Thesis (Honors)--University of Michigan, Ann Arbor, 1994. / Includes bibliographical references.

Thesis (Ph. D.)--University of Oregon, 2005. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 260-266). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Honors)--University of Michigan, Ann Arbor, 1994. / Includes bibliographical references.

Euphrase Kezilahabi, outstanding Swahili writer, thinker and scholar who was born on 13 April, 1944, passed away on 9 January, 2020. In this obituary, Roberto Gaudioso pays homage to his path-breaking achievements in Swahili creative literature by highlighting his poetry which Gaudioso has studied in depth. He emphasizes that the late Kezilahabi’s contribution as an intellectual and a poet goes beyond limits of space and time, as is shown by generations of researchers and translators who have been working on him.

A partir do último livro de poemas de Antonio Cicero, A cidade e os livros, de 2002, este estudo busca compreender como sua dicção aparentemente classicista se constitui, na realidade, como uma poética contemporânea e \"agoral\". Ao mesmo tempo, o estudo estabelece a idéia de que a poesia de Antonio Cicero, em sua tentativa de aproximar-se integralmente da superfície das coisas, pessoas e lugares de que fala, faz com que o tempo relativista da contemporaneidade, em sua \"contingencialidade absoluta\", mantenha surpreendentes relações com o tempo absoluto da mitologia. / By analyzing Antonio Cicero\'s latest book, A cidade e os livros, from 2002, this study tries to understand how his apparently classical language consists, in reality, as a contemporary poetry; a poetry of the \"now\". At the same time, the study establishes the idea that Antonio Cicero\'s poetry, in its attempt to integrally approach the surface of the things, people and places of which it speaks, makes the relative time of contemporaneity, in its \"absolute contingency\", keep surprising relationships with the absolute time of mythology.

A partir do último livro de poemas de Antonio Cicero, A cidade e os livros, de 2002, este estudo busca compreender como sua dicção aparentemente classicista se constitui, na realidade, como uma poética contemporânea e \"agoral\". Ao mesmo tempo, o estudo estabelece a idéia de que a poesia de Antonio Cicero, em sua tentativa de aproximar-se integralmente da superfície das coisas, pessoas e lugares de que fala, faz com que o tempo relativista da contemporaneidade, em sua \"contingencialidade absoluta\", mantenha surpreendentes relações com o tempo absoluto da mitologia. / By analyzing Antonio Cicero\'s latest book, A cidade e os livros, from 2002, this study tries to understand how his apparently classical language consists, in reality, as a contemporary poetry; a poetry of the \"now\". At the same time, the study establishes the idea that Antonio Cicero\'s poetry, in its attempt to integrally approach the surface of the things, people and places of which it speaks, makes the relative time of contemporaneity, in its \"absolute contingency\", keep surprising relationships with the absolute time of mythology.

