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.

The contemporary era is dominated by an Apollonian visual language, i.e. the visual language of mainstream cinema and the mass media, and this study concerns the role that critical cinema, as Dionysian subverter, plays under such conditions. I argue that critical cinema should not be viewed as something completely ‘new’ but rather as a new, or at least the latest, manifestation of an older subversive ‘Dionysian’ voice that has made its presence felt since the dawn of the hegemony of an Apollonian disposition in Homeric epic. (I maintain that the history of western culture can be understood in terms of the persistent tension between Apollonian and Dionysian dispositions, and I use the distinction Derrida makes in Différance, between restricted and general economies, to distinguish between them, respectively.) I begin by considering the Dionysian echoes within Homer’s Iliad and then consider the way in which they became a ‘roar’ in the tragedies of Aeschylus. After Aeschylus a predominantly Apollonian voice asserted itself once again (to various degrees) through the work of Sophocles and Euripides. This was in keeping with the trend towards a more (Apollonian) restricted economy that is reflected in the writings of Homer’s literary successors, and which reached a crucial stage in Plato’s valorisation of ‘dialectics’, or what I term ‘dialecticis m’, which saw the birth of ‘dialectical language’. Through Plato dialecticism, or dialectical language, became instantiated as the ‘language’ of western philosophy and this predisposed western culture to develop along predominantly Apollonian lines. This continued from Plato, through the Middle Ages, until in the 17th century this Apollonian trend became manifest in the concept of the stable, integral, autonomous and self -transparent Cartesian ego, which is inextricably linked to dialectical language that promises certainty of ‘truth’ and maintains the possibility of representing the world in its entirety (as a system). In the contemporary ‘age of a world picture’, the hegemonic (Apollonian) visual language of mainstream cinema and the mass media propagates and perpetuates the belief in the possibility of representing the world in its entirety through the image, and insofar as it caters to audiences’ needs for stability and certainty (of ‘truth’) through providing such ‘complete’ representations, shapes their subjectivity along the lines of the Cartesian ego. According to Baudrillard, in contemporary society and culture the hyperreal realm of visual language has become far more significant for individuals than their immediate, empirical experiences, and that, as a result, they are far less predisposed to discussion and reflection and far more prone to passive ‘watching’. Also, Adorno maintains that it is impossible to have a form of critical cinema because of the way in which features inherent to cinema predispose it towards being an ideological apparatus. However, if both Baudrillard and Adorno are correct then the future appears increasingly bleak as it involves nothing other than the continuation and propagation of the hegemony of the visual language of mainstream cinema and the mass media, with no possibility for critical resistance. I argue instead that critical cinema is possible because the move towards a more restricted economy, motivated by an Apollonian disposition, did not develop from Homer to the contemporary era without meeting Dionysian resistance. I trace the presence of a subversive Dionysian voice through Homer’s Iliad, through Aeschylus’ Prometheus Bound, and through Plato’s Dialogues, where it echoes in the sentiments of some of Plato’s interlocutors, such as Callicles. In addition, I maintain that a ‘Dionysian’ voice resonates through both Nietzsche’s and Heidegger’s respective criticisms of ‘dialectical language’ and the ‘validity’ of the Cartesian ego. I argue that critical cinema, particularly Aronofsky’s postmodern critical cinema, parallels their similar epistemological and ontological perspectives in the way in which it engages with the (Apollonian) visual language of mainstream cinema and the mass media, and thereby, potentially, facilitates a more porous and protean subjectivity.

