Μελέτη της Κάθαρσης σε άλλους συγγραφείς της αρχαιότητας. Παρουσίαση της δομικής ερμηνείας,της διανοητικής ερμηνείας, της ηθικό-αισθητικής ερμηνείας και της ιατρικής ερμηνείας.Ενώ στην συνέχεια αναλύονται οι απόψεις των ελλήνων μελετητών: Βερναρδάκη,Συκουτρή, Παπανούτσου,Ράμφου και Σηφάκη / Reasearch of ''katharsis'' in other writers of ancient Greece. Presentation of the structural interpretation, intellectual interpretation, ethical-aesthetic interpretation and of the medical interpretation. While in the following text there is the analysis of the Greek researchers' opinion: Vernardaki's, Sikoutri's, Papanoutso's, Ramfo's, Sifaki's.

De flesta människor i dagens samhälle tittar mer eller mindre ofta på någon typ av film och filmpubliken får genomgående uppleva både positiva och negativa känslor. Denna studie fokuserar på de känslor som personer upplever när de tittar på film, med fokus på känslor som väcks av moraliska frågeställningar. Studien utgår från Batman-filmen ”The Dark Knight” (2008), eftersom den innehåller flera moraliska dilemman. Genom tio kvalitativa intervjuer med personer som nyligen tittat på filmen adresserar studien hur åskådaren förhåller sig till de känslor som aktualiseras när de tar del av fiktiva berättelser genom film och vilken funktion dessa känsloupplevelser fyller. Studiens resultat visar att åskådaren kontinuerligt relaterar det som hen ser på film till verkligheten, och att film kan vara ett sätt för åskådaren att få utlopp för emotionella spänningar. Studien visar också att det fiktiva narrativet i film kan väcka åskådarens tankar om liknande händelser i verkligheten, och att film kan skapa reflektioner om värderingar i samhället. Studiens resultat tydliggör slutligen hur känsloupplevelsen utgör filmens primära dragningskraft genom hur åskådaren söker specifika känslor genom film.

Målet för denna uppsats har varit att undersöka rembetiko-musiken i Sverige. Sju personer har intervjuats om sin musik, sin verksamhet, sitt förhållande till Grekland, om sina tankar kring musiken och texterna. Intervjuerna rörde också till viss del djupare sidor av rembetiko, såsom katharsis och spiritualitet. Resultatet är indelat i åtta teman: Mötet med rembetiko-musiken, användandet av rembetiko i sitt spelande, rembetiko som verksamhet i Sverige, relation till Grekland, texternas innehåll och hur de använts, tankar kring rembetiko-musikens ursprung, livssyn, rembetiko som katharsis och spirituell näring. Materialet är tolkat utifrån Bourdieus teorier om kapital, habitus och fält, utifrån icke-deterministiska premisser. Begreppet diaspora undersöks och sätts i relation till resultatet. Katharsis undersöks som inneboende potential hos musiken. Rembetiko sätts också i samband med andra musikgenrer med likartad historik. Bourdieus teorier används för att omdefiniera begreppet diaspora, eftersom det här inte längre handlar om etnicitet. Omvänt används materialet för att bekräfta Bourdieus teorier som icke-deterministiska. Rembetiko ses föra vidare en livssyn som innebär ett antikommersiellt, jämställt samhälle, tolerant inför människors olikheter, och med ett syfte att enas människor emellan. Rembetiko ses också ha en själslig eller spirituell dimension, där katharsis kan äga rum. Det föreslås att definitionen för vad rembetiko är hålls flytande och utan dömande, eftersom den ses pendla mellan två poler; dels är rembetiko ett arv, ett ”sound”, ett sinnestillstånd; dels är rembetiko ett möte mellan många olika kulturer i konstnärlig frihet. Tron på livet syns löpa som en röd tråd genom rembetikons historia och fram till de intervjuade. / The goal of this thesis has been to investigate rembetiko music in Sweden. Seven people have been interviewed about their music, their business, their relationship with Greece, their thoughts on the music and the lyrics. The interviews also touched to some extent deeper aspects of rembetiko, such as catharsis and spirituality. The result is divided into eight themes: The encounter with rembetiko music, the use of rembetiko in one's playing, rembetiko as an activity in Sweden, relation to Greece, the content of the lyrics and how they were used, thoughts about the origin of rembetiko music, outlook on life, rembetiko as catharsis and spiritual nourishment. The material is interpreted based on Bourdieu's theories on capital, habitus and field, based on non-deterministic premises. The concept of diaspora is examined and put in relation to the result. Catharsis is explored as an inherent potential of music. Rembetiko is also associated with other music genres with similar history. Bourdieu's theories are used to redefine the concept of diaspora, as this is no longer about ethnicity. Conversely, the material is used to confirm Bourdieu's theories as non-deterministic. Rembetiko is seen to carry forward a view of life that entails an anti-commercial, egalitarian society, tolerant of people's differences, and with the aim of uniting people. Rembetiko is also seen to have a soulful or spiritual dimension, where catharsis can take place. It is suggested that the definition of what rembetiko is be kept fluid and non-judgmental, as it is seen to oscillate between two poles; partly, rembetiko is a legacy, a sound, a state of mind; partly, rembetiko is a meeting between many different cultures in artistic freedom. Belief in life seems to run like a common thread through the history of rembetiko and up to the interviewees.

