This study focuses on Plato's "problem" with Sophistry. In recent years, that "problem" has come to be understood either as Plato's disagreement with the "philosophical" doctrines of the ancient Sophists or as his unreflective condemnation of their way of life. Hegel is responsible for the first way of thinking, Nietzsche for the second. For both, the "problem" posed by the ancient Sophists was of considerable importance. It confronted Plato with the challenge that philosophy justify itself--a challenge which Plato could not fully understand and which he failed to meet. According to Hegel, the challenge posed by the Sophists cannot be met by advancing a doctrine. It can only be met dialectically. According to Nietzsche, it cannot be met at all for the Sophist is justified in his rejection of the "rules" of all philosophical discourse, including dialectical argument. After offering some historical background on the ancient Sophists, I examine Hegel's and Nietzsche's understanding of Plato's "problem" with them. My argument is that both are correct to identify the "problem" posed by the Sophists as a challenge that philosophy provide for itself a justification. I argue that Hegel is right to conclude that such a justification can only be given dialectically but that Nietzsche teaches us that it must be conducted in an ad hominem manner. Contrary to both, I argue that Plato understood this very well and that the dialogues are written in accordance with this understanding. I then focus on the drama of the Sophist in order to show that Plato fully understood the challenge posed by the ancient Sophists and that his response to it is adequate. Plato does not think that the challenge of the Sophist can be met for once and for good. For that reason, the philosophical life is justified. / Thesis / Doctor of Philosophy (PhD)

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Tell Me Where To Hide My Mouth is a collection of poetry whose central theme is a woman's journey towards redemption. The redemptive struggle plays out in various scenarios, stalls, hesitates, regresses, slowly and abruptly begins, but never ends. The hesitance, the anticipation during the redemptive journey, and the way this journey weaves back and forth within itself is represented in four separate sections: "My Insect Heart", "No One Warns You of This", "The Body Without Yes", and "Tell Me Where to Hide my Mouth". The poems in each section are separated by my own creative design relative to four central themes revolving around the redemptive journey: love; loss and sacrifice; social consciousness, and confessional history telling through the reflection of my relationship to the physical landscape. Although the collection is not chronological, it is a lyric narrative with linear characteristics. It is my hope that the reader enters any place within the collection they wish, but is eventually drawn to the beginning to read through to the end, and experience a redemptive journey themselves. / Master of Fine Arts

Le silence est au cœur de tous les tissages musicaux, littéraires, cinématographiques. Son importance constitue l’objet de cette étude. En commençant par mettre en perspective la complexité qui lui est inhérente, il est question d’interroger sa place et ses manifestations dans le champ littéraire, puis dans le champ musical pour en arriver au champ cinématographique qui est toujours resté le moteur de cette recherche. Dans un approfondissement portant sur l’un des films de David Lynch, Wim Wenders, John Huston et Milos Forman, le silence est étudié dans son rapport à la voix, aux dialogues, à la musique, au corps, au mouvement, au montage, autour des questions de mémoire et d’oubli, d’imaginaire, d’errance, d’incommunicabilité ou de fracture, d’intimité, d’introversion ou d’extraversion, de protection ou de communion, de masque, d’enfermement, de mort, d’oppression ou de liberté… Ces cas d’étude permettent d’observer le silence dans sa polymorphie, l’évolution des ses valeurs, ses dualités ou la stratification de ses formes. / Silence is at the heart of all the musical, literary, movie weaves. This study is based on its importance. Putting first its inherent complexity into perspective enables us to search for its place and expression in the literary field, and then in the musical field to finally reach the movie field that has always been the driving force behind this research. By studying one of the movies by David Lynch, Wim Wenders, John Huston and Milos Forman in much greater depth, silence is to be explored in its connection with voice, dialogues, music, body, movement, film editing, around issues of memory and oblivion, imagination, wandering, incommunicability, break, privacy, introversion or extraversion, protection or communion , mask, imprisonment, death, oppression or freedom ... These case studies allow us to observe silence in its polymorphism, its changing values, dualities or the stratification of its forms.

Cette thèse porte sur l’écriture de Scholastique Mukasonga et Atiq Rahimi. Elle interroge principalement leurs écritures respectives à travers Notre-Dame du Nil, Inyenzi ou les cafards et Syngué sabour. Pierre de patience. Bien qu’amas de mots, ces trois œuvres participent d’une écriture du silence du point de vue esthétique et historique. Elle veut démontrer que face à l’horreur et au trauma, l’écriture du silence devient à la fois nécessaire et inévitable car le langage peine désormais à traduire la douleur d’un passé qui ne passe pas. Compte tenu de la difficulté du langage à traduire la souffrance et le trauma de la victime, le silence intervient comme une stratégie langagière qui permet de dépasser le dicible. Aussi, face à Adorno qui estimait que toute poésie après Auschwitz est barbare, la présente analyse démontre que l’écriture subsiste à l’horreur dans la mesure où elle tend, elle-même, vers l’absence et le silence comme le déclarait Blanchot. Pour cela, elle recourt à une esthétique qui allie silence et parole dans une expression qui permet d’atteindre l’indicible. / This thesis deals with the writing of Scholastique Mukasonga and Atiq Rahimi. She mainly questions their respective writings through Our Lady of the Nile, Inyenzi or Cockroaches and Syngué Sabour. Stone of patience. Although full of words, these three worksare part of a writing of silence from an aesthetic and historical point of view. She wants to demonstrate that in the face of horror and trauma, the writing of silence becomes both necessary and inevitable because language is now struggling to translate the pain of a past that does not pass. Given the difficulty of language in translating the suffering and trauma of the victim, silence intervenes as a language strategy that makes it possible to go beyond the sentence. Also,in the face of Adorno, who felt that all poetry after Auschwitz is barbaric, the present analysis demonstrates that writing remains horrifying to the extent that it tends, itself, to absence and silence as declared by Blanchot. . For this, she uses an aesthetic that combines silence and speech in an expression that achieves the unspeakable.

It may seem ironic or even slightly absurd to discuss silence in a context where the sound is art. Perhaps even more absurd is the fact that we are engaging in a kind of dialectical exchange about silence which inevitably materialises in sound. Paradoxes and contradictions aside, for a musician to ask, ‘what is silence?’ is for a painter to ask, ‘what is a canvas?’ or an actor to ask, ‘what is an empty stage?’ Silence has a necessary interrelationship with sound be it music, speech or noise. It also has potential to be translated to space, body and existence – our physical being in the world. Silence has often been construed as nothing, a void or completely disregarded. Instead of speculating the is-ness of silence, by objectifying it as a thing in the world that has positive or negative ontology and dismissing it as merely no-thing, the attempt here is to investigate the experience of silence in music and music performance, as it is as much an expressive gesture as music and sound and it gives light to the experience of listening and performing. An awareness of silence will hopefully be an invitation to a different perspective, regard and respect for its place and space in music and our own minds.

Dissertation--Universität Kiel, 2004. / Notes bibliogr.

Texte remanié de: Diss.--Berlin--Humboldt-Universität, 2001. / Bibliogr. p. 317-338. Notes bibliogr.

Thesis (Ed. D.)--University of Washington, 1991. / Vita. Includes bibliographical references (leaves [181]-185).