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No. of bitstreams: 2 Dissertação - Eduardo Carli de Moraes - 2013.pdf: 1868084 bytes, checksum: 32e1fd9c7d44e8b25112401a76dbd0ba (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-11-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation aims to reflect upon the philosophy of Friedrich Nietzsche (18441900), whose thought is here understood as an attempt to overcome both metaphysics and nihilism. This study highlights Nietzsche’s appraisal of philosophical thought endowed with historical sense, faithful to the uninterrupted process of becoming, which implies a worldview similar to that of Heraclitus. It is argued that Nietzsche's peculiar position in the history of moral philosophy lies in his critical analysis of the multiplicity of different moral evaluations always connected with their human, all too human, sources. Through attention to the circumstances and conditions of the emergence, development and decline of many ideals, moral values and religious doctrines, we intend to describe Nietzsche's philosophy as one in rupture with the notion of divine and immutable values and which de-estabilizes beliefs in absolute truths. In order to illustrate the nietzschean genealogical method in operation, we investigate phenomena such as resentment and asceticism, re-inserted into the historical flow and understood with connection with their physiological, psychological and socio-political basis. Grounded on extensive literature review of the work of Nietzsche and his commentators (especially Jaspers, Wotling, Rosset, Giacoia, Moura, Ferraz, among others), it is argued that Nietzsche’s philosophy surpasses Platonic-Christian split between two worlds and also overcomes the dualism between body and spirit. The anti-idealistic philosophy of Nietzsche, critical of moral absolutism and metaphysical supernaturalism, acts as a "school of suspicion" inviting us to free our thought from subservience, credulity and uncritical obedience to tradition. This research also explores the theme of “the death of God" and the collapse of the Judeo-Christian values, and the concomitant rise of nihilism, in the context of a philosophy that seeks to suggest and open new avenues for the human adventure, by mobilizing concepts such as amor fati, Over-Man and "fidelity to the earth." Nietzsche’s thought is not understood only in its critical potential, shattering traditional idealistic metaphysics, but also as a creator of a tragic and dyonisian wisdom which stands at the antipodes of both ascetic ideals and nihilistic doctrines. / Esta dissertação de mestrado tem por objetivo refletir sobre a filosofia de Friedrich Nietzsche (1844-1900), compreendida como tentativa de superação tanto da metafísica quanto do niilismo. Destaca-se a valorização nietzschiana de um pensamento dotado de senso histórico, fiel ao devir ininterrupto do real, o que implica em uma cosmovisão semelhante à de Heráclito. Defende-se que a posição peculiar de Nietzsche na história da filosofia moral consiste na análise crítica da multiplicidade de diferentes valorações morais, sempre remetidas a suas fontes humanas (demasiado humanas). Através da atenção às circunstâncias e condições de surgimento, desenvolvimento e ocaso dos diversos ideais, valores morais e doutrinas religiosas, procuramos mostrar como Nietzsche constitui uma filosofia que rompe com a noção de valores divinos e imutáveis, além de des-estabilizar crenças em verdades absolutas. De modo a ilustrar o método genealógico nietzschiano em operação, investigam-se fenômenos como o ressentimento e o ascetismo, re-inseridos no fluxo histórico e compreendidos a partir de seus pressupostos psicológicos, fisiológicos e sócio-políticos. Com base em ampla pesquisa bibliográfica da obra de Nietzsche e comentadores (como Jaspers, Wotling, Rosset, Giacoiua, Moura, Ferraz, dentre outros), argumenta-se que a filosofia nietzschiana realiza uma ultrapassagem da cisão platônico-cristã entre dois mundos, além de uma superação do dualismo entre corpo e espírito. Procura-se descrever como a filosofia anti-idealista de Nietzsche, avessa ao absolutismo e ao sobrenaturalismo, age como uma “escola da suspeita”, convidando-nos a um filosofar liberto de subserviência, credulidade e obediência acrítica à tradição. Explora-se também a temática da “morte de Deus” e da derrocada dos valores judaico-cristãos, além da concomitante escalada do niilismo, no contexto de uma filosofia que busca sugerir e abrir novas vias para a aventura humana ao mobilizar conceitos como amor fati, além-do-homem e “fidelidade à terra”. Nietzsche é compreendido não somente em seu potencial crítico, demolidor da tradição idealista e metafísica, mas também como criador de uma sabedoria trágica e dionisíaca que se posiciona nas antípodas tanto dos ideais ascéticos quanto dos ideários niilistas.

