München, Phil. Diss. v. 4. Febr. 1910, Ref. Wolters, Crusius. / Im Buchh. ebd. [Geb. 2. April 84 Braunschweig ; Wohnort : München ; Staatsangeh. : Braunschweig ; Vorbildung : Neues G. Braunschweig Reife 02 ; Studium : München 3, Berlin 8 S. ; Rig. 4. Febr. 10.].

Thesis (Th. M.)--Trinity Evangelical Divinity School, Deerfield, Ill., 1997. / Abstract. Includes bibliographical references (leaves 130-138).

Zygmunt Bauman and other postmodernists have argued that postmodernity is characterized by the disintegration of the legitimacy and authority of what has been referred to as grand narratives or "illusions." These theorists often highlight the manipulative and obfuscating effects of illusion. As such, scholars like Bauman contend that postmodernity sets the stage for sincere, moral responsibility. However, they fail to acknowledge that these illusions provide a cultural and social function through their satisfaction of human needs. Failing to fully acknowledge the importance of this function and human needs in general leads many postmodern theorists to be unable to adequately theorize about the contemporary epoch. In addition to the weakening authority of grand illusions, the advent of technologically advanced society coincided with the process of desublimation (a process by which instant gratification occurs). Desublimation worked to undermine what Sigmund Freud has referred to as the life instincts by promulgating false needs (i.e., wants or desires perceived as needs). As such, contemporary society may be depicted as constituting anomic, atomistic individuals seeking self-preservation. This process may be delineated as the death instincts, or Thanatos, as coming to triumph over the life instincts, Eros. A Thanatos society has significant implications for moral responsibility. The diminution of sincere emotional integration facilitates the unbridled spread of postemotionalism into more and more spheres of social life. As postemotional scripts become the prevailing moral guidelines, Thanatos manifests itself as a compulsion to repeat destructive behavior at the societal and individual level. Society and its members struggle in their attempts to choose the "right" course of action. Confusion and fear become affixed features of personal and social life and morality becomes an arbitrary endeavor.

Thesis advisor: Richard M. Kearney / What is the relation between sex, death, and the divine? This question, which is of vital importance to Plato and which Freud tacitly takes up by turning to the Symposium at the end of Beyond the Pleasure Principle, can be seen as standing at the foundation of philosophy, theology, and psychoanalysis. It ought not to surprise us, then, to observe the vibrant conversation going on between Continental philosophers, theologians, and psychoanalysts today. This attempt to untangle and analyze the intersection where the “Heavenly Powers” of sex and death converge with the divine is that which allows Julia Kristeva to state, during a recent interview with Richard Kearney, that of all “the human sciences and the social sciences, the only rational approaches to human beings, psychoanalysis . . . come[s] closest . . . to the experience of faith.” It is that which enables Lacan to assert that “Saint Augustine . . . foreshadowed psychoanalysis” and to insist that psychoanalysts ought to “become versed in Augustine.” It is that which compels thinkers like Emmanuel Falque—who advise philosophers of religion to speak first and foremost about “finitude, the consciousness and horizon of death” —to write books on Freud and philosophy. And it is that which drives the work being undertaken today. The purpose of this dissertation is to approach once more the dark mystery of Eros and Thanatos which, to paraphrase Dostoevsky, forever struggle with God on the battlefield of the human heart. In order to broach this topic, I will attempt to establish a connection between carnal, bodily love and man’s relation to the divine. To do so, I will rely upon and further develop what Paul Ricoeur has called “the nuptial metaphor”—the recurring biblical motif that portrays God’s relation to man as a kind of love affair, neither reductively sexual nor legalistically marital, but passionate, romantic, protective, desirous, even jealous. Such an understanding of the connection between sexuality and spirituality is not without precedent. Consider, for example, the statement by Ignatius of Antioch from which this work derives its title—“my Eros has been crucified”—which Pseudo Dionysius reads as a supreme affirmation of divine desire. John Panteleimon Manoussakis, commenting on this link between the carnal and the spiritual, writes, “The desire for God is not independent from the desire for the other human . . . One who has not felt the latter rarely and with difficulty would seek the former.” I would add that, as Jean-Luc Marion argues in The Erotic Phenomenon, one who has felt the latter has perhaps already experienced the former, if only in a veiled way. Thus, where Freud reads the desire for God as a sublimation of the sex drives, I would suggest the opposite: erotic desire often reveals a deeper, more fundamental longing—a longing for the divine. And yet, Freud might counter, one must consider not only Eros but Thanatos. How does the desire for death factor into this religiously-inflected reading of the drives? That human sexuality implies both perversion and perfection, that it brings together man’s baseness and his beatitude, is one of the most important insights offered by Freudian drive theory. As Freud himself notes, “The highest and the lowest are always closest to each other in the sphere of sexuality.” But why this is the case remains for Freud a great mystery. Here, I would suggest, is where philosophy of religion can make an important contribution. Relying on the works of philosophers such as Manoussakis, Kearney, and Marion, theologians, in particular Hans Urs von Balthasar, and psychoanalysts such as Freud and Lacan, this work aims to both provide a possible answer to this fundamental question and to foster further dialogue between thinkers whose fields were born of similar concerns. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

