Thesis (M.A.)--University of Massachusetts Amherst, 2008. / Includes bibliographical references (p. 77-78).

Thesis (M.A. in Religion)--Vanderbilt University, Aug. 2008. / Title from title screen. Includes bibliographical references.

This is a thesis about a pivotal transition in the development of Western Civilization. The seed of Christianity that would eventually grow to dominate all religions of the West was sewn during a fertile time of Hellenism, in which many Greco-Roman citizens were seeking a new spiritual depth. This led to the extreme popularity of cults and mystery-religions that focused on esoteric, personal and experiential knowledge of the divine. The study will examine one of these major cults in particular, namely that of Dionysus, in order to paint a clearer picture of how the Christian faith formed in coexistence with this cult. One cannot overlook Judaism, and it is often believed that Christianity is almost solely indebted to the Jewish tradition. Furthermore, the belief is held by many, that the Christian rituals practiced in antiquity were either clearly unique or rooted in Jewish ritual. This has unfortunately led to a trend in New Testament study that generally overlooks the vital importance and influence of the pagan religions during the Hellenistic-Roman age. In fact, some of the beliefs and practices of these mystery cults (which also happen to pre-date Christianity) were so close to those of the early church that Justin Martyr could find no other explanation except that they were inspired by demons. This leaves most modern readers wanting, and demands further examination. Due to their Dionysian tendencies, the study will be dedicated to Pauline Churches in particular and the spirituality associated with them. Paul, an ecstatic mystic himself, presents a Christian vision that seems to synthesize concepts from both contemporary mystery cults and Judaism. This thesis is committed to creating a deeper understanding of the Hellenized cultural milieu that the Christian movement came out of.

No description available.

O objetivo deste trabalho é propor um estudo filológico da poesia ditirâmbica de Píndaro (518/522 453/438 a.C.) atualmente compilada. Uma nota sobre Píndaro e a recepção de sua poesia introduz o leitor ao lugar do poeta na tradição literária e aos gêneros poéticos em que sua produção foi conhecida na Antiguidade, mas cuja transmissão foi irregular, como é o caso de seus ditirambos. Segue-se uma introdução sobre a questão do gênero poético do ditirambo na Antiguidade clássica, suas definições e classificações e seu corpus atualmente acessível, com considerações metodológicas sobre o que se propõe a seguir. Antecipando a apresentação dos fragmentos poéticos, algumas características distintivas dos ditirambos de Píndaro são destacadas a partir de fragmentos conhecidos e identificados (ou discutidos) como ditirambos do poeta. Por fim, o texto de cada fragmento conhecido da poesia ditirâmbica de Píndaro (baseado na edição de Maehler, 1989, com a contribuição mais recente de outros editores) é apresentado, com escólios, um aparato crítico, uma tradução e comentários que examinam teorias antigas e modernas acerca de suas referências, seus elementos formais, temáticos e estilísticos e o que possivelmente caracterizou esses poemas como ditirambos. / The aim of this work is to propose a philological study of the dithyrambic poetry of Pindar (518/522 - 453/438 a.C.) currently compiled. A note on Pindar and the reception of his poetry introduces the reader to the place of the poet in the literary tradition and to the poetic genres in which his production was known in Antiquity, but whose transmission was irregular, as is the case of his dithyrambs. Follows an introduction to the question of the poetic genre of the dithyramb in classical Antiquity, its definitions and classifications, and its currently accessible corpus, with methodological considerations about what is proposed to follow. Anticipating the presentation of the poetic fragments, some distinctive features of Pindars dithyrambs are highlighted from known fragments which are identified (or discussed) as his dithyrambs. Lastly, the text of each known fragment of Pindars dithyrambic poetry (based on the Maehler, 1989 edition, with the most recent contribution of other editors) is presented with scholia, a critical apparatus, a translation and commentary examining ancient and modern theories about its references, its formal, thematic, and stylistic elements, and what possibly characterized these poems as dithyrambs.

This thesis examines the works of Nathaniel Hawthorne and the archetypal images therein. The Scarlet Letter is discussed extensively with references made to The Blithedale Romance. Characters in the following short stories are referred to: “Rappaccini’s Daughter,” “Young Goodman Brown” and “The Birthmark.” An overall analysis of feminine repression in both male and female characters is explored. Hester Prynne, Arthur Dimmesdale, and Pearl are the subjects of lengthy discussion. Journeys, both inward and outward are explored in the characters. The context is nineteenth-century culture of which Hawthorne is a product. The characters in The Scarlet Letter search for a complete existence, an integration of the unconscious and the conscious. Through a mythological study of Hawthorne’s work, we draw closer to understanding this complex example of nineteenth-century literature.

This thesis analyzes pain with respect to Nietzsche&#039 / s Dionysus-Crucified distinction. This distinction, which Nietzsche underlies, reveals his philosophical project. The meaning of pain is at the core point of this distinction. These two deities symbolizes attitudes towards life and pain in it. Dionysus represents the affirmation of becoming and tragic wisdom / and Crucified (Christ) represents despise and escape from life or ascetic ideals. In this sense, the dissertation will first trace Nietzsche&#039 / s world view. Then the following discussions will present a detailed analysis of ascetic ideals (and their genealogical roots), and tragic wisdom from the perspective of Nietzsche for consideration.