Partindo do exame dos pressupostos do realismo formal no romance, a dissertação pretende demonstrar como a desconfiança do narrador beckettiano quanto aos fundamentos que sustentam a voz em primeira pessoa e a estrutura ficcional do romance, observada desde Molloy e Malone Morre, dá lugar ao exame dos fundamentos relacionados à constituição da própria noção de subjetividade e desdobra-se em reflexões de natureza linguística em O inominável. Momento em que a hipótese de que é na linguagem e pela linguagem que o homem se constitui como sujeito, formulada pelo linguista Émile Benveniste, será desenvolvida considerando a dimensão trágica da experiência do eu. Com efeito, parte da tarefa da desta dissertação consiste em demonstrar a pertinência do trágico em O inominável, com o propósito de aprofundar a discussão teórica sobre a narrativa do século XX. / From an examination of the formal assumptions realism in the novel, the dissertation aims to demonstrate how distrust of Becketts narrator at the grounds that support the voice in first person and the fictional structure of the novel, observed since Molloy and Malone Dies, giving rise to the investigation of the grounds related to the constitution of the notion of subjectivity and unfolds in linguistic nature reflections in The Unnamable. Moment when the hypothesis that it is in the language and by the language that humans is constituted as subject, formulated by the linguist Émile Benveniste, will be developed based on the tragic dimension of the experience of \"I\". Indeed, part of the task of this dissertation is to demonstrate the relevance of the tragic dimension in The Unnamable, in order to deepen the theoretical discussion of the twentieth centurys narrative.

A literatura machadiana apresenta uma dualidade entre a tragicidade e a comicidade que esta dissertação pretende explorar e entender. A apuração de tais aspectos foi dividida em duas partes: a primeira trata da obra machadiana como um todo, sem atentar para qualquer texto em especial; e a segunda aponta, através da análise de três contos, a convivência dessas duas características contrastantes. Como Machado adota uma miscelânea nos gêneros literários, será preciso analisar o teatro e a sátira menipéia dos quais se serviu para a confecção de tais contos, disso decorreu nossa preocupação em avaliá-los / Machado de Assis literature presents a duality between tragic and comic, which this dissertation aims to explore and understand. The investigation of such aspects has been divided in two parts: the first one approaches Machados work as a whole, with no focus on any text in particular; the second part, through the analysis of three short stories, points out the coexistence of those two contrasting characteristics. Since Machado adopts a variety of literary genres, we deem it necessary to analyse both the theater and the menippean satire he has put into use to create such short stories, thus our concern in evaluating them.

The first two decades of the 20th century have brought us to a critical crossroad that few could have predicted when the calendar ticked over from 1999 to 2000. The strife of world wars, of intolerance, of discrimination, of prejudice and oppression that were so evident in the 20th century should have provided the impetus for peace and acceptance in the 21st. Yet, world events early in this century have demonstrated that we have not learned from the lessons of history and thus, unless we intervene, we are doomed to repeat them. Teachers and schools play significant roles in shaping future citizens – in helping learners develop character and integrity, to value others and the earth, and to work collaboratively to address problems new and old. Teacher educators play a critical role in developing the pedagogical understanding of pre-service teachers as they prepare to take up these roles in Canadian classrooms. Teacher educators working from and for a social justice mandate recognize that there are many factors that impact their ability to guide pre-service teachers to a greater understanding and valuing of equity and diversity in their classrooms, schools, and communities. This study’s exploration of factors that constrain or enable this work has exposed the difficulty and intransigence of perceiving the work and ultimately, the world through polarized binaries of either/or – constrain or enable. This has resulted in a greater respect for the complexity in envisioning and enacting pedagogy and practice that strives to inculcate pre-service teachers with a commitment to creating classrooms focused on equity, diversity and social justice. / Graduate

