A presente dissertação consiste numa tradução anotada da peça Hercules furens, do filósofo e tragediógrafo romano Lúcio Aneu Sêneca (4? a.C. 65 AD), precedida de uma introdução na qual são apresentadas uma série de reflexões sobre a dramaturgia senequiana. Esse estudo introdutório divide-se em três partes principais: num primeiro momento, investiga-se brevemente a relação entre a História e a composição dramática de Sêneca, contextualizando a peça no período histórico em que foi composta; o segundo capítulo do estudo propõe-se a examinar as intersecções entre a Filosofia estoica, a mitologia e as composições poéticas de Sêneca; por fim, são analisados alguns procedimentos retórico-poéticos que fundamentam a tragediografia senequiana. Durante muito tempo, a peça em questão foi considerada mera adaptação romana do Héracles de Eurípides; por meio das reflexões concatenadas no estudo introdutório, esta dissertação tem por objetivo precípuo evidenciar o anacronismo de certos juízos de valor que com frequência foram projetados no texto de Sêneca, procurando-se, deste modo, resgatar uma visão menos parcial da peça e evidenciar ao leitor moderno as peculiaridades latinas encontrados no Hércules furioso, mostrando como a peça se insere na evolução do gênero trágico em Roma e como o texto dialoga amplamente com a tradição poética latina. / The present dissertation consists in an annotated translation of the play Hercules furens, written by the roman tragedian and philosopher Lucius Annaeus Seneca (4? BC AD 65), preceded by an introduction in wich a series of reflections on senecan tragedy are presented. This preliminary study is made up of three main parts: the first one is a brief investigation of how History and senecan work are related, giving us the historic context from when the play was written; the second chapter of the study is an analysis of the intersection between Stoic philosophy, mithology and Senecan poetry; at last, the third chapter is an analysis of some rhetorical-poetical procedures in wich the Senecan drama is based on. For a long time, Hercules furens has been considered a mere adaptation of Euripides Heracles; but through reflections linked together in the preliminary study, the main objective of this text is to point out the anachronism of certain judgements of value that were often projected into Senecas dramatic text, leading to a less biased vision of the play and showing to the modern reader the latin peculiarities found in Hercules furens and how the play plays a role in the evolution of the tragic genre in Rome and at last, how the latin poetry tradition is widely alluded to by the text.

This thesis provides an interpretative study of Augustine of Hippo’s City of God, book 14. The introduction explains how the thesis demonstrates that Augustine only partially endorses a model of emotional control through reason, and asserts that the key to his emotions doctrine is not to be found in an affections-passions dichotomy. It also addresses Augustine’s engagement with Platonism in the text, and, using work by Volker Drecoll, explains how the commentary-style project is able to situate City 14 within the Pelagian controversy ca. A.D. 419. The following seven chapters proceed uninterruptedly through City 14, clarifying Augustine’s argumentative aims and making use of secondary scholarship and philological tools to investigate points of fine detail. Chapter 1 explores City 14.1, his recapitulation of City 11-13 and his setting out of the initial two-cities dichotomy. Chapter 2 explores City 14.2-5, in which Augustine critiques Manichean or Platonist positions that the body is bad or evil. Chapter 3 explores City 14.6-9, and Augustine’s explication of the Biblical doctrine of emotions. Chapter 4 explores City 14.10-15, and the theme of the primal Fall and the will being ‘spontaneous’. Chapter 5 explores City 14.16-20, and Augustine’s exploration of the disobedience of the genitals in all forms of sex, including married life. Chapter 6 explores City 14.21-25, in which Augustine discusses the workings of Adam and Eve’s hypothetical sexual experience in the Pre-Fall Paradise. Chapter 7 explores City 14.26-28, in which Augustine recapitulates City 14.10-25, and comments on the workings of Providence, before hurtling towards the final dichotomy about the two cities being separated by their ‘loves’. A conclusion reviews the main points of the thesis. The thesis makes extensive use of German and French scholarship, of the CCL 48 Latin text, and the tools of the CAG 3 Augustine database; it occasionally contests the chapter divisions found in modern editions.

