The purpose of this thesis has been to use tragedy to discover conceptions about mental and emotional processes reflected in contemporary language which, though it may not have been used throughout the society in the particular forms tragedy uses, was understood, and felt to be powerful, by the contemporary audiences of the plays. Through detailed examination of the type of imagery used in thinking about the mind, various inferences have been made about conceptions of the sources of harmful emotion and about the ways in which men judge each other, how they sympathize with each other, and how far they can understand each other's private feelings, in a society which may have been in these respects very different from our own. The material has been confined to tragedy - though parallels from other poets and evidence of particular beliefs and theories have been sought in archaeological data, medicine, philosophy and history - since tragedy, is for two reasons, particularly suitable for a study of this kind. First, the process of watching a tragedy involves observation aid evaluation of other people from their actions; the audience is invited to react to and ponder the implications of different 'serious actions' the imitation of which is included in Aristotle's definition of tragedy. Secondly, tragedy is a musical event which offers in different musical patterns the expression and resolution of extreme emotions; and one of the main points to emerge in this thesis is Greek fears of unrhythmical and uncontrollable emotion. The images associated with emotion are those of savage daemons and wild beasts. As on the mythological level Orpheus could control wild beasts by the power of his music, on the social and dramatic level music, which imposes order, rhythm and harmony on those listening to it and performing it, can calm extreme emotions in ritual and in tragedy, of which it is an essential part. Chapter One: In the Mind. This chapter examines statements about the composition of the mind in tragedy: the different mental organs, located deep within the hitman body, their movement in relation to each other, and their 'darkness'. The images which express the activity of the mind disturbed include: shaking and trembling, filling, swelling and inflammation; wave, storms, wind and breath. The dreams that visit the mind are imagined as coming out of the earth; but the 'muchos' of the mind is implcitly compared to the underground darkness in which the blind seer lives. The mind itself is imagined to be 'prophetic'. The imagery of wave and storm, drawn from the world outside to express feelings within the mind, suggests the easy association of the components of the natural world and the components of the mind; an association demonstrated in the theories of Presocratics and Hippocratic writers. Finally, the supreme fear is fear of the mind 'adrift': the motif of the 'wandering mind' is reflected in the geographical wandering of mad figures in myth. Their activities and feelings are expressed in images and pursuit: of the goad, yoke, and whip. Chapter Two: Into the Mind. This chapter explores the outside sources of mental harm. Passions that trouble the mind are expressed and described with the help of imagery, and the imagery draws mainly on the outside world: on the daemons of cult and fantasy, and on the wild animals who endanger man physically. Part A considers the shapes of persecution, culturally-determined, which provide models for the individual imagination. The Olympian gods, their winged weapons; the Erinyes, their goads and love of blood; the Gorgon, her piercing eye; the Sphinx, her claws and dangerous song; the animals, the 'death-bringers', particularly the bull, horse, dog, lion and snake. Part B examines the images of emotion themselves: wings and piercing weapons; rays of the eye; driving and blows; hunting and ambush; wrestling and capture (human imagery); biting and eating (animal imagery); and imagery from the natural world, wind, wave, fire, storm. Chapter Three: Into And Out Of The Mind. The material studied so far suggests a world-view which emphasizes the external source of human emotion and pain. But some images, some forms of theory, some direct atatements in tragedy (and elsewhere at this period) suggests that another world-view also operated within the imagination; that the source of human emotion and disease lay within man himself. For various reasons, not least emotional comfort, this view is not canvassed as widely, nor does it affect language and belief as powerfully, as the first. There are areas of experience, however, where it is important, and particularly in ideas about madness and demonic possession. Madness in tragedy is presented as a temporary event which passes and leaves the man 'himself' again. The case for belief in demonic possession at this period, which has been challenged recently, is reconsidered; and the implications of demonic possession and inspiration are discussed, of the external and internal sources of power good and bad. Examples are collected of the recognition in tragedy of the projection process, lay which the mind projects its own feelings, particularly the dangerous ones, outside into the world. The psychoanalytic concept of projection is outlined, and the role it has played in psychologically-oriented medical history: particularly in Paracelsus and Freud. Fifth-century medical theories are examined: theories of the origin of the physical and mental disease. These invoke both external sources of harm, and internal ones. In medicine and poetry alike the two views, though apparently paradoxical, operate in a complementary way, since belief is shifting and inconstant in societies and individuals alike. There are parallels in Anthropological material for the complementary relation of inconsistent world views: and the tendency of theorists has always been to divide mental functioning into two types (compare theories which divide mental structures, and divide them into three). Chapter Four: Out Of The Mind. This chapter considers the actions that express emotion. These are of two kinds, the individual actions of which tragedy is composed (considered in chapter five), and involuntary and ritualized actions, which may have sons universal physiological basis but which are also culturally determined. The natural process of observation - 'opsis' - is replaced in tragedy by words (eg 'Why are you pale?'). Physical reactions to emotion mentioned in tragedy are collected, and deductions made by observers about the internal feelings which produce such reactions. Parallels from medicine are considered: the importance of observation in medical theory and practice has given us a picture of the physical symptoms of physical disease which resemble the physical symptoms of emotion recorded in tragedy. There are dangers in taking physical symptoms recorded in poetry too literally (illustrated by a study of Sappho fr. 31), but though the poetic expression of such symptoms is affected by dictates of convention and genre, it does provide evidence for the tendencies of observation and reaction accepted in the whole society, if not for the single 'true' experience of a lyric poet. Tragedy: the main feature in physical symptoms of emotion and madness is a terrifying unrhythmical violence, which corresponds to the wild movements of the pursuing daemons in Chapter two, and the wild twisting movements in the images of the mind of Chapter one. The principle of projection, discussed in Chapter three, is working here, projecting the wild movements of the body of the man suffering intense emotions, onto both his imagined pursuers, and the unseen organs of his mind. Ritualized expression of emotion is an attempt to impose order, rhythm and control on this violence. The ritual expression of grief, the emotion which occurs most often in tragedy, tries to control emotion in two ways.