La tragédie du quatrième siècle fut considérée depuis l’antiquité comme une phase de décadence du genre tragique. Toutefois, plusieurs spécialistes ont montré qu’il ne s’agissait pas d’un déclin : le théâtre continuait à jouer un rôle important dans la vie culturelle du monde grec. Dans cette thèse nous proposons une nouvelle édition des fragments des poètes tragiques grecs du quatrième siècle, qui furent actifs entre la fin de la guerre du Péloponnèse et la mort d’Alexandre le Grand. L’édition des textes est précédée d’une courte introduction sur chaque poète et suivie de leur apparat critique, leur traduction et des commentaires. Nous proposons également un nouvel ordre des poètes et des témoignages pour faciliter l’étude de ces textes. Nous espérons que cette thèse contribuera à une meilleure compréhension de cette production méconnue et invitera à des nouvelles recherches. / After the death of Euripides and Sophocles, tragic poets continue to write tragedies. During the fourth century BC theatre expanded all over the Greek world. In this thesis, I propose a new edition of the tragic fragments of the fourth century BC, by poets who were active from the end of the Peloponnesian war to the death of Alexander the Great. The edition of these texts is preceded by a brief introduction on each poet and followed by a critical apparatus, their translation and commentaries. I also propose a new order of the poets and testimonies in order to facilitate the study of the texts. I hope this thesis will contribute to a better understanding of this relatively unknown production and inspire new researches.

Le jeu de hasard comme thème littéraire prend, à l’époque romantique, une signification tragique : il devient pleinement un paradigme du défi, du jeu existentiel, de l’ordalie, et fait alors écho au mythe de Faust. L’analyse de l’évolution du thème littéraire du jeu de hasard montre l’émergence de cette figure romantique du joueur. D’abord envisagé comme un simple divertissement, et traité sur le registre comique, le jeu devient progressivement un geste désespéré de ce personnage. La présente étude s’intéresse aux littératures française et russe, mais aussi anglophone et italienne, et retrace les étapes principales de l’évolution du thème ludique du Moyen Age au XXe siècle. Elle montre comment l’activité, d’abord réservée aux fripons et moralement blâmée, acquiert une considération grâce à sa prise en compte par les mathématiques et l’anthropologie. Avec l’émergence de la notion de risque, dès la Renaissance, le jeu de hasard apparaît comme un modèle possible pour penser l’action humaine. A partir de l’époque classique en France, il s’impose comme thème littéraire, et sa mutation vers le tragique devient nette. Le renversement le plus significatif s’effectue dans la littérature russe du XIXe siècle, mais les auteurs français de cette époque l’illustrent également. Le XXe siècle présente quelques grandes figures de joueurs romantiques, qui recherchent la perte. / Gambling as a literary theme takes on, with romanticism, a tragic meaning: it fully becomes a paradigm for defiance, for games whose stakes are existence itself, even for the tradition of the ordeal, and resonates with the Faustian myth. The analysis of the evolution of gambling as a literary theme shows how it gave birth to the romantic figure of the Gambler. Gambling, first seen as mere entertainment, and treated along comedy lines, gradually became a gesture of despair of this character.The analysis covers French and Russian literature, with extensive excursions into Anglophone and Italian literatures, in order to retrace the theme of play and gambling from the Middle Ages through to the Twentieth century. It shows how such activity, first the preserve of rascals and knaves and morally condemned, gradually acquired respectability through its recognition in mathematics and anthropology. With the emergence of the notion of risk, at the Renaissance, games of chance become potential models for the understanding of human endeavour. From the Classical period in France, they become a literary theme, and the treatment of gambling starts veering towards the tragic. The most significant mutation of this sort takes place in nineteenth century Russian literature, but a number of French authors of the period also demonstrate it. Finally, a number of powerful romantic figures of the Gambler emerge in twentieth century literature, figures bent upon their own destruction.

Twentieth-century American literature incorporates interracial and biracial themes that bring to light the often unnamed and unrecognized biracial identities of many Americans. Unfortunately, despite the potential value for a deeper understanding of the construction of race, these themes have seldom been seriously considered in the context of reevaluating the nature of the system that creates racial labels and categories until the recent emergence of postmodern critical theories. This thesis examines the black-white interracial themes and biracial protagonists in Nella Larsen's Quicksand (1928) and Danzy Senna's Caucasia (1998) in order to explore the texts' representations of systems of hegemonic power that create racial labels and categories. I discuss the binary sociopolitical construction of race in the United States (blackwhite) and the complexity of biracial identities as a foundation for my examination of literary representations of biracial subjectivity, racial passing, primitive exoticism, and the intersections between race, class and gender. I conclude that a study of the interracial theme in literature is a dive into the chasm between margin and center, the enunciative split between the binary racial signifiers black and white. Therefore, representations of biracial subjectivity provide a unique vantage point for surveillance of the complexities of the human struggle to gain and maintain power.