Univ., Akad. avh.--Göteborg, 2006.

In the attempt to enrich classical literary criticism with modern theoretical perspectives, this thesis formulates an interdisciplinary methodological approach to the study of animal metaphors in the tragic depiction of female avengers. Philological and linguistic commentaries on the tragic passages where animals metaphorically occur are not sufficient to determine the effect that Attic dramatists would have provoked in the fifth-century Athenian audience. The thesis identifies the dramatic techniques that Aeschylus, Sophocles and Euripides deploy to depict vengeful heroines in animal terms, by combining gender studies of the classical world, classical studies of animals and posthumanism. It rejects the anthropocentric and anthropomorphic views of previous classical scholars who have interpreted the animal-woman metaphor in revenge plots as a tragic expression of non-humanity. It argues instead that animal imagery was considered particularly effective to express the human contradictions of female vengeance in the theatre of Dionysus. The thesis investigates the metaphorical employment of the nightingale, the lioness and the snake in the tragic characterisation of women who claim compensation for the injuries suffered within and against their household. Chapter 1 is focused on the image of the nightingale in comparison with tragic heroines, who perform ritual lamentation to incite vengeance. Chapter 2 explores the lioness metaphor in the representation of tragic heroines, who through strength and protectiveness commit vengeance. Chapter 3 examines the metaphorical use of the snake in association with tragic heroines, who plan and inflict vengeance by deceit. Through the reconstruction of the metaphorical metamorphoses enacted by vengeful women into nightingales, lionesses and snakes, the thesis demonstrates that Attic dramatists would have provoked a tragic effect of pathos. Employed as a Dionysiac tool, animal imagery reveals the tragic humanity of avenging heroines whose voice, agency and deception cause nothing but suffering to their family, and inevitably to themselves.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2017-05-22T10:38:35Z No. of bitstreams: 2 Dissertação - Rodrigo Peixoto Barbara - 2017.pdf: 2301704 bytes, checksum: f4ba0c98b2ea5cea2c9f830b6a1c4b21 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-22T10:43:16Z (GMT) No. of bitstreams: 2 Dissertação - Rodrigo Peixoto Barbara - 2017.pdf: 2301704 bytes, checksum: f4ba0c98b2ea5cea2c9f830b6a1c4b21 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-22T10:43:16Z (GMT). No. of bitstreams: 2 Dissertação - Rodrigo Peixoto Barbara - 2017.pdf: 2301704 bytes, checksum: f4ba0c98b2ea5cea2c9f830b6a1c4b21 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The Theater of Cruelty is an Artaudian artistic manifestation that shook the representative Western aesthetic bases by returning the ritual, magic and life suppressed by Western theater to the performing arts, also highlighting controversial subjects / themes silenced by a ruling class, similarly as Friedrich Nietzsche and Gilles Deleuze did with their philosophical thoughts. In view of this, it is proposed with this Master's Dissertation, to (un)fold this Theater of Cruelty having as a theoretical subsidy, besides the studies of Antonin Artaud, the investigations of Nietzsche, Deleuze and some other rebellious thinkers. Through this unfolding, one studies the possible cruel plot given by the Philosophy-Art-Life conjunction and of that, the link between Tragedy, Dionysus and the Artaudian Theater. In view of this panorama, one wonders: what unites these cruel-artist thinkers? What do Nietzsche's Tragedy and the god Dionysus lend to the Theater of Cruelty of Artaud? To this end, the theoretical clause presented here rests on the attempt to account for a study that shows the rhizomatic agreement between these three thinkers and subversive thoughts having as central axis the Theater of Cruelty. Therefore, this theater is staged to propose a connection between Artaudian Cruelty and the revolutionary powers of the Nietzschean and Dionysian tragic. / O Teatro da Crueldade é uma manifestação artística artaudiana que estremeceu as bases estéticas representativas ocidentais devolvendo às artes cênicas o ritual, a magia e a vida suprimida pelo teatro ocidental, evidenciando, também, assuntos/temas polêmicos silenciados por uma classe dominante, similarmente como fizeram Friedrich Nietzsche e Gilles Deleuze com seus pensamentos filosóficos. Diante disso, propõe-se com essa Dissertação de Mestrado, (des)dobrar esse Teatro da Crueldade tendo como subsídio teórico, além dos estudos de Antonin Artaud, as investigações de Nietzsche, Deleuze e alguns outros pensadores rebeldes. Por intermédio desse desdobramento, estuda-se a possível trama cruel dada pela conjunção Filosofia-Arte-Vida e, a partir dessa, o enlace entre Tragédia, Dioniso e o Teatro artaudiano. A partir desse panorama apresentado, pergunta-se: o que une esses pensadores artistas-cruéis? O que a Tragédia de Nietzsche e o deus Dioniso emprestam ao Teatro da Crueldade de Artaud? Para tanto, o recorte teórico que aqui se apresenta repousa na tentativa de dar conta de um estudo que mostre o acordo rizomático entre esses três pensadores e pensamentos subversivos tendo como eixo central o Teatro da Crueldade. Logo, esse teatro se faz palco para propor uma ligação entre a Crueldade artaudiana e as potências revolucionárias do trágico nietzschiano e do dionisíaco.