Made available in DSpace on 2016-12-23T14:09:39Z (GMT). No. of bitstreams: 1 Edilezia Freire Simoes.pdf: 1428588 bytes, checksum: e7868d398f5e5751bac9f317913e70ea (MD5) Previous issue date: 2012-08-13 / In the book Contra Academicos by Augustine of Hippo (354-430), the discussion about truth is guided by a fundamental question: Can a man achieve wisdom and happiness while he seeks truth or only after he finds it? The interlocutors in this dialogue confront each other around this question. This dissertation aims at understanding the criterion for truth presented in "Contra Academicos‖ and contextualizing/analyzing the philosophical sources that influenced Augustine s intellectual evolution, which required a thorough analysis of his work. The theme for discussion in "Contra Academicos‖ is a relevant problem until today, thus deserving serious debates about the questions it brings. Seeking truth is not a banal or shallow issue, but a necessary and fundamental one. The discussions presented in this book bring the philosophical path followed by Augustin into discussion. Path that started in a meeting with his own self in order to find the truth that dwells inside men. In this search, Augustin walks a path that could not be explained logically, but that concerns his soteriological project, which pushes him through Manichaeism, Neoplatonism and skepticism until he finally reaches Christianity. While passing through skepticism, he has contact with academic skepticism, fruit of confrontation between two Hellenistic schools Academy and Stoa about the criterion of truth. In this confrontation, the Stoic show an unquestionable criterion of truth, while the Academic emphasize impossibility of men to reach truth. As a result, in Contra Academicos Augustin attempts to refute the Academic arguments that had discouraged him from finding truth. He does it in order to reveal the theoretical frailty of those arguments and show that truth can be achieved by men. This truth is Christ, identified by God s wisdom and power. Therefore, Augustine s quest for truth consists in an effort to meet God and thus achieve happiness / Na obra Contra Academicos, de Agostinho de Hipona (354-430), a discussão sobre a verdade norteia-se por uma questão fundamental: Pode um homem alcançar sabedoria e felicidade enquanto ele procura a verdade ou somente quando ele a encontra? Em torno dessa questão, confrontam-se os interlocutores, nesse diálogo. Compreender o critério de verdade apresentado na obra Contra Academicos e contextualizar/analisar algumas fontes filosóficas que exerceram influência na evolução intelectual de Agostinho constituiu o objetivo desta dissertação, o que exigiu uma análise minuciosa da obra. O tema da discussão no Contra Academicos é um problema relevante até os dias de hoje, merecendo esse tema um debate sério acerca de suas questões. Buscar a verdade não é uma tarefa banal ou supérflua, mas necessária e fundamental. As discussões apresentadas nessa obra colocam em pauta a via filosófica na qual Agostinho se direciona, a partir de um encontro consigo mesmo, em busca da verdade que habita no interior do homem. Nessa busca, Agostinho realiza um percurso que não poderia ser explicado logicamente, mas que diz respeito ao seu projeto soteriológico, o qual o impulsiona a passar pelo maniqueísmo, pelo ceticismo, pelo neoplatonismo, até chegar, enfim, ao Cristianismo. Ao passar pelo ceticismo, ele entra em contato, principalmente, com o ceticismo acadêmico, fruto do embate acerca do critério de verdade entre duas escolas helenísticas, a saber: Academia e Estoá. Nesse embate, os Estoicos apresentam um critério indubitável de verdade, e os Acadêmicos, por sua vez, enfatizam a impossibilidade de o homem chegar à verdade. Resulta, então, que, em sua obra Contra Academicos, Agostinho procura refutar os argumentos acadêmicos, que o mantiveram na desesperança de encontrar a verdade. E ele faz isso com o intuito de revelar as debilidades teóricas daqueles argumentos e de mostrar que a verdade pode ser alcançada pelo homem. Essa verdade é Cristo, identificado com a Sabedoria e o Poder de Deus. A busca de Agostinho pela verdade consiste, pois, num esforço de conhecer a Deus e, assim, ser possível chegar à felicidade

A study of strategies and attempts in Theodore Dreiser's novels The Financier, The Titan and The Stoic to resolve the conflict between the material and the spiritual. The purpose of this thesis is to demonstrate that conflicts in Dreiser criticism reflect unresolved conflicts between these issues in his "Trilogy". Having outlined and shown the division in the literary criticism of the "Trilogy", in the first chapter of this thesis, I will discuss the three main themes, finance, art and women, which can be seen as strategies to bridge the division between the material and the spiritual. I will attempt to transcend the traditional categorization of Dreiser criticism to come to a more complex understanding of the core issues of his writing.