La musique est essentiellement inexpressive : elle est incapable d’exprimer quoi que ce soit (même les émotions humaines). Cette sorte de langage — l’articulation de sons dans le temps — est auto-signifiant et ne renvoie qu’à lui-même : la musique s’exprime elle-même. C’est en cela qu’elle s’apparente avec le réel, qui manque lui aussi de signification et est par là tautologique. L’écoute musicale est donc une écoute non-interprétative ; écouter la musique c’est faire attention à la musique et non à ce qu’elle est supposée véhiculer. C’est, en ce sens, une forme d’attention au réel. Aimer la musique, à son tour, c’est apprendre à faire une écoute de cette espèce. Ce que l’on apprend à aimer, c’est l’objet musical tel qu’il est, sans songer à changer la moindre virgule. Et c’est dans cette approbation inconditionnelle de l’objet que réside la joie musicale, que nous pouvons étendre à notre tour à l’approbation inconditionnelle de tous les objet qui conforment le réel, comme nous invite à faire la philosophie tragique. Nous pourrions dire que la musique est l’art tragique par excellence. / Music is essentially inexpressive: music is unable of expressing anything (not even human emotions). This kind of language — sound’s articulation on time — is self-signifying. It doesn’t refer to anything but to itself: music expresses itself. In this, music is like reality, which is insignificant as well, and therefore tautological. Musical hearing is then a non-interpreting hearing; to hear music is to pay attention to music and not to that which is supposed to be transported by it. It is, in this perspective, a sort of attention to reality. To love music, therefore, is a form of learning to hear this way. The object that we love is the musical object as it is; we don’t even dream to change one single comma. It is in this unconditional approbation of the object where musical joy takes place; and we think it’s possible to spread this approbation to all objects that conform reality. That is what tragic philosophy invites us to do. Music, we could say, is the tragic art par excellence.

This thesis evaluates tragic characters from three representative tragedies, Macbeth, Antigone, and Death of a Salesman, in terms of Lawrence Kohlberg's six stage theory of moral development. A tragic character's moral judgment is described as being founded on universal values and principles which determine stage placement. The tragic situation is precipitated by conflict experienced by a character between his present stage form of evaluation and the more preferred, differentiated and integrated form of the next higher stage. Since Kohlberg's theory is cognitive-developmental with the moral principle of justice emerging autonomously at the stage six level, its application aids in supporting a view of tragedy based on a moral order having justice as its highest principle and on a continuity independent of historical and cultural influence.

Este trabalho analisa e interpreta as dramaturgias de Eugene O?Neill e de Nelson Rodrigues do ponto de vista de sua expressão do trágico moderno. Partindo de uma contextualização dos autores e suas obras em seu momento histórico, estabelecendo relações entre suas visões de mundo e suas trajetórias biográficas, registrando suas influências literárias e suas filiações estéticas, bem como expondo algumas teorias do trágico moderno que cobrem aspectos importantes de sua produção, aborda-se aqui uma série de peças teatrais consideradas mais representativas dos ciclos temático-formais que constituem as obras dos dois dramaturgos. Esta tese compõe-se por uma introdução ao tema, dois textos que tratam das relações entre vida, obra e visão de mundo de cada dramaturgo, ensaios sobre oito peças de Eugene O?Neill, ensaios sobre nove peças de Nelson Rodrigues e um capítulo de considerações finais refletindo sobre as relações entre os dois autores. / This study analyzes and interprets the dramaturgies of Eugene O?Neill and Nelson Rodrigues from the standpoint of their expression of the modern tragic. Starting by placing the authors and their works on their historic background, relating their world views and their biographical trajectories, registering their literary influences and their esthetic filiations, as well as presenting a few theories of the modern tragic which cover relevant aspects of their production, this text approaches a series of theatrical plays that were considered more representatives of the thematic and formal cycles which constitute the works of the two playwrights. This thesis is composed by an introduction to the theme, two texts that have focus on the relations among life, works and the world view of the two dramatists, essays about eight Eugene O?Neill?s plays, essays about nine Nelson Rodrigues? plays and a final part speculating on the relations between the two authors.