Made available in DSpace on 2016-04-27T17:27:12Z (GMT). No. of bitstreams: 1 Antonio Carlos de Oliveira Rodrigues.pdf: 962222 bytes, checksum: 514266debaa8d3210fd6a22ae45eaed0 (MD5) Previous issue date: 2015-11-03 / The katharsis concept exposed in Plato s Fédon was absorbed and incorporated to Epictetus desire exercise. As katharsis was moved from its place of origin to Epictetus s spiritual exercise, it suffered transformations to adapt to the zenonian rule of life conduct. Epictetus strongly believes that to live in conformity with nature one needs to put a lot of effort towards the separation of body and soul. So that, to him, only the men who possesses freedom acquires, at the same time, the ability to accept life as it is, becoming capacitated to receive with complete indifference whatever may destiny bring. To Epictetus the abolition of all soul s enslavement starts with the separation of ours and someone else s and completes itself with the comprehension that someone else s is nothing to us / A noção de katharsis exposta no Fédon de Platão foi absorvida e incorporada à ascese do desejo epictetiana. A katharsis ao ser deslocada de seu lugar de origem para o exercício espiritual epictetiano sofreu transformações para adaptar-se à regra de conduta zenoniana de viver. Epicteto acredita piamente que para se viver em conformidade com a natureza não há como prescindir do esforço de separação da alma do corpo. De modo que, para ele, somente o homem que se apodera da liberdade adquire concomitantemente a habilidade de aceitar a vida como é, capacitando-se a receber com total indiferença seja o que for que o destino traga. Para Epicteto a abolição de todas as escravaturas da alma começa na separação do nosso do alheio e se completa com a compreensão de que o alheio não é nada para nós