Tout est force, or la force agit comme séduction : elle est une relation qui modifie et se modifie. Dionysos est le dieu de la séduction, que Socrate tente de renverser par la modification de la tragédie. Socrate, Platon et les philosophies traditionnelles sont des individus et des pensées réactifs : ils refusent la séduction, mais pour cela doivent séduire le monde pour le figer, et séduire d’autres individus pour qu’ils adhèrent à leur pensée. Ce refus du devenir et de la transformation inaugure cependant toute une histoire humaine. Nietzsche veut renverser cette histoire, c’est-à-dire la séduire, afin de produire le surhomme. Pour ce faire, il faut inverser le langage, le défaire de l’identité pour le faire renouer avec la métaphore : sortir du figement pour retrouver la métamorphose. Le style et l’art permettent cela, ainsi que la sophistique. De cette façon, Nietzsche trouve un langage et une logique permettant une forme de connaissance ne trahissant pas la séduction, mais au contraire l’affirmant : sa pensée agit comme une force, transformant ce qu’elle « connaît ». La séduction est le système métaphysique décrivant le monde comme un jeu de séduction, autrement dit de forces en lutte. Cette métaphysique se décrit elle-même comme une force parmi les autres, luttant contre les autres. La pensée nietzschéenne est féminine : elle est double, contradictoire, stylée et masquée. Elle révèle la contradiction inhérente à toute pensée, et particulièrement dans celles qui rejettent la contradiction en se fondant sur l’identité, comme c’est le cas des métaphysiques traditionnelles. Elle reconnaît même la possibilité de sa propre inversion, c’est-à-dire qu’elle peut elle aussi devenir réactive en figeant par sa description le monde du devenir. / Everything is force. Now, force acts as seduction : it is a relation that modifies and is modified. Dionysus is the god of seduction, that Socrates attempts to topple by modifying tragedy. Socrates, Plato and traditional philosophies are reactive individuals and forms of thinking : they refuse seduction, but to do so, they have to seduce the world to freeze it, and seduce other individuals for them to embrace their line of thought. This refusal of becoming and transformation nevertheless opens up a whole human history. Nietzsche intends to topple this history, that is to say, to seduce it, in order to produce the superman. In order to do so, language needs to be reversed and parted from identity, for it to revive metaphor : break the freezing to renew with metamorphosis. Such a process is allowed by style and art, as well as sophistics. Thus, Nietzsche finds a language and logic allowing a form of knowledge which doesn’t betray seduction, but on the contrary, asserts it : his thinking acts as a force transforming what is « known » by it. Seduction is the metaphysical system which describes the world as a game of seduction, that is to say of struggling forces. Such metaphysics describes itself as a force among the others, struggling against the others. Nietzschean thinking is feminine : it is double-sided, contradictory, stylish and masked. It reveals the inherent contradiction in all forms of thinking, particularly in those rejecting contradiction on the basis of identity – and such is the case in traditional metaphysics. His thinking even acknowledges the possibility of its own inversion, that is to say that it can also become reactive, freezing the world of becoming by its description.

KVAPIL, M.: Arts And Language In The Early Work Of Friedrich Nietzsche. (Master thesis) Charles University In Prague, Faculty Of Humanities, Department Of Europhilosophy. Supervisor: doc. Mgr. Aleš Novák, Ph.D. This work aims to examine the early philosophical and esthetical concept of Friedrich Nietzsche, which is elaborated in his first published work The Birth of Tragedy from the spirit of Music (Die Geburt der Tragödie aus dem Geiste der Musik, 1872). This concept, based on a mutual tension between the Apollonian and Dionysian, will be examined mostly from the perspective of a significant "struggle" of Dionysus and Socrates. Its manifestation is first apparent as a contradiction between theoretical and tragical world understanding or a contradiction between optimism of science and pessimism of arts. The work will mostly focus on the origin of the theoretical optimism, which is coming from the human "will to truth". Its archetype is represented in Nietzsche's early philosophy by Socrates. The problem, which comes to light with this struggle of Dionysus and Socrates, will necessarly lead the work to examine Nietzsche's critique of cognition led by the metaphysical understanding of the term "truth". The basis of this critique lies in the metaphorical character of language and human cognition in...

The dichotomous concepts of order and chaos represented by the mythological Greek gods Apollo and Dionysus, as outlined by Friedrich Nietzsche in his controversial 1872 book on dramatic theory, The Birth of Tragedy, will in this essay serve as the primary literary concepts utilized in a psychoanalysis of the main character and his struggles in the American realist novel The Age of Innocence published in 1920. The social tragedy at the center of the novel written by the now canonical author Edith Wharton pits the protagonist, Newland Archer, against his own morality, in a battle between duty and passion, and conflicting personality traits. Additionally, the famous three-part personality model developed by psychoanalyst Sigmund Freud will, alongside the binary opposites discussed by Nietzsche in his most criticized work, support an examination of the inner and outer complexity of the leading character, in his shifting and disharmonious human nature.