Key Words: Comparatistics, Intertextuality, Essayism, Esem, Milan Kundera, Ričardas Gavelis, Laughter, Kitsch, Vulgarity, Carnevalism, Thanatos, Sexuality This comparativist thesis discusses the intelectual novel of the end of the 20th century. The study objects chosen for this paper were the works of Ričardas Gavelis and Milan Kundera. Due to the differences in the poetics of the works, it was chosen to analyze four works of each writer's large prose. In the case of Gavelis they are as follows: Vilnius Poker (Vilniaus pokeris, novel, 1989), Vilnius Jazz (Vilniaus džiazas, novel, 1993), The Last Generation of People on Earth (Paskutinioji Žemės žmonių karta, novel, 1995) and Six Ways of Suicide (Septyni savižudybės būdai, novel, 1999). From Kundera's works we picked out The Farewell Party (Valčík na rozloučenou, novel,1972), The Book of Laughter and Forgetting (Knihou smíchu a zapomnění, novel, 1978), The Unbearable Lightness of Being (Nesnesitelnou lehkostí bytí, novel, 1984) a Immortality (Nesmrtelnost in french, 1990, in czech 1993). One of the main aims of this study is to introduce the Czech reader to Ričardas Gavelis: one of the most important and influential writers of Lithuanian literature of the late 20th century. The works of this writer are not yet properly evaluated even in his native...

[pt] Esta dissertação analisa as reflexões de Heráclito de Éfeso sobre o par de contrários vida-morte a partir da compreensão de Alexandre Costa dos conceitos heraclíticos de logos e thanatos, descrita em Thanatos: da Possibilidade de um Conceito de Morte a partir do Logos Heraclítico (Costa, 1999). Partindo de uma ótica singular de Costa, Heráclito é destacado como o precursor das indagações a respeito das virtudes e das coisas humanas. É ressaltado um Heráclito ético e político, que estaria tentando entender a dificuldade do humano em decifrar o mundo a sua volta e a si mesmo. Esta dificuldade se daria devido a uma surdez humana, que impediria os humanos de escutar a fala do logos, isto é, a fala do cosmo, o que os tornaria uma espécie de mortos-vivos. Sublinha-se a dimensão humana do pensamento do efésio e a lógica heraclítica da contradição, que abraça a ideia da inseparabilidade e interconectividade dos contrários na compreensão do cosmo como tudo-um. Na busca pela compreensão de qual seria o lugar do humano, Heráclito estaria escutando o logos comum/universal que estaria expressando um processo inescapável de relação e cooperação entre contrários. O humano estaria diante de um aparecimento processual de interconexão e interdependência entre tudo e todos. Este trabalho que se inicia com a análise das reflexões de Heráclito, um filósofo grego do século VI a.C., acaba por se desenrolar na direção das atuais circunstâncias, quando se torna inadiável que se perceba a existência de um humano morto-vivo contemporâneo. Heráclito estaria apontando a existência de uma morte exclusiva dos humanos, uma morte ética, um humano morto em vida que estaria buscando uma gratificação imediata para si, egoísta e autocentrado, sem compromisso com o outro, separando o inseparável, isto é, que não compreende a interdependência cosmológica do tudo-um. Nesta dissertação, será descrito o morto-vivo heraclítico, mas o mesmo será facilmente identificado contemporaneamente nestes tempos de pandemia e pandemônio. E daí? disse o presidente. / [en] This work aims to analyze the heraclitic reflections on the pair of opposites life-death, from the comprehension of Alexandre Costa about the concepts of logos and thanatos developed in the work Thanatos: of the Possibility of a Concept of Death from the Heraclitic Logos (Costa, 1999). Starting from Costa’s singular perspective, the work intends to highlight Heraclitus as a precursor of the inquiries about virtues and human things. It aims to illuminate an ethical-political Heraclitus who would be trying to understand the human difficulty in deciphering themselves and the world around them. This difficulty would be due to a deafness that would prevent us from hearing the speech of the logos, the speech of the cosmos that is expressing the inseparability and interconnectivity of all beings, the difficulty in the understanding the all-one, that the human is in an unstable place between opposites which are in constant movement. The ignorance about the idea that we belong to a cosmos that expresses cooperation and not isolation. This work, which begins with the analysis of the thought of Heraclitus, a Greek philosopher from the 6th century BC, inevitably unfolds in the direction of the 21st century when it becomes unavoidable to associate the heraclitic living dead to the contemporary living dead. The current politics of separating us and them has transformed us into true zombies, deaf beings for the speech of nature that screams to be all-one. Heraclitus would be pointing out the existence of a death, exclusive of humans, that would be an ethical death, a human who would be looking for an immediate gratification for himself, who has no commitment to the Other. I will be describing the heraclitic living dead but that will be easily identifiable in our pandemic and pandemonium times. So what? asked the president.

