moralité. Mendelssohn, enfin, défend contre Lessing une perspective esthétique : l’autonomie du champ et son absence d’ambition morale. Il en établit alors la légitimité grâce à la notion de plaisir esthétique, plus élevé en dignité que le plaisir sensible car intellectuel. / The topic of the thesis is the 1755-1757 correspondence between Lessing, Mendelssohn and Nicolai about tragedy. One volume does not only contains a full translation of the letters but also some other texts in order to better sketch its historical context. Another volume contains an interpretation of the corpus that aims to highlight its place in the historical genesis of philosophical aesthetics in Germany. This work relies on a preliminary basis : aesthetics is not a doctrine, but rather the result, in the philosophical field, of the constitution of the system of arts that goes through the entire Europe in the XVIIIth century. It shows how each of them leaves the classic poetics of Gottsched – the reference in Germany at that time – and how each of them does it by referring in a different way to the legacy of Baumgarten and the French art theory. Hence, Nicolai gives up any strategy of recognition regarding the tragedy and takes a critical perspective. He underlines the autonomy of the literary field concerning the rules of tragedy. He denies any moral function. Lessing takes a poetical and critical perspective in a new sense. He stresses the autonomy of the literary field as much as the moral function of tragedy. This implies to redefine pity in a way never seen before, if not the essence of morality itself. As for Mendelssohn, he fights Lessing and adopts an aesthetical perspective. The aesthetical field is autonomous and has no moral ambition. What makes it legitimate is then the aesthetical pleasure for it has more dignity than the simple sensitive pleasure as it is more intellectual.