Le divin peut-il être à la fois mort et vivant ? Résonnant pour nous à partir de Nietzsche et de Heidegger, cette question traverse l’œuvre, d’abord poétique mais aussi pleinement philosophique, de Friedrich Hölderlin (1770-1843). Dès la querelle du panthéisme qui anime le débat intellectuel germanique au cours des années 1780, le dieu de la métaphysique identifié avec le dieu chrétien semble perdre son effectivité. Mais le divin n’est pas seulement pour Hölderlin un contenu dogmatique ou conceptuel : il désigne avant tout le lien qui s’établit avec la nature lorsque l’homme réfléchit le sentiment que celle-ci produit en lui-même. Dès lors, même s’il semble exposé à la mort en tant que Créateur transcendant du monde, Dieu ne cesse pas de pouvoir être approché comme la source vive de toute apparition. Il ne se manifeste toutefois comme tel qu’à condition de s’effacer comme antériorité et de donner lieu aux choses singulières, en une rupture de toute union prétendument originelle. Or, dire que le principe doit nier sa propre primauté, c’est dire que l’un tend à se séparer de soi pour accéder à sa propre unité, et qu’il doit nécessairement produire une image de lui-même. En défendant cette thèse héritière d’Héraclite et du néoplatonisme, Hölderlin s’oppose aux philosophes idéalistes subjectifs, qui identifient alors le principe de toute réalité avec le Moi, et il s’expose du même coup à l’objection d’être incohérent et exalté. Mais l’effet produit par ses poèmes, par son roman et par sa tragédie fait s’évanouir tout soupçon de Schwärmerei. La poésie hölderlinienne est réellement image de Dieu. L’étude de la méditation et de la mise en œuvre progressive d’une telle effectivité exige de distinguer trois périodes dans le développement de sa pensée. Entre 1785 et 1795, Hölderlin s’efforce de parvenir, après avoir lu Kant, Schiller, Fichte et Schelling, à une compréhension à la fois non subjective et non dogmatique de l’être. Entre 1795 et 1802, en nommant le principe à la fois « beauté » à partir de Platon et « un se différenciant en lui-même » à partir d’Héraclite, il conceptualise les moyens de traduire poétiquement la profusion de la vie divine. Entre 1802 et 1843, comme si la mort de Susette Gontard, l’isolement et la folie affrontés sur le plan biographique rejoignaient, sur les plans théorique et poétique, la méditation de Pindare, de Sophocle et de la figure du Christ, Hölderlin montre la dépendance de l’infini à l’égard de la finitude. Ainsi son œuvre entière donne-t-elle à voir, en sa tension interne entre le poème et la philosophie, la vie divine harmoniquement opposée. / Can the divinity be at once dead and alive? Resonating for us since the time of Nietzsche and Heidegger, this question runs all through the works of Hölderlin, in the first place poetic, but also, in the fullest sense, philosophic. From the time of the controversy over pantheism among German intellectuals in the 1780s the identification of the god of metaphysics with the Christian god seems to have lost its effectiveness. But the divinity for Hölderlin was not only a written dogma or concept ; it denotes above all the link established with nature when man reflects the feelings it arouses in him. From then on, god, even if he seems exposed to death as the transcendent creator of the world, continues to be approachable as the deepest source of all apparitions. However, god only manifests himself in this way if he effaces himself as anteriority, and breaking all union supposedly original, makes way for singular things. Now, to say that the principle denies its own primacy is to say that the one tends to separate from itself in order to reach its own unity, and that it must necessarily produce an image of itself. In defending this proposition, Hölderlin set himself in opposition to the subjective idealist philosophers, who identified the principle of all reality with the "I", and he exposed himself at the same time to the objection that he was incoherent and fanatical. But the effect produced by his poems, novel and tragedy dispels all suspicion of Schwärmerei. Hölderlin’s poetry really is the image of god. A study of his meditation and the progressive implementation of such a level of effectiveness makes it necessary to distinguish three periods in the evolution of his thought. Between 1785 and 1795, after having read Kant, Schiller, Fichte and Schelling, Hölderlin tried to achieve an understanding both non-subjective and non-dogmatic of Being. Between 1795 and 1802 he conceptualised the means of conveying through poetry the profusion of divine life, naming the principle both "beauty", after Plato, and "one differentiating in itself", after Heraclitus. Between 1802 and 1843, as if the death of Susette Gontard, isolation and madness confronted at a biographical level had conjoined, at a theoretic and poetic level, the meditation on Pindar, Sophocles and the face of Christ, Hölderlin showed the dependence of the infinite with regard to the finite. Thus, the whole body of his work, in its internal tension between poem and philosophy, reveals divine life in harmonic opposition.

Le vieux différend entre le philosophe et le poète, entre logos et mythos, peut être converti en accord à condition de changer de point de vue. Alors que Platon n’a voulu voir dans leurs différences qu’une source de discorde et de division, Aristote en a tiré une poétique et une rhétorique, les poètes de la Renaissance une philosophie poétique et Vico une anthropologie du langage et une archéologie de la pensée. Ce qui est pour les modernes une « pensée sauvage » a longtemps été considéré par les anciens comme une sagesse archaïque, qui s’exprimait par figures et « traduisait en langue des dieux » les voix de la nature.On se propose ici de réévaluer les notions de pensée poétique et de pensée mythique en adoptantle point de vue des poètes de la Renaissance et de l’âge baroque, qui identifièrent l’une et l’autre à la pensée ingénieuse productrice de métaphores, de figures et de fictions. Mais il faut remonter aux sources antiques pour pouvoir rendre compte de l’active polysémie des anciennes méthodes d’interprétation des mythes qui, loin de séparer les points de vue de la physique, de la morale et de la théologie, les associaient en une « science poétique » qui faisait la synthèse de tous les savoirs du monde, et qui est désormais une science fossile. / The old dispute between the Philosopher and the Poet, which leads to the dichotomy betweenLogos and Mythos, can be turned into a settlement as long as one changes one’s viewpoint. WhilePlato only considered their difference as a source of discord and division, Aristotle drew from it aPoetic and a Rhetoric, the Renaissance poets a Poetical Philosophy, and Vico a language’sAnthropology and an Archeology of the Thought. What is considered by the Moderns to be a « wildthinking » was seen by the Ancients as an archaic wisdom, expressed through figures and« translating the voices of nature into the language of gods ».The purpose here is to reassess the concepts of Poetic and Mythic thought by adopting theviewpoint of the poets of the Renaissance and the Baroque era. Those cleary identified these twospecific thinkings with the wit’s power to produce metaphors, figures and fictions. In order to achievethis research, it is important to revisit the antic sources, so as to enlight the effective polysemysupporting the ancient ways used to interpret myths. Far from categorising the stance of the physics,the morals and the theology, the Ancients used to gather them into a comprehensive « poeticscience » : it reunited the synthesis of all knowledge but has become a fossilised science