Mémoire en recherche / Cette étude s’intéresse à l‘impact de l’adaptation cinématographique et à l’évolution du récit écrit par Marguerite Yourcenar, Le Coup de grâce, publié en mai 1939, au sujet de trois jeunes êtres qui se ressemblent et qui s’aiment dans un triangle relationnel compliqué dans le cadre de la guerre civile balte au lendemain de la fin de la Première Guerre mondiale. La présente étude se centre sur l’évolution des dimensions de la représentation du système des personnages, de l’éros, des genres (la masculinité dont les frontières évoluent dans le temps et l’espace) et de la guerre (une force thanatique) lors de l’adaptation cinématographique faite par Volker Schlöndorff en 1976, bref à l’impact du nouveau média sur l’histoire originale et les aspects initiaux imaginés par Marguerite Yourcenar en 1938 dans son roman Le Coup de grâce, où les mythes gréco-romains étaient une constante dans ses motifs d’inspiration pendant cette période des années 1930, où ces écrits réfutaient les pressions rigoristes qui perduraient dans cette décennie. Éric, le narrateur homodiégétique du roman était à la recherche d’une certaine liberté sexuelle et il faisait son récit un peu sur le ton de la confession intimiste, tel un journal de guerre. Rémy Poignault considère Le Coup de grâce comme une réécriture moderne, un palimpseste donc de « Patrocle ou le destin » de Feux avec des personnages appartenant à l’époque moderne. Le passage au film en 1976 déplace l’accent mis sur Éric dans le roman vers la dualité entre lui et Sophie dans le récit filmé, où les personnages perdent de leur profondeur, réduisant Éric à un être insensible, et ce, en limitant les scènes de camaraderie militaire avec Conrad. L’absence de prologue dans le film ne permet pas non plus d’évoquer les souvenirs heureux vécus à Kratovicé. Dans le film, la grande histoire prend le pas sur la petite histoire contrairement à ce qu’entendait Marguerite Yourcenar qui mettait l’accent sur le drame humain dans la préface de son roman. Le film priorise plutôt l’affirmation 5 d’une femme par rapport à son milieu dans la lignée d’autres films de Volker Schlöndorff comme L’honneur perdu de Katharina Blum. Le film est en somme un film féministe à l’image de Margarethe von Trotta qui était un des chantres du féminisme dans les années 1970 et qui collabora au scénario dudit film. Il s’agit donc d’une adaptation libre avec certains retranchements ou modifications par rapport à l’oeuvre originale. En enlevant de nombreuses scènes de camaraderie militaire entre les deux principaux personnages, le mythe grec ancien d’Achille et Patrocle présent en filigrane dans le roman est évacué dans le film. Tant le roman que le film se sont inspirés d’un certain académisme qui engendra une atmosphère limitant les émotions des personnages. / That research concerns the analysis of the evolution of the written narrative of Marguerite Yourcenar about three young characters who look like each other and who loves each other in relational triangle within the background context of the Baltic Civil War just after The First World War of 1914-18 and in its adaptation in film by Volker Schlöndorff in 1976. This study concentrates about representation of character’s system, dynamic of eros, represensation of gender for instance the masculinity and the war during the adaptation for the cinema by Volker Schlöndorff. Briefly, to the impact of the new media on the original themes which were developed in the original novel of Marguerite Yourcenar in 1939, Le Coup de grâce. Our study presents itself in a chronological order for making some conclusions about representations of the themes of desire and death, gender and war in the time from the story written 1939 and the film in 1976 We can conclude after analysis of both media for the narrative that Mythical figures as Thanatos and Eros present in this novel received a different treatment in the film adaptation where the emphasis moved to the dualistic relation between Eric and the women Sophie. The movie has become a feministic which puts emphasis on a woman against her social middle and diminish the impact of the mythical military friendship related to the mythic military myth of Achille and Patrocle which was underlined but present in the novel with the death of one main characters on the battlefied of the story. In taking off most of the scenes of military friendship between the two men charaters, the mythical part of the novel, is evacuated. The film adaptation is a free adaptation according to the classification of adaptation film of Esther Pelletier with retranchments and changes from the novel.