Os Infortúnios trágicos da constante Florinda, de Gaspar Pires de Rebelo, foram publicados em 1625. Devido ao sucesso alcançado pelo texto, veio a público, em 1633, uma continuação intitulada Segunda parte da Constante Florinda, em que se trata dos infortúnios que teve Arnaldo buscando-a pelo mundo. A Constante Florinda (esse é o título pelo qual as duas partes da obra, em conjunto, ficaram conhecidas), muito lida nos séculos XVII e XVIII, foi praticamente esquecida nos séculos seguintes. Este nosso trabalho tem como objetivo analisar a referida obra, evidenciando os procedimentos retóricos e poéticos e os ensinamentos estóico-cristãos que constituem a narração e a doutrina da Constante Florinda. Tendo em vista tal propósito, o estudo, num primeiro momento, volta-se para os preceitos retóricos e poéticos que permitem pensar-se numa ars narrandi, ou seja, uma técnica de narrar que o narrador, como persona gnara, conhece e sabe empregar ao relatar os infortúnios trágicos de Florinda e Arnaldo. Se um dos ofícios dessa narração é ensinar algo para os leitores, já que estes devem ser movidos não apenas pelo deleite, mas também pelo proveito, nosso trabalho, num segundo momento, discute as lições das histórias narradas. Assim, o que buscamos demonstrar é que o proveito da narração dos infortúnios de Florinda e Arnaldo ecoa os ensinamentos da doutrina estóico-cristã dos séculos XVI e XVII, difundida por autores como Justo Lípsio e Francisco de Quevedo. Ressalta-se neste trabalho, por fim, o seu próprio artifício. Apenas no nosso estudo narração e doutrina podem ser separadas, pois no texto da Constante Florinda tudo se dá simultaneamente: a narração já é doutrina, e mostra aos leitores, com exempla estóicos, os caminhos (trágicos) do viver cristão. / Gaspar Pires de Rebelos Infortúnios trágicos da constante Florinda was published in 1625. Given its conspicuous success, a sequel, Segunda parte da Constante Florinda, em que se trata dos infortúnios que teve Arnaldo buscando-a pelo mundo, came out in 1633. Constante Florinda (this is the title both parts became known as), largely disseminated in the 17th and 18th centuries, was nonetheless virtually forgotten in the subsequent centuries. This dissertation intends to analyze the aforementioned work, so as to highlight not only rhetorical and poetic procedures, but also stoic-christian lessons which lie beneath both the narrative and the doctrine of Constante Florinda. Bearing this goal in mind, this study will first focus on rhetorical and poetic precepts which render it possible to think about the ars narrandi, that is to say, a narrative technique that the narrator (as persona gnara) deeply understands, thus being able to employ it when reporting the tragic misfortunes of Florinda and Arnaldo. If one of the purposes of this narration is to teach something to its readers, since the latter must be moved not only by delight, but also by profit, we also intend to adduce the lessons of the stories the narrator tells. Therefore, we mean to demonstrate that the profit from the narration of Florindas and Arnaldos misfortunes reflects 16th and 17th-century stoic-christian doctrine, profoundly advertised by authors such as Justus Lipsius and Francisco de Quevedo. Last but not least, our dissertation has it as an inherent intention to stress its artifice. Only in our study can narration and doctrine be set apart, since in Constante Florinda they emerge simultaneously: narration is also doctrine, and conveys the (tragic) paths, with stoic exempla, of christian life.

En stoisk livsstilstrend fick svensk mediauppmärksamhet år 2019, vilket har medfört flera nya hälso - och livsstilsgurus, flera påståenden hur man bör leva sitt liv, vilka beteenden som är avsevärda, vad som anses hälsosamt, och ansatser om vilka typer av personer anses vara experter om livsstilen. Syftet med denna uppsats har varit att utifrån ett språkvetenskapligt perspektiv, undersöka hur stoicism och de personer som anses vara stoiker konstrueras språkligt i tidningen DN (Dagens Nyheter). I konstruktionerna har undersökts närmare vilka värden och värderings framställs, samt vilka ojämna maktförhållanden och diskrimineringar potentiellt formas mot sociala grupper. Materialet som analyserats är två artiklar vilka delar den stoiska trenden som huvudämne, för att kunna göra enkompletterande analys av hur ämnet omskrivs. Metodologiskt har först gjorts en appraisal-analys för attidentifiera olika värden och värderingar som förekommer på textuell nivå, som sedan kombineras meden kritisk diskursanalys utifrån Faircloughs tredimensionella modell för att avtäcka eventuella makt asymmetrier. I texterna kunde särskilt en hälso- och livsstilsdiskurs identifieras. Den stoiska trenden konstrueras som en livsstil vilket upphöjs med hjälp av framförallt intensifierande adjektiv till ett ideal, tillsammans med dess företrädare vilka positioneras som gurus och hälsoexperter. Det framkom en homogen representation av dessa experter som män, där kvinnor utesluts. Resultatet visar även på att att hälso- och livsstilsdiskurserna kunde var moraliserande, med potential att utesluta individer från socialt utsatta grupper.

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Contemporary debates in ethics are characterised by opposing views that appear to be irreconcilable. Rational debates seem to be making no headway due to the fact that the incompatibilities of the different views seem to lie within the very premises of the different arguments. These debates acquire an interminable character, because representatives of the different standpoints refuse to accept each others’ premises. MacIntyre attributes this state of affairs to the failure of the Enlightenment project. In their attempt to create a universally valid moral system the Enlightenment philosophers discredited the ethical traditions and emphasized reason as the only authority on these matters. The supposedly “universal” rational arguments are built on premises the Enlightenment thinkers inherited from the exact same ethical traditions whose authority they consciously undermined. The irony of the Enlightenment project is therefore that it caused its own failure. MacIntyre believes that the Enlightenment thinkers were mistaken in undermining the authority of all the ethical traditions. He argues that the authority of the critical traditions is legitimate. A critical tradition is a moral tradition where some form of rational enquiry is embodied in the tradition itself. MacIntyre defends the authority of the Aristotelian tradition as the critical tradition per se. In my own enquiry I defend the authority of the Stoic tradition. I attempt to point out the flaws in MacIntyre’s understanding of the Stoics and argue that in some respects the Stoic tradition is a better alternative to the Aristotelian one. After having justified the authority of the Stoic tradition I take a closer look at what their ethics entail. The Stoics have what Cottingham refers to as a “synoptic” conception of philosophy. This means that they tried to integrate all the aspects of human understanding into a single system. Therefore, if one wishes to give a comprehensive picture of their ethics it is necessary to explain their philosophical work on physics and logic as well. I do so by comparing their understanding of physics to the contemporary understanding thereof. The Stoics believed that philosophy is not an abstract theoretical discipline, but rather a way of life. Theoretical arguments play an important role in so far as it helps us to comprehend the nature of the good, but ultimately philosophy is about helping us to live a good life. In light of this understanding I argue that they conceived of ethics as the art of living. The Stoics also believed that one could practice ethics as a form of therapy for our emotions. They believed that emotions such as anger and depression are caused by misguided ways of thinking and that ultimately the good life would cultivate our spirit and enable us to become more resistant to these types of emotions. Simultaneously it will enable us to experience more rational emotions such as joy. The ultimate aim of my research project is to highlight the important contributions the Stoics can make to the crisis we are currently experiencing in ethical discourse. / Dissertation (MA (Philosophy))--University of Pretoria, 2007. / Philosophy / unrestricted