Η ερμηνεία του ελέου και του φόβου έχει απασχολήσει ευρέως τους μελετητές στην προσπάθειά τους να κατανοήσουν τον ορισμό της τραγωδίας και να ερμηνεύσουν την έννοια της κάθαρσης. Οι απόψεις είναι πολλές και η έρευνα ανά τους αιώνες δεν έχει καταλήξει σε κάποια κοινώς αποδεκτή θέση. Η ευρύτερη μελέτη άλλων έργων του φιλοσόφου, στα οποία υπάρχουν αναφορές στις δύο έννοιες, αλλά και γενικότερα στις απόψεις του περί παθῶν, είναι άκρως ενδιαφέρουσα, καθώς αποκτούμε ευρύτερη εποπτεία των συλλογισμών και της φιλοσοφικής του σκέψης. Υπό το πρίσμα αυτό στην παρούσα εργασία διερευνώνται και εξετάζονται συγκριτικά διάφορα έργα του Αριστοτέλη, στα οποία υπάρχουν εκτεταμένες ή συντομότερες αναφορές στους δύο όρους, από τη μελέτη των οποίων αντλούνται αρκετά στοιχεία σχετικά με το πώς ο φιλόσοφος αντιλαμβανόταν τις δύο έννοιες σε βιολογικό, κοινωνικό, ψυχολογικό και ηθικό επίπεδο, και προκύπτουν συμπεράσματα ιδιαίτερα χρήσιμα για την ερμηνεία των δύο όρων στην Ποιητική. Αναλυτικότερα η δομή της εργασίας είναι η ακόλουθη: I. Εισαγωγή: Προβληματισμοί και επιμέρους ζητήματα II. Ο έλεος και ο φόβος πριν από τον Αριστοτέλη III. Η πλατωνική κριτική και η αριστοτελική θέση IV. Ο έλεος και ο φόβος στην αριστοτελική Ποιητική V. Απόψεις και ερμηνείες των μελετητών περί ελέου και φόβου στην Ποιητική VI. Ευρύτερη εξέταση του ελέου στο έργο του Αριστοτέλη VII. Ευρύτερη εξέταση του φόβου στο έργο του Αριστοτέλη VIII. Αἰδώς - αἰσχύνη, κατάπληξις - ἔκπληξις: Ανάλυση και συσχετισμός τους με τον έλεο και το φόβο IX. Προσδιορισμός της σχέσης ελέου και φόβου μέσα από τη μελέτη του έργου του Αριστοτέλη X. Σχέση ελέου – φόβου και οἰκείας ἡδονῆς XI. Συμπεράσματα: Η ερμηνεία του ελέου και φόβου στην Ποιητική και η συμβολή σ’ αυτή των άλλων έργων του Αριστοτέλη / The interpetation of pity and fear has widely been a subject of questioning for commentators and critics in their effort to comprehend the definition of tragedy and interpret the meaning of katharsis. The existing opinions are many and various and the research throughout the centuries has not reached to a common acceptable position. The indagation of Aristotle’s works, in which there are references to the two terms, and generaly the study of his opinion about pathê, is extremly interesting as we are able to comprehend Aristotle’s syllogism and philosophical thought. In the light of that meaning, various Aristotle’s works, comparatively inquired and eximined in the present study, contain extensive or shorter references to these two meanings. Their study will hopefully help us to collect enough evidence on the way the philosopher has conceived the two meanings in biological, sociological, psychological and moral level, and result in conclusions particularly useful for the interpretation of pity and fear in Poetics. Specifically, the structure of this study is the following: I. Introducion: Consideration and particular isssues II. Pity and fear before Aristotle III. Platonic criticism and Aristotelian position IV. Pity and fear in Aristotle’s Poetics V. Interpreters’ opinions and explanations about pity and fear in Poetics VI. Wider examination of fear in Aristotle’s work VII. Wider examination of pity in Aristotle’s work VIII. Aidôs – aischunê, kataplêxis – ekplêxis: analysis and correlation with pity and fear IX. The relation between pity and fear through the study of Aristotle’s works X. The relation between the two emotions and oikeia hêdonê XI. Conclusions: The contribution of the other Aristotle’s works to the interpretation of pity and fear in Poetics