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The purpose of this thesis is to examine the actor's process in tackling the roles of Harry Dalton in Equus by Peter Shaffer, Duke Senior in As You Like It by William Shakespeare, and Dionysus in The Bacchae by Euripedes. Each production is assigned its own chapter, respectively. The chapters explore each role vocally, psychologically, and physically, including the examination of the Alexander Technique. Reflection on the experience of portraying the character and an evaluation of the actor's growth also transpires. The fourth chapter, Finding My Light, summarizes related observations and analysis as a result of performing all three roles. Finally, the fifth chapter, Curtain Call: A Tableau of Contemplation, deliberates on three years of graduate education. It features the benefits and shortcomings realized as a result of participating as one of the first students the Professional Studio Acting Track of Virginia Commonwealth University.

Esta pesquisa pretende discutir a forma com que Dioniso foi transformado em herói épico nas Dionisíacas de Nono de Panópolis, uma epopeia em quarenta e oito cantos sobre o ciclo de Dioniso, desde a fundação de Tebas e o estabelecimento de seus antepassados à apoteose olímpica do deus. A análise será baseada nas características de Dioniso no campo de batalha e em oposição aos três principais adversários no poema, Licurgo, Deríades e Penteu. Para uma melhor compreensão da construção de Dioniso como herói, é necessária uma análise sobre o contexto social e cultural em que Nono compõe sua obra, assim como a relação do poeta com Homero, o principal poeta épico grego. Em anexo encontram-se os cantos XXXIX e XL das Dionisíacas em original grego e na tradução feita por mim. / This research intend to discuss the way Dionysus was transformed into epic hero in Nonnus Dionysiaca, an epic in forty-eight chants concerning the Dionysian Cycle, from the foundation of Thebes and the establishment of their ancestors to the Olympic apotheosis of the god. The analysis will be based on Dionysos features on the battlefield in opposition to the three main opponents in the poem, Lycurgus, Deríades and Pentheus. For a better understanding of the construction of Dionysus as a hero, an analysis is needed on the social and cultural context in which Nono composes his poem, as well as the poet\'s relationship with Homer, the Greek main epic poet. Attached are the chants XXXIX and XL of Dionysiaca in original greek and the translation made by me.

Thèse : Amsterdam Vrije universiteit : 1980.

