Dissertação--Faculdade Pontificia de Filosofia de Braga, 1967. / Bibliography: p. [313]-350.

Thèse--Faculté des lettres de Paris, 1879.

Thesis (M.S.)--University of Wisconsin--Madison, 1966. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (doctoral)--Université Paris X-Nanterre, 1997. / Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 396-418).

Thesis (Ph.D.)--Villanova University, 2006. / Philosophy Dept. Includes bibliographical references.

This dissertation proposes the adoption of the concept of tragedy as a theological category, as a way to address the traditional problem of suffering in the natural world, customarily known as the problem of natural evil. The theological utilization of the concept of tragedy enables a Christian doctrine of creation to remain accountable to the structures and processes of the natural world, including evolutionary development. Many traditions evince an awareness of the intractability of suffering in nature and there have been various religious responses to it. Within some Christian communities, the discovery by Charles Darwin (1809-1882) of evolution by natural selection proved disruptive to established ways of addressing that issue. This disruption has been especially significant in the area of theological interpretations of creation. This is the case in part because of the way evolutionary theory reveals the role of starvation, predation, and constrained stochasticity in the development of ecosystems and organisms. Theological responses to evolution within the Christian tradition have typically failed to come to terms with these features of biological evolution. However, Hans Urs von Balthasar (1905-1988), Donald MacKinnon (1913-1994), and Rowan Williams (b. 1950) have, in different ways, shown how theological interpretations of tragedy can achieve a high degree of realism in regard to suffering, respecting the unique characteristics of individual experiences while situating suffering in a theologically meaningful frame of reference. These thinkers have also identified an awareness of tragedy within the Christian tradition itself, particularly as it is reflected in liturgical practices. This dissertation employs these insights to address the issue of suffering in the natural world, in order to contribute to a realist Christian doctrine of creation. The theological category of tragedy does not solve the problem of natural evil. But it has the double virtue of attending closely to the specifics of the natural world and maintaining a principled tension between experiences of suffering and Christian claims about the possibility of redemption.

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-27T19:44:44Z No. of bitstreams: 1 dissertacao-marco-antonio-sabatini-ribeiro.pdf: 1034521 bytes, checksum: d062fed8338ecc60924927c6e3161cab (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-27T19:47:20Z (GMT) No. of bitstreams: 1 dissertacao-marco-antonio-sabatini-ribeiro.pdf: 1034521 bytes, checksum: d062fed8338ecc60924927c6e3161cab (MD5) / Made available in DSpace on 2016-06-27T19:47:20Z (GMT). No. of bitstreams: 1 dissertacao-marco-antonio-sabatini-ribeiro.pdf: 1034521 bytes, checksum: d062fed8338ecc60924927c6e3161cab (MD5) Previous issue date: 2013-06-26 / Para Nietzsche, os gregos pré-homéricos estariam próximo da aniquilação de suas vidas devido à efetivação desmesurada de seus impulsos e os gregos apolíneos recairiam em um excesso de medida contraditória aos próprios preceitos délficos. Enquanto os impulsos dionisíacos permitiriam a afirmação plena dos desejos de cada pessoa impossibilitando assim a convivência em sociedade, os impulsos apolíneos criariam as representações sociais e estatais mas inibiriam a consumação imediata de prazer e sofrimento do grego antigo. A problemática se evidencia em como seria possível afirmar plenamente a vida sem que ela se inibisse ou se aniquilasse. A partir das análises de Nietzsche sobre a Antiguidade Grega, a hipótese que permeia este trabalho é a de que a tragédia resulta dessa problemática como uma sutil medida de êxtase advinda do período pré-homérico e do período homérico que, em O Nascimento da Tragédia, são elucidados a partir das interpretações nietzschianas da tradição mítica de Apolo e Dioniso. / For Nietzsche, pre-Homeric Greeks were near annihilation of their lives due to the realization of their unmeasured impulses and the Apollonian Greeks would fall into excess measure contradictory to their own Delphic precepts. While the Dionysian impulses allow the full expression of the desires of each person thereby precluding living together in society, the Apollonian impulses would create social representations and state but inhibited the immediate consummation of pleasure and suffering of ancient Greek. The problem is evidenced in how it would be possible to affirm the full life without it would inhibit or annihilate. From the analysis of Nietzsche about Greek antiquity, the hypothesis that permeates this work is that the tragedy result of this problematic as a subtle measure of ecstasy arising from pre-Homeric and Homeric period that are elucidated from interpretations of Nietzschean the mythic tradition of Apollo and Dionysus in the Birth of Tragedy.