Essa tese realiza, em um primeiro momento, uma investigação sobre a vinculação e o diálogo que pensamento de Paul Ricoeur estabelece com outras tendências filosóficas, em especial aquelas formuladas por Wilhelm Dilthey, Martin Heidegger e Hans-Georg Gadamaer e com a fenomenologia de Edmund Husserl, com ênfase em seu método fenomenológico. Nesse momento, também apresenta o diálogo que Paul Ricoeur mantém com a filosofia reflexiva de Nabert e as críticas que faz às chamadas filosofias do sujeito, em especial ao Cogito cartesiano. Apresenta dessa forma, os principais conceitos da filosofia hermenêutica, desde Friedrich Shcleiermacher, seu principal precursor, até Hans- Georg Gadamer, com ênfase na contribuição que Paul Ricoeur oferece para esse campo. Em um segundo momento, este trabalho examina a aplicação, por Paul Ricoeur, dos conceitos de sua hermenêutica na exegese que faz da Poética de Aristóteles, precisamente do ternário mimesis, muthos e katharsis. Apresenta, em seguida, a reinscrição que Ricoeur promove de seus resultados em uma teoria da narratividade, que ele chama de metagênero do narrativo. Este trabalho faz um recorte nesse metagênero, passando a acompanhar apenas o desenvolvimento promovido por Ricoeur que dá lugar à narrativa de ficção. Em seguida, examina esses conceitos, que se endereçam para a constituição da hermenêutica do si e tem na noção de identidade narrativa seu principal núcleo. No último momento, este trabalho realiza uma apropriação, no sentido gadameriano, dessa noção promovendo uma aproximação dela com o universo ficcional de Grande sertão:veredas, de João Guimarães Rosa. Por último, de forma muito breve, apresenta uma síntese das principais decorrências éticas, no sentido aristotélico, dessa noção. / This argument holds, in a first moment, a research on the linkage and dialogue that Paul Ricoeur establishes with other philosophical trends, especially those made by Wilhelm Dilthey, Martin Heidegger, Hans-Georg Gadamaer and Edmund Husserl, with emphasis on the phenomenological method. At that time, it also shows the dialogue that Paul Ricoeur maintains with Naberts reflective philosophy and the critics made to the philosophies of the self, in particular the Cartesian Cogito. Thus presents the main concepts of hermeneutic philosophy, since Friedrich Shcleiermacher, its principal precursor, until Hans-Georg Gadamer, with emphasis on the contribution that Paul Ricoeur offers for this field. Later, this work examines the application done by Paul Ricoeur of the concepts of his hermeneutic at the exegesis done at Aristotles Poetics, precisely the mimesis ternary, Muthos and katharsis. Then it shows the reinscription that Ricoeur promotes of his results on a theory of narrative, which he calls \"narrative meta-category. This work highlights this meta-category, monitoring only the development promoted by Ricoeur giving rise to the fiction narrative. Then examines these concepts, which address for the establishment of the \"hermeneutics of self\" and the core is the narrative identity notion. After that, this work takes ownership, in a gadamerian sense, of notion promoting an approach with the fictional universe of Grande Sertão Veredas, from João Guimarães Rosa. Finally, very briefly, presents a summary of the main ethical consequences, the Aristotelian sense, of that notion.

Essa tese realiza, em um primeiro momento, uma investigação sobre a vinculação e o diálogo que pensamento de Paul Ricoeur estabelece com outras tendências filosóficas, em especial aquelas formuladas por Wilhelm Dilthey, Martin Heidegger e Hans-Georg Gadamaer e com a fenomenologia de Edmund Husserl, com ênfase em seu método fenomenológico. Nesse momento, também apresenta o diálogo que Paul Ricoeur mantém com a filosofia reflexiva de Nabert e as críticas que faz às chamadas filosofias do sujeito, em especial ao Cogito cartesiano. Apresenta dessa forma, os principais conceitos da filosofia hermenêutica, desde Friedrich Shcleiermacher, seu principal precursor, até Hans- Georg Gadamer, com ênfase na contribuição que Paul Ricoeur oferece para esse campo. Em um segundo momento, este trabalho examina a aplicação, por Paul Ricoeur, dos conceitos de sua hermenêutica na exegese que faz da Poética de Aristóteles, precisamente do ternário mimesis, muthos e katharsis. Apresenta, em seguida, a reinscrição que Ricoeur promove de seus resultados em uma teoria da narratividade, que ele chama de metagênero do narrativo. Este trabalho faz um recorte nesse metagênero, passando a acompanhar apenas o desenvolvimento promovido por Ricoeur que dá lugar à narrativa de ficção. Em seguida, examina esses conceitos, que se endereçam para a constituição da hermenêutica do si e tem na noção de identidade narrativa seu principal núcleo. No último momento, este trabalho realiza uma apropriação, no sentido gadameriano, dessa noção promovendo uma aproximação dela com o universo ficcional de Grande sertão:veredas, de João Guimarães Rosa. Por último, de forma muito breve, apresenta uma síntese das principais decorrências éticas, no sentido aristotélico, dessa noção. / This argument holds, in a first moment, a research on the linkage and dialogue that Paul Ricoeur establishes with other philosophical trends, especially those made by Wilhelm Dilthey, Martin Heidegger, Hans-Georg Gadamaer and Edmund Husserl, with emphasis on the phenomenological method. At that time, it also shows the dialogue that Paul Ricoeur maintains with Naberts reflective philosophy and the critics made to the philosophies of the self, in particular the Cartesian Cogito. Thus presents the main concepts of hermeneutic philosophy, since Friedrich Shcleiermacher, its principal precursor, until Hans-Georg Gadamer, with emphasis on the contribution that Paul Ricoeur offers for this field. Later, this work examines the application done by Paul Ricoeur of the concepts of his hermeneutic at the exegesis done at Aristotles Poetics, precisely the mimesis ternary, Muthos and katharsis. Then it shows the reinscription that Ricoeur promotes of his results on a theory of narrative, which he calls \"narrative meta-category. This work highlights this meta-category, monitoring only the development promoted by Ricoeur giving rise to the fiction narrative. Then examines these concepts, which address for the establishment of the \"hermeneutics of self\" and the core is the narrative identity notion. After that, this work takes ownership, in a gadamerian sense, of notion promoting an approach with the fictional universe of Grande Sertão Veredas, from João Guimarães Rosa. Finally, very briefly, presents a summary of the main ethical consequences, the Aristotelian sense, of that notion.