Sophia de Mello Breyner Andersen, Porto 1919 Lisboa, 2004, importante poeta portuguesa do século XX, absorveu, em sua obra, uma influência muito intensa da cultura clássica grega. Em seus livros de poesia, apresentou um constante e intenso diálogo com alguns mitos da Grécia Antiga. Esta dissertação parte da constatação de que o mito de Thânatos, nas suas mais variadas figurações, dialoga intensamente com a poesia de Sophia Andresen, criando uma atmosfera melancólica e nostálgica. O presente trabalho divide-se em três capítulos: Thânatos: O Tempo e a Memória, Thânatos: Noite e Thânatos: do Minotauro as Fúrias. / Sophia de Mello Breyner Andresen, Porto, 1919 Lisboa 2004 was an important Portuguese poet from the 20th Century. She absorbed a very intense influence from the classic Greek culture in her work. In her poetry books she presents us a constant and intense dialog with some myths from the Ancient Greece. This dissertation begins from the findings that the myth of Thanatos, in its most various pictures, maintains an internal dialog with Sophia Andresens poetry, building up a nostalgic and melancholic atmosphere. This paper is divided in three chapters Thanatos: Time and Memory, Thanatos: Night and Thanatos: Minotaur and the Furies.

Sophia de Mello Breyner Andersen, Porto 1919 Lisboa, 2004, importante poeta portuguesa do século XX, absorveu, em sua obra, uma influência muito intensa da cultura clássica grega. Em seus livros de poesia, apresentou um constante e intenso diálogo com alguns mitos da Grécia Antiga. Esta dissertação parte da constatação de que o mito de Thânatos, nas suas mais variadas figurações, dialoga intensamente com a poesia de Sophia Andresen, criando uma atmosfera melancólica e nostálgica. O presente trabalho divide-se em três capítulos: Thânatos: O Tempo e a Memória, Thânatos: Noite e Thânatos: do Minotauro as Fúrias. / Sophia de Mello Breyner Andresen, Porto, 1919 Lisboa 2004 was an important Portuguese poet from the 20th Century. She absorbed a very intense influence from the classic Greek culture in her work. In her poetry books she presents us a constant and intense dialog with some myths from the Ancient Greece. This dissertation begins from the findings that the myth of Thanatos, in its most various pictures, maintains an internal dialog with Sophia Andresens poetry, building up a nostalgic and melancholic atmosphere. This paper is divided in three chapters Thanatos: Time and Memory, Thanatos: Night and Thanatos: Minotaur and the Furies.

Работа посвящена изучению танатологических мотивов, встречающихся в поэзии Егора Летова. В рамках данного исследования проводится изучение биографических фактов, повлиявших на отношение поэта к смерти, его философские представления о смерти, особенности поэтики, при помощи которых эти мотивы создаются. Также проводится обзор изменения отношения человека к смерти на разных этапах существования цивилизации, описывается процесс становления литературоведческой танатологии, раскрывается понятие танатологического мотива. Дается классификация танатологических мотивов, обнаруженных в поэзии автора, проводится их общий анализ, позволяющий наглядно показать, что смерть в художественном мире автора, это не конец существования, а продолжение жизни. / The work is devoted to the study of thanatological motifs found in the poetry of Egor Letov. Within the framework of this study, the biographical facts that influenced the poet's attitude to death, his philosophical ideas about death, the features of poetics with which these motives are created are studied. It also reviews the changes in the attitude of a person to death at different stages of the existence of civilization, describes the process of the formation of literary thanatology, reveals the concept of the thanatological motive. The classification of the thanatological motifs found in the author's poetry is given, their general analysis is carried out, which makes it possible to clearly show that death in the author's artistic world is not the end of existence, but the continuation of life.