D’après Deleuze, écrire sur la musique constituerait un « sommet » de la pensée, l’idée d’une « supériorité » du musical sur les autres formes d’art étant, par là même, affirmée. La relation entre musique et philosophie n’est pas, dans sa pensée, de l’ordre du commentaire mais du devenir. Autrement dit, la musique n’est pas un simple objet d’analyse puisqu’elle influence en retour le style de conceptualisation du philosophe. C’est pourquoi ce problème s’articule selon deux perspectives qui s’échangent sans se concilier tout à fait : un devenir-musical de la philosophie, un devenirconceptuelde la musique. On pense par exemple au concept décisif de ritournelle qui désigne à la fois une « petite musique » etl’éternel retour.Le devenir-musical de la philosophie correspond à une dimension « artiste » de la pensée, le style d’écriture devenant un enjeu majeur. Deleuze partage avec les romanciers la création d’une langue étrangère dans la langue courante – création qui tend vers une « musicalisation » du langage. Si l’écrivain invente une « petite musique » par une mise en variation continue de la langue, le devenir musical de la philosophie implique une variation continue du concept, notamment parl’usage de la métaphore. Le texte philosophique refuse alors toute approche interprétative pour intensifer la part affective du texte. Un tel devenir n’est pas sans produire une forme d’ambiguïté puisqu’il finit par rendre indiscernable poésie et philosophie. Comment assumer la part musicale de la pensée deleuzienne dans le champ de la philosophie ? Le devenir-conceptuel de la musique correspond à un aspect plus traditionnel de la pensée deleuzienne puisque la musique y est soumise à l’appareillage ontologique du philosophe. En toute logique, l’idéal esthétique vers lequel tend tout agencement musical s’avère être la variation continue. Reprenant à son compte les dualités bergsoniennes, Deleuze assimile lemusical au domaine de l’intensif et du différentiel contre ce qui touche à la représentation. Sur la question fondalementaledu temps musical, Deleuze s’inspire de Wagner Proust, Bergson et Boulez pour développer une métaphysique de la musique autour de deux notions : le passé pur comme Mémoire cosmique et la réminiscence comme moyen esthétique d’y accéder. Du fait de la nature idéaliste de cette conception, Deleuze s’oppose à l’esthétique nietzschéenne pour renouer avec le romantisme / According to Gilles Deleuze, writing about music would be a summit of thought, the idea of superiority of the music is even asserted. Deleuze doesn’t think the relationship between music and philosophy as a comment but as a becoming. Music is not just a subject of analysis since in turn influences the style of conceptualization of the philosopher. The musical question thus revolves around two perspectives : a becoming-music of philosophy, a becoming-conceptual of music. For example,the concept of refrain refers to both a "little song" and the eternal return of Nietzsche.Becoming-music of philosophy is an artistic dimension of thought, so the writing style became a major issue. Deleuze shares with writers the creation of a foreign language in everyday language - which tends to create a « musicalisation » of words. As the writer invents a word music with a continuously variable setting of the language, the music of philosophy implies a continuous variation of the concept, including the use of metaphor. The philosophical text then refuses any interpretative approach to concentrate the affective part of the text. Such becoming is not without producing a form of ambiguity since it ultimately makes indistinguishable poetry and philosophy. How to take music fot the deleuzian concept in the field of philosophy?The same continuous variation is seen under high aesthetic ideal within the becomingconceptual of music. This second perspective corresponds to a more traditional aspect of Deleuze's thought since music is subjected to the ontological apparatus of the philosopher. Inspired by Wagner, Proust, Bergson and Boulez, Deleuze develops a metaphysic ofmusic based on two notions : the pure past and reminiscence. Because of such an idealistic conception of music aspect, Deleuze opposes Nietzsche's aesthetics to revive the romantism

The aim of the present study is to analyze the conception of time in six books of poems by José Hierro (1922-2002): Tierra sin nosotros (1947), Alegría (1947), Con las piedras, con el viento… (1950), Quinta del 42 (1952), Cuanto sé de mí (1957) and Libro de las alucinaciones (1964). It is suggested that the theme of time in Hierro´s poetry can be approached from three different points of view: existence, essence and consciousness. Furthermore, these three different perspectives are reflected in a chronological division of Hierro´s books of poems into three periods: existential poetry, intimist poetry and hallucinatory poetry. In order to develop and reinforce the thematic study, on the one hand, a comparative study is carried out that focuses on the relationship between poetry and philosophy, and, on the other, the thematic configuration on the surface level is considered. The methodological foundations that make it possible to achieve this objective are provided by Jean-Pierre Richard´s thematic criticism, Edmund Husserl´s phenomenology and Paul Ricoeur´s phenomenological hermeneutics. The dissertation concludes that Tierra sin nosotros and Alegría represent Hierro´s existential poetry, written during the post-war period and the reigning atmosphere of existentialism. Alegría, Con las piedras, con el viento… and Quinta del 42 constitute his intimist poetry. The second book, Alegría, is described as a “bridging book” between the first two periods. When the immediacy of the Civil War begins to fade, the literary scene shifts towards the more intimate theme of knowledge, and in Hierro´s poetry especially the phenomenon of time. In Quinta del 42, Cuanto sé de mí and Libro de las alucinaciones the reader encounters Hierro´s hallucinatory poetry. Quinta del 42 is another example of a “bridging book” between two periods. His hallucinatory poems transmit an extreme form of the search for inner truth which entails the deconstruction of time and space.