This paper is focused on the concept of catharsis in classic Greek tragedy. In the first part, it traces historical context of this term particularly trough the work of Plato; and later, the main effort is devoted to Aristotle. It looks closely in Aristotle's Poetics and Politics, which are the only works where he mentions catharsis. After research of the Aristotle's texts, the study presents variety of interpretations that have arisen over centuries, examines them and derives an elementary understanding of catharsis. The second part of this work tries to trace catharsis in a sample of preserved tragedies of main Greek dramatists. It investigates tragic characters, plot and tragic emotions (i.e. pity and fear). The scope is to compare the Aristotle's theory and practice of dramatists, who lived one century before the theory had rised. Last but not least the study concludes by bringing forward an evaluation of this approach to the theory of Aristotelian catharsis.

<p>Jag vill med min uppsats ta med läsaren på en djupdykning i bilden och symbolernas värld även om det med ord kan vara svårt att beskriva, då det ju i själva verket rör sig om en nivå som kommer före ordet. Mitt huvudsakliga syfte är att utforska huruvida bilderna och symbolerna fortfarande är livsnödvändiga för människans psykiska och kanske därmed fysiska överlevnad? Kan vi fortfarande än i dag, låta oss beröras av deras kraftfält och därmed göra förändringen, utvecklingen, transformationen och helandet möjligt?!</p><p>Vidare vill jag undersöka bildens dubbla roll som både ”symtomavslöjare” och framåtblickande ”transformerande helare”, samt kopplingen till shamanism och alkemi. Vad kan nutidsmänniskan lära av detta? Vad kan vi ta till oss i dag? Och vad mår den enskilde individen och ett samhälle bäst av i längden?</p><p>Jag vill betona en psykodynamisk syn på människan där även Jungs analytiska psykologi ingår, och använda objektrelationsteoretikerna som en gemensam bro mellan Jung, Freud och bildterapi. Min bakgrund är konstnärens och bildterapeutens (med psykodynamisk grund).</p><p>Och det är med dessa ögon som jag har tagit mig an ämnet. Jag säger inte att det är den enda vägen till helande och transformation, andra terapiformer kan fungera lika bra, beroende på person och bakgrund och orsak. Men bildens väg är min väg...</p>

Jag vill med min uppsats ta med läsaren på en djupdykning i bilden och symbolernas värld även om det med ord kan vara svårt att beskriva, då det ju i själva verket rör sig om en nivå som kommer före ordet. Mitt huvudsakliga syfte är att utforska huruvida bilderna och symbolerna fortfarande är livsnödvändiga för människans psykiska och kanske därmed fysiska överlevnad? Kan vi fortfarande än i dag, låta oss beröras av deras kraftfält och därmed göra förändringen, utvecklingen, transformationen och helandet möjligt?! Vidare vill jag undersöka bildens dubbla roll som både ”symtomavslöjare” och framåtblickande ”transformerande helare”, samt kopplingen till shamanism och alkemi. Vad kan nutidsmänniskan lära av detta? Vad kan vi ta till oss i dag? Och vad mår den enskilde individen och ett samhälle bäst av i längden? Jag vill betona en psykodynamisk syn på människan där även Jungs analytiska psykologi ingår, och använda objektrelationsteoretikerna som en gemensam bro mellan Jung, Freud och bildterapi. Min bakgrund är konstnärens och bildterapeutens (med psykodynamisk grund). Och det är med dessa ögon som jag har tagit mig an ämnet. Jag säger inte att det är den enda vägen till helande och transformation, andra terapiformer kan fungera lika bra, beroende på person och bakgrund och orsak. Men bildens väg är min väg...