Aeschylus wrote that we learn through suffering. Whether one agrees with this statement or not, one has to recognise that it has given rise to a great deal of discussion about tragedy. What kind of suffering we can associate with tragedy will be considered in the chapters which follow. The more immediate concern is the business of learning. Man can learn a good deal about the problems that confront him, but he cannot learn all there is to know about anything. His knowledge is relative. He may postulate the absolute, but it is beyond the grasp of the human mind to perceive the absolute in its absoluteness. The relativist can avoid an epistemological quagmire by simply accepting that a relativistic attitude is only of relative value; he has the intellectual humility to recognise that whatever he thinks or says is likely to reveal only part of the truth. Arthur Miller has suggested that the best serious literature is concerned with the absolute, in that he criticises one of his contemporary playwrights for writing a work which "fails to extend itself so as to open up ultimate causes". Chap. 1, p. 1.

Olu phando lugqale kubalinganiswa abafunzele ukuzibulala kwimidlalo ekhethiweyo yesiXhosa. Kwisahluko sokuqala ngumkhombandlela wolu phando, intshayelelo, injongo yophando, ubume besifundo namagqabantshintshi ngentyila bomi zababhali endicaphule kwiincwadi zabo namagama angundoqo. Kwezinye izahluko ingcingane ezahlukeneyo nalapho endingabalula ekaFreud isayikho-analisisi ndinaba ngokubanzi kumabakala awabekileyo afana nokuzalwa, isini, odiphasi khompleksi nephupha nenxaxheba yakhe ekugubhululeni okuyimfihlakalo ngokuthi aphande ubomi bomntu obadlulayo ukuze kubenokunyangwa impixano ekuye ngaphakathi. Enye ingcingane esetyenzisiweyo yile ingokuzibulala nalapho kuphononongwa ukuba ngobani abazibulalayo, abaqinisekileyo ngokufa kwabo, ukuzibulala ngesivumelwano nembalelwano abazishiyayo xa umntu ezibulala. Kwezinye izahluko ndiyibeka icace intsusa neziphumo zokuzibulala kwamaxhoba, ndayiphicotha nendlela ekuxhatshazwe ngayo amalungelo abalinganiswa ngabazali babo kuba benyanzela le mitshato yebhaxa ngenjongo yokuzuza ikhazi ngentombi zabo, nayo imixholo enxulumene nolu phando ndiyicaphule imixholo efana neyothando noqhankqalazo nomxholo wokutshatiswa kwabantwana ngebhaxa. Isahluko sesihlanu ngumqukumbelo jikelele nophononongo ngolu phando.

This thesis traces the revival of Senecan tragedy from 1570 to the end of the sixteenth century through some of the earlier translations, adaptations, and imitations, and to evaluate the significance of the final evolution of such works into the Elizabethan tragedy of revenge.

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Orientador: Oswaldo Giacoia Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-13T16:00:35Z (GMT). No. of bitstreams: 1 Paula_WanderAndradede_M.pdf: 1941842 bytes, checksum: 8860b07f0e10bd95a5f9641d19a80e47 (MD5) Previous issue date: 2009 / Resumo: A pesquisa pretende apresentar as diferentes facetas de Sócrates no Nascimento da Tragédia, de Friedrich Nietzsche. Analisaremos, para isso, a interpretação nietzschiana da morte da tragédia pelo efeito da ação combinada de Sócrates e Eurípides e, principalmente, quais as conseqüências geradas por essa destruição, que vão muito além do campo da arte. Examinaremos como a arte era produzida instintivamente pelo grego antigo e como ela passou a ser produzida de modo consciente a partir de Eurípides, invertendo a relação que o grego antigo mantinha com a tragédia. Reconstituiremos as análises de Nietzsche sobre a oposição entre pessimismo trágico e otimismo teórico, sobre o papel da arte como transfiguração e superação do pessimismo, bem como sobre a relação entre otimismo socrático e modernidade. Levando-se em conta que Nietzsche não trata somente da figura de um Sócrates paladino da ciência, analisaremos a possibilidade de outra faceta da interpretação nietzschiana acerca do socratismo, bem como as implicações geradas por ela na relação estabelecida por Nietzsche entre arte e ciência. Merecerá ainda atenção especial a originalidade da leitura nietzschiana da Grécia clássica, assim como sua oposição à filologia acadêmica de seu tempo. / Abstract: The research aims to show the several faces of Socrates at Friedrich Nietzsche's The Birth of Tragedy. We will analyze, for this aim, the Nietzsche's interpretation of the death of the tragedy by the effect of the combined action of Socrates and Euripides and, mainly, what are the outcomes generated for this destruction, which don't comprehend only the scope of art. We also will analyze how the art was produced instinctively by the ancient Greeks and how it passed to be produced consciously by Euripides, so as to reverse the relationship which the ancient Greeks kept with the tragedy. We will reconstitute the analyses of Nietzsche about the opposition between tragic pessimism and theoretical optimism, about the function of the art like transfiguration and overcoming of the pessimism, like that about the relationship between Socratic optimism and modernity. Considering that Nietzsche doesn't treat just of the figure of a crusader Socrates of the science, we will analyze the possibility of another facet of the Nietzsche's interpretation about the socratism, besides the implications generated from it at the relationship established by Nietzsche between art and science. We will still pay attention to the originality of the Nietzsche's analysis of the classic Greece, and his opposition to academic philology of his period. / Mestrado / Filosofia / Mestre em Filosofia

In the Renaissance drama, revenge is known as a revenge of blood, generally the “eye for an eye” variety of retaliation. The revenge of late periods deals with the return injury directed not only to the body of the opponent but also to his mental discomfort. It is the aim of this thesis to present the different types of revenge in tragic dramas and by means of them to show how the life, manners, and attitude of the various nationalities are reflected in dramas dealing with this theme.