Thesis (Ph. D.)--Indiana University, 1964. / Includes bibliographical references (leaves 303-304).

Diss.--Hamburg. / Bibliography: p. 135-141.

While remaining rooted in a comparison of some of the primary texts of the thinkers under scrutiny, my thesis also discusses several issues which arise in the mutual consideration of Heidegger and Strauss, specifically the questions of the ontological and political status of nature, the problem of ‘first philosophy,’ and the method by which to interpret philosophical texts, as well as a continuous analysis of Strauss’s appellation of ‘modern,’ as opposed to ‘ancient,’ and ‘religious,’ as opposed to ‘philosophical,’ to Heidegger’s thought. I first consider every moment in Strauss’s corpus where he discusses Heidegger’s thought. From this discussion, I identify four main lines of critique which may be extracted from Strauss’s writings on Heidegger. Then, I turn to Heidegger’s texts themselves in order to determine if Strauss’s critique indeed finds purchase there, addressing each of the lines of critique in turn. Finally, I consider Strauss and Heidegger in tandem, in light of the three questions identified above. I show that many of what Strauss determines to be Heidegger’s errors arose as a result of the way that Heidegger read ancient philosophical texts, and I suggest that Strauss’s approach, i.e., to consider the possible esoteric meaning of a text, in fact permits the reader to access an interpretation that is truer to the textual phenomena. This claim, however, is not intended to obscure the remarkable similarities between each thinker’s respective interpretive methods. I conclude that Strauss’s critique of Heidegger, vehement as it is, also indicates Strauss’s dependence on Heidegger’s thought for the inspiration of Strauss’s own philosophical project. The relation between Strauss and Heidegger, then, remains profoundly ambiguous.

Leo Strauss resurrected a life-approach of the ancient Greeks and reformulated it as an alternative to the existentialism of his age that grew out of a radicalized historicism. He attempted to resuscitate the tenability of a universal grounded in nature (nature understood in a comprehensive experiential sense not delimited to the physical, sensibly-perceived world alone) that was historically malleable. Through reengagement with Plato and Socrates and by addressing the basic premises built into the thought of Friedrich Nietzsche and Martin Heidegger, Strauss resurrected poetry (art, or the mythos) that Enlightenment thinkers had discarded, and displayed its reasonableness on a par with the modern scientific approach as an animating informer of life. He thereby placed philosophy in a place subservient to poetry/the mythos, as had the ancients.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Univ., Habil.-Schr.-1998--Regensburg, 1997.

Zugl.: Braunschweig, Techn. Univ., Diss., 2008

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A. Adviser: Katherine Syer. Includes bibliographical references (leaves 240-255) Available on microfilm from Pro Quest Information and Learning.

Four major compositions, written by Richard Strauss between 1940-1948, are illustrative of the composer's conservative use of harmony and tonality. Each work exemplifies a different genre: an opera scene, a programmatic orchestral work, a concerto, and four lieder. The forms and tonal organization in each representative work are traditional. Those forms used are sonata, ternary, a seven-part rondo and, a loosely structured sectional form. They are presented in the final chapter from the most structured form, the concerto, down to the least structured, the opera scene. The harmonies incorporated within each work are conservative in character. The generic categories of sonority types are triads, seventh chords, ninths, elevenths and thirteenth chords. The three overwhelming common chords are major triads, minor triads and major-minor seventh chords. Almost 87% are these three types. There are many similarities In root movement to those used in musIc from the common practice period: up a fourth, up a second, down a third, and up a fifth. However, two non-traditional types are used to some extent. These are down a second and up a third. Modulation types vary and are dependent upon the nature of the work: the chromatic types are associated with chromatic music (Metamorphosen) just as nonchromatic types are common in more traditionally structured music (Oboe Concerto). It is the analysis of these specific elements that help shed light upon the later harmonic style of Richard Strauss.

This dissertation demonstrates that Leo Strauss, in The City and Man, continues his response to Carl Schmitt�s arguments concerning the affirmation of the political, as outlined by Strauss in his 1932 article on Schmitt�s The Concept of the Political. In affirming the political, Strauss spoke of the 'theologico-political problem', or the question regarding who, or what, should rule society. Strauss outlines six criteria in his 1932 'Comments', which he argues can be found in Schmitt�s The Concept of the Political, as essential for the recovery of the political. In raising the question of the political, both Schmitt and Strauss return to the fundamental question regarding how one should live. In so doing, Strauss rejects Schmitt�s reliance on conflicting faiths and returns to the Socratic description of the best regime (politeia), understood as the best way of life, that is devoted to contemplation, peace and justice. In his argument in The City and Man, Strauss satisfies the six criteria outlined in his 'Comments': (1) the acceptance of moral evil within human nature; (2) the problem of opposition among groups; (3) the possibility of a non-neutral, transprivate obligation; (4) the need for a content that determines the distinction between friend and enemy; (5) a content that leads to a quarrel over the question of 'what is Right?' and (6) that the political must address 'the order of human things from a pure and whole knowledge'. This thesis demonstrates that Strauss�s 1964 book, The City and Man, indirectly addresses Schmitt�s general criteria, using an interpretation of Thucydides�s, Aristotle�s and Plato�s best regime � which is linked to the pursuit of wisdom, or the philosophic life � to provide a transpolitical standard that opposes Schmitt�s insistence on 'concrete' experience, that relies on historical destiny, and faith, as the guide to political life.