L’immense panoplie d’ouvrages et de travaux consacrés tant au cinéma qu’au jeu vidéo s’évertue très souvent à examiner une œuvre quelle qu’elle soit dans son ensemble, ou à relier des motifs similaires entre plusieurs cas pour en dégager des concepts, des notions et des lignes théoriques. Plus rarement la question des plans, des segments bien spécifiques d’un film ou d’un jeu a été abordée, en particulier les fragments ou les détails se plaçant en porte-à-faux par rapport à la continuité habituelle du reste de l’œuvre. Soudainement, ce personnage d’apparence statique en avant-plan contemple une temporalité affolée en arrière-plan, ou une section de ce film génère de la curiosité vis-à-vis du reste de sa narration. Ces points spéciaux étonnent, surprennent, et attirent l’attention en se demandant quelle est leur fonction aussi bien narrative qu’esthétique. La philosophie antique et ses synthèses contemporaines inspirent un terme, celui de « résistance vitaliste » qui ne frictionne qu’avec une section de la structure sans en chambouler les fondations, dans le seul but de manifester son existence, mue par la volonté de se déclarer au grand jour. Les conséquences sur les protagonistes de l’histoire n’en sont pas moins négligeables, car ces segments spéciaux requièrent également une attention de leur part, et alimentent leur désir de résister à leur tour, tantôt dans l’alignement esthétique de ce point de l’œuvre, tantôt contre. La même philosophie antique désigne dans pareil cas de figure une démarche de délibération, de jugement du pour et du contre, première phase essentielle pour entrer en résistance. Le héros devient alors Sage – également d’inspiration antique –, un être apte à éclairer les zones obscures et à percer l’apparente stabilité de l’autorité en place en s’attaquant à ces nœuds névralgiques. La présente thèse s’accordera à déplier cette analyse sur quatre chapitres qui l’emmèneront du particulier au général, en considérant la matière filmique même et l’entité enregistreuse (la caméra) en première instance, avant de passer aux relations entre la matière du médium et le personnage qui s’en délie, puis aux fragmentations des univers diégétiques en présence, pour enfin questionner le contexte global dans lequel l’œuvre est nécessairement saisie, fournissant les clefs de la résistance par « guérilla ». La délibération, le Sage et la résistance seront constamment au cœur des préoccupations, dès lors que le Diable se cache dans les détails. / The tremendous amount of academic papers dedicated both to cinema and video games often examine any work through its general structure, or link similar motives between several examples in order to conceptualize notions or theoretical frames. The problem of shots, or of specific fragments in a film or a video game, has been rarely questioned, particularly some peculiar details that stick out and go against the overall flow of the work involved. For instance, a static-looking character in the foreground of a picture gazes at another kind of temporality in the background (in slow or fast motion, for example), or a section of a film seems aesthetically odd compared to the rest of the narration it is inserted in. Those special bits tend to surprise the viewer, and attract their attention whilst the latter wonders about both the narrative and aesthetic role of those fragments. The antic philosophy and its modern synthesis inspire the concept of “vitalist resistance”, designating a contradictory element (even a counter-element) in one or a couple of parts of the whole structure without intending to make its foundations collapse, for the sole purpose of manifesting itself, motivated by the desire to exist in plain sight. The consequences on the protagonists of the story are far from being insignificant, since those particular segments call out to their attention as well, and incite them to resist, either alongside the aesthetic involved, either against. In such case, the same philosophy points out the necessity of making decisions, judging the pros and cons as the essential first step to resisting. The hero thus becomes a Sage – inspired by the antic philosophy as well –, in other words, an individual capable of enlightening obscure parts of the world and shaking the apparent stability of the present authority, by mincing onto those delicate bits. This thesis spreads out its analysis over four chapters that will develop the actual subject from the particular to the general, first by considering the film matter itself and the recording entity (the camera), before examining the connections between that matter and the character who unbinds himself from it, the shattering of diegetic universes, and finally the global context in which the work (film or video game) is inevitably set in, leading a “guerilla” kind of resistance. The process of decision making, the Sage and the resistance will all be at the very heart of the present work, since the Devil lurks in the details.