Η παρούσα εργασία εστιάζεται στη μελέτη των εννοιών Φύσις (= φυσική κατάσταση, φυσική τάση) και Νόμος (= ανθρώπινη σύμβαση, θεσμός, έθιμο) ως διπολικού σχήματος ενταγμένου αφενός στα πλαίσια της διδασκαλίας των σοφιστών και αφετέρου στην τραγωδία του Ευριπίδη Βάκχαι. Κατά τη διάρκεια του 5ου αιώνα π. Χ., εποχής έντονης πνευματικής ζύμωσης εμπνευσμένης από τις κοινωνικές, πολιτικές και πολεμικές συγκυρίες, αναδύεται στη σοφιστική σκέψη το εννοιολογικό και ιδεολογικό αντιθετικό σχήμα Φύσις- Νόμος. Αρκετοί σοφιστές διατυπώνουν πεποιθήσεις που κλίνουν υπέρ της Φύσεως, η οποία ταυτίζεται με το όντως αληθινό και συμφέρον, κατά τον Αντιφώντα, με την πηγή της ελευθερίας, κατά τον Αλκιδάμα, με τη δικαιοσύνη την εκπορευόμενη από την υπερίσχυση του δυνατότερου και με την αναίρεση κάθε σύμβασης, κατά τον Καλλικλή. Κάποιοι άλλοι σοφιστές υιοθετούν θέσεις που κλίνουν υπέρ του Νόμου, ο οποίος αποτελεί πηγή δικαιοσύνης και απαραίτητη προϋπόθεση για την επιβίωση του ανθρώπου, κατά τον Πρωταγόρα, κριτήριο ηθικά ενδεδειγμένης χρήσης των αρετών και εγγυήτρια δύναμη ευπραγίας, κατά τον Ανώνυμο του Ιάμβλιχου. Ποια, όμως, η παρουσία της Φύσεως και του Νόμου μέσα στην ευριπίδεια τραγωδία Βάκχαι; Η παρουσία αυτή γίνεται αντιληπτή κατά την εξέταση της αντιπαράθεσης του θεού Διονύσου με τον ηγεμόνα της Θήβας Πενθέα. Από τη μία πλευρά, η διονυσιακή λατρεία είναι άρρηκτα συνδεδεμένη με τη Φύσιν σε ό,τι αφορά τόσο τις τελετουργικές πρακτικές της, όσο και την υπόσταση του ίδιου του τιμώμενου θεού Διονύσου. Από την άλλη πλευρά, ο ηγεμόνας της Θήβας Πενθέας ενεργεί ως ο θεματοφύλακας του Νόμου, προασπιζόμενος μία συμβατική μορφή δικαίου η οποία δρα ως συνεκτικός ιστός μεταξύ των πολιτών. Είναι, ωστόσο, η έννοια του Νόμου εντελώς εξοβελισμένη από τη διονυσιακή λατρεία, στα πλαίσια της οποίας επιβάλλεται η εφαρμογή ενός συγκεκριμένου τελετουργικού τυπικού; Μήπως ο Νόμος, του οποίου υπεραμύνεται τόσο σθεναρά ο Πενθέας διώκοντας τους μαινόμενους ακολούθους του Διονύσου, είναι αναπόσπαστο κομμάτι της βακχείας; Άραγε ήταν η ανάγκη επίτευξης ισορροπίας ανάμεσα στις δυνάμεις της Φύσεως και τις δυνάμεις του Νόμου η αλήθεια που διέφυγε του Πενθέα, καθορίζοντας έτσι το τραγικό του τέλος; Αυτά είναι τα ερωτήματα στα οποία καλείται τελικά να απαντήσει η έρευνα που διεξάγεται στην παρούσα εργασία. / This essay focuses on the study of the concepts of the Nature (=natural condition, natural inclination) and the Law (=human convention, institution, custom) when linked by a bipolar relationship. The two concepts mentioned above are studied on the one hand within the framework of the teachings of sophists and on the other hand in the context of the tragedy Bacchae of Euripedes. During the fifth century B.C., an age characterized by a long and intense intellectual agitation which was inspired by the social, political and polemic conjunctures, the semantic and ideological antithetical scheme Nature – Law rises out of the thinking of sophists. Some sophists express convictions defending the Nature that is identified with the real truth and the real profit, according to Antiphon, with the source of freedom, according to Alkidamas, with the justice deriving from the prevalence of the strongest person and with the refutation of the conventions, according to Callicles. Some other sophists adopt positions defending the Law constituting the source of justice and a prerequisite for the survival of the humankind, according to Protagoras, a criterion of the morally right use of the virtues and the guarantee of prosperity, according to Anonymous of Iamblichus. But what about the presence of the Nature and the Law in the context of the tragedy Bacchae of Euripedes? This case could be understood after a careful study of the juxtaposition of the god Dionysus to the king of Thebes Pentheus. On the one hand, the worship of Dionysus is indissolubly associated with the Nature as far as both the rites and the substance of the honored god Dionysus himself are concerned. On the other hand, the king of Thebes Pentheus acts as the guardian of the Law defending a conventional form of justice functioning like a binding tie between the citizens. Is, though, the concept of the Law absolutely eliminated from the worship of Dionysus, within the framework of which the application of a specific ritual is imposed ? May the Law, which is defended so vigorously by Pentheus who persecutes the maniac worshippers of Dionysus, constitute a part and parcel of the bacchanals? May the necessity of a balance between the powers of the Nature and the powers of the Law be the principle that escaped Pentheus’ notice determining his tragic end? These are the questions that the research held in this essay aspires to answer.