La pensée nietzschéenne a souvent été soumise à un découpage intellectuel. Une première période schopenhauerienne avec l’écriture de La naissance de la tragédie, une deuxième proche de Voltaire et des Lumières débutant par Humain, trop humain, et enfin une troisième période, celle du Gai savoir, du Zarathoustra jusqu’aux terribles Dithyrambes de Dionysos. Cependant certains auteurs, comme Granier ou Fink, ont remarqué la résurgence des premiers thèmes dans cette dernière période dite exclusivement dionysiaque. Ces problématiques, ces interrogations, ce sont celles qui gravitent autour du problème de la tragédie. Or reconnaître que Nietzsche n’a de cesse de revenir, à la fin, vers cette « première transvaluation de toutes les valeurs », c’est reconnaître un lien indéniable entre La naissance de la tragédie et le Zarathoustra. Nous proposons par conséquent d’interroger la figure apollinienne de l’individuation et celle du Tout dionysiaque au-delà de cette première publication. La tragédie n’est-elle pas alors le cœur de la pensée nietzschéenne ? la cohérence qui lui fait si souvent défaut ? Cependant cette lecture va bien souvent à l’encontre de l’héritage nietzschéen, qu’il s’agisse d’un romantisme atavique (Bertram) ou de l’hégémonie conceptuelle (Deleuze). Si bien que penser le retour d’Apollon sur la scène tragique, penser l’individuation au travers du Zarathoustra et des dithyrambes, c’est repenser le fondement mythique chez Nietzsche, non pas à la manière d’une anecdote, ni dans l’assimilation d’un cliché à abattre, mais dans la problématique de l’ego fatum et de l’affirmation illimitée du surhomme. Reconnaître dans la volonté de puissance la puissance du mythe, c’est donc indéniablement se confronter à la violence du nihilisme, tant d’un point de vue schopenhauerien, que d’un point de vue parfaitement moderne. C’est le problème politique de la révolte (Camus), de la résurrection (Franck), de la chair (Stiegler). Dans le dilemme d’un passé victorieux, d’un Nietzsche wagnérien, ou d’un plan d’immanence révolutionnaire, le concept comme meurtre des identités, n’est-il pas nécessaire de recadrer la volonté de puissance au sein d’un Éternel retour tragique plutôt qu’au sein d’un Éternel retour sélectif et meurtrier ? N’est-il pas indispensable de recouvrer l’identité d’Apollon pour admettre sa nécessaire extinction, la « mort volontaire » ? / Nietzsche's thought has often been submited to an intellectual split. The first period Schopenhauerian with the writing of "The birth of tragedy", a second one close to Voltaire and the Lumières starting with "Human, all to human", and finally a third period, "The gay science" one, from "Zarathustra" to the terrible "Dithyrambs of Dionysus". Some authors, like Granier or Fink, have however noticed the first themes resurgence during the last period said to be exclusively dionysian. Those issues, those questions, are the ones spinning around the tragedy problematic. But admitting that Nietzsche doesn't stop from coming back, at the end, to this "transvaluation of values", is admitting the undeniable link between "The birth of tragedy" and the "Zarathustra". And so we suggest to question the Apollonian figure of individuation and the one of the All dionysian over this first publication. Isn't the tragedy the heart of the Nietzsche thought? The consistency that he is often missing? This reading however often goes against the Nietzsche legacy, it being atavistic romanticism (Bertram) or a conceptual hegemony (Deleuze). To a point where thinking the Apollon's come back on the tragic scene, thinking individuation through "Zarathustra" and some dithyrambics, is re-thinking the Nietzsche's mythic base, not in a anecdotal way, neither in a way to kill a cliché, but in a problematic of the "ego fatum" and the unlimited overman affirmation. Recognizing the myth power in the willingness of power, is definitely coming against the nihilism violence, as much as from a Schopenhauerian's point of view, as from a modern one. This is the political issue of the revolt (Camus), the resurrection (Franck), the flesh (Stiegler). In the victorious past dilemma of a wagnerian Nietzsche, or a revolutionary immanence plan, the concept of identity murder, isn't it necessary to focus the willingness of power inside an everlasting tragic return rather than a everlasting selective and murderer return? Isn't it necessary to recover Appolon's identity to admit its necessary extinction, the "voluntary death"?

William Shakespeare’s influence on the genre of tragedy is both powerful and undeniable, while contemporary notions about tragedy have shifted into a modern light through the influence of Norwegian playwright Henrik Ibsen. This study concentrates specifically on Hamlet and A Doll’s House in order to indicate the ways in which ideas of tragedy have evolved. By investigating the effect of religion in Hamlet and the absence of it in A Doll’s House, I will argue that the main shift in tragedy is the loss of God. This thesis examines the transformation of the two heroes throughout the course of their respective plays and, in doing so, identifies the formal features which mark their claims to tragedy. While their processes differ greatly—Hamlet’s transformation is through a super-textual and self-analytic process while Nora’s process is one that emphasizes action over thought—both of their journeys are tied to the crucial and utterly tragic truth that they must face: the breakdown of their family. / Arts, Faculty of / Theatre and Film, Department of / Graduate