La tesi si occupa di verificare l’influenza che i classici greci e latini hanno esercitato su i padri fondatori americani e più in particolare su Thomas Jefferson. La prima sezione tratteggia il contesto universitario e lo studio delle lingue classiche tra seicento e settecento, comprendendo non solo le università inglesi (Oxford e Cambridge) e scozzesi, ma anche i nuovi college nati nelle colonie americane. Tale analisi dei modelli e delle pratiche educative ha permesso, in effetti, di comprendere meglio l’influenza dei classici sui rivoluzionari americani. Nello specifico viene scandagliata a fondo l’educazione ricevuta da Jefferson. Tra i numerosi spunti di studio aperti da codesto argomento, il lavoro si concentra sulle modalità con cui i classici gli furono insegnati, sul suo Commonplace Book (una raccolta di brani tratti in parte da autori antichi letti in giovinezza) e su documentazione epistolare. Quest’ultima è oggetto particolare di studio, allo scopo di scoprire quali opere antiche Jefferson, in età adulta e durante la vecchiaia, lesse e apprezzò. Essendo un collezionista di libri, comprò moltissimi testi classici come dimostrano alcuni suoi manoscritti. Nonostante manchino dati precisi a riguardo, risulta inoltre che Jefferson, benché facesse largo uso di traduzioni, preferiva leggere in originale e che probabilmente abbia letto la maggior parte di questi libri durante il ritiro dalla vita politica. La seconda parte della tesi si concentra, invece, a indagare quanto la sua educazione classica abbia contributo alla formazione della sua personalità e delle sue idee, nonché alla forma stessa del suo pensiero in merito ad alcune tematiche. Lo studio è di conseguenza dedicato all’esperienza umana di Jefferson, in particolare alla sua riflessione sulla morte e sull’eternità, temi fortemente legati alla sua ricezione di idee epicuree e stoiche. Epicureismo e Stoicismo rappresentano, in definitiva, i due sistemi filosofici antichi che hanno maggiormente influenzato la sua personalità e il suo pensiero. / The aim of the present work is to evaluate the impact of the ancient classics on the American Founding Fathers, with a particular focus on Thomas Jefferson. The first section gives a wide portrait of the academic context in which the Founders were educated, comprising not only of Oxford, Cambridge, and the Scottish universities, but also the colonial colleges. The evaluation of the educational practices in use at the time makes it possible to understand better the classical impact on revolutionary Americans. In particular, this analysis studies in depth Jefferson's education. Of the many possible perspectives and approaches to this topic, the present work focuses on the way ancient classics were taught to him, his Commonplace Book, which reports part of the ancient classics he read during his youth, and his correspondence. The latter has been studied especially to understand which other ancient writers he read, valued, and esteemed in his adulthood and old age. As book collector, Jefferson bought an incredible number of ancient classics, as attested by a few manuscripts of his book lists. Despite the dearth of sure evidence, it is very likely that he read the ancient works largely during his retirement. He loved reading them in the original, though he made great use of translations. The second part of this work is dedicated to investigating how Jefferson's classical education contributed to the building of his personality and ideas, as well as how he elaborated specific classical themes in his own life. The study is thus focused on Jefferson's personal human experience, specifically on his reflection on human mortality and the afterlife. These themes, indeed, are strictly linked to his reception of Epicurean and Stoic tenets, the two ancient philosophical systems which had the greatest and most profound impact on Jefferson's personality and thought.