The aim of this thesis is to explore the elements of power-knowledge in two SF novels written amid the Space Race during the Cold War era. While the dominant interest of both Stanislaw Lem’s Solaris and Arthur C. Clarke’s Rendezvous with Rama generally revolves around the implications of human interactions with an alien presence, my focus is primarily on the power structures that propel those interactions: questioning the intentions of scientific pursuits and analyzing the effects of Foucauldian power relations on the human individual. I do this by applying Foucault’s theories of the duality of the subject and his work on biopolitics. What is gleaned is not only a study of the interests of power, but an emphasis on the intersectional restrictions of power and cognition. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

Informe de Seminario para optar al grado de Licenciado en Filosofía

In recent years, Arthur Miller has been the subject of much critical debate. Numerous critics have stated that his plays are not true tragedies because they do not meet the requirements for tragic drama. Several other critics, however, attempting to some to Miller’s defense, have stated just the opposite. So far, the situation has not been resolved; and there appears to be little chance that it will, considering the manner in which both Miller’s defenders and sensors have been approaching the problem. First, they have been brandishing a term which does not carry the same meaning for each of them. They have been forcing this term, with all its ramifications, upon Miller’s plays in order to make some erudite statement about the plays. Each has been attempting to justify his position by comparing Miller’s plays and his tragic heroes with plays and heros that symbolize best his own interpretation of tragedy. This approach is inconsistent, contradictory, and illogical; for it shows that the critics are examining Miller’s plays not as literary expressions unique in themselves but by standards which are far too often completely irrelevant to the situation. Also, this approach forces the critics to examine the plays out of context, thereby destroying their relevance. It is this problem that attention must be paid first. Therefore, the task before this paper is twofold. First, it is to examine MIller’s concept of tragedy, the philosophical ideas behind his plays, in order to see whether it is a logical, rational theory, one that is valid in itself. Once it has been determined whether Miller’s concept is valid then the second step can be taken: to analyze his plays in order to see whether they are artistic expressions true to and incorporating the beliefs expounded in his concept of tragedy. In no way does this approach invalidate the idea that the works must be examined by themselves and in themselves, for Miller’s theory and his plays should be expressions of the same viewpoint.

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Scholars have not adequately explained the disparity between Arthur Golding's career as a fervent Protestant translator of continental reformers like John Calvin and Theodore Beza with his most famous translation, Ovid's Metamorphoses. His motivations for completing the translation included a nationalistic desire to enrich the English language and the rewards of the courtly system of patronage. Considering the Protestant opposition to pagan and wanton literature, it is apparent that Golding was forced to carefully contain the dangerous material of his translation. Golding avoids Protestant criticism of traditional allegorical readings of pagan poetry by adjusting his translation to show that Ovid was inspired by the Bible and meant his poem to be morally and theologically instructive in the Christian tradition. Examples of Golding's technic include his translation of the creation and the great deluge from Book One, and the story of Myrrha from Book Ten.

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Le présent mémoire se veut une analyse de l’expérience esthétique, telle que décrite dans la philosophie d’Arthur Schopenhauer. Pour ce faire, j’ai divisé mon mémoire en deux parties. La première se veut un compte rendu des principales thèses défendues par Schopenhauer. J’y souligne en particulier l’importance de ses filiations kantiennes et platoniciennes, sa conception d’un monde envisagé à la fois comme volonté et comme représentation, ainsi que le primat accordé à la volonté par rapport à toute pensée rationnelle. La deuxième partie s’attarde uniquement à ses écrits concernant l’expérience esthétique. J’y souligne, entre autre, le caractère fondamental qu’occupe celle-ci dans l’ensemble de sa philosophie, pour ensuite m’attarder aux rôles particuliers qu’il accorde à chacun des beaux-arts. Finalement, je confronte brièvement sa conception du beau à certaines œuvres d’arts modernes, de façon à m’interroger sur la postérité de sa pensée esthétique.