The primary purpose of this study was to determine if significant differences exist in responses to pictures of diagnosed abnormal subjects between normal and emotionally handicapped (EH) children. The Szondi Test, which contains 48 pictures of mental patients divided into six sets, was utilized. Each of the eight pictures within a set represents one of the following mental disorders: sadist, homosexual, epileptic, hysteric, catatonic schizophrenic, paranoid schizophrenic, manic, and depressive. The subject is asked to choose the two most liked and two least liked pictures from each set. The composite responses constitute a profile which is interpreted in terms of psychological meanings of the clinic types chosen and rejected.A random sample of 112 intermediate-age Caucasian subjects was selected from emotionally handicapped classes. These subjects were assessed on the characteristics of age, intelligence, socioeconomic status, and sex. Normal subjects were then randomly sampled and selectively discarded until the proportions for the normal group were the same as the group with respect to age, intelligence, socioeconomic status, and sex. All subjects were given an administration of the Szondi Test.Multivariate analysis of variance and discriminant analysis were used to determine if differences in responses between the normal and EH groups were significant. The conclusion was made that the normal and EH groups did differ significantly (p <.O1) on personality factor profiles of the Szondi Test. Based on the obtained profiles, the discriminant analysis showed that 62% of the subjects in the EH group were correctly classified while 61% of those in the normal groups were classified accurately. The univariate F tests revealed that the significant multivariate F was accounted for, for the most part, by the catatonic and manic factors.The results of this study appear to represent a first step in supporting the potential usefulness of the Szondi Test as a diagnostic instrument for discriminating between EH and normal intermediate-age children.

No description available.

Esse trabalho busca interpretar as duas primeiras obras do crítico Peter Szondi (1929-1971), Teoria do drama moderno e Ensaio sobre o trágico, à luz de suas principais referências teóricas e do percurso pessoal e intelectual do crítico de Budapeste a Berlim entre os anos de 1944 e 1961. Acredita-se que esse período não só condensou as leituras e esperiências de maior impacto para as convicções do futuro filólogo e ensaísta, mas deu a obra um forma que sofreria, a seu término, uma inflexão decisiva, a qual suspendia e refletia justamente os anos referidos. Vê-se como traço definidor desses anos tanto o embate com a tradição artística e filosófica sedimentada nas obras analisadas nos dois livros como a reelaboração, em sentido próprio, de uma teoria critica então recente que procurara, em função de seu próprio presente, refletir sobre a crise dessa tradição, sendo esse fio tenso - entre a modernidade e tradição - não só o que dá vida a esses dois livros, mas o que justifica aqui o interesse pela obra de Szondi. No centro desse embate e reformulação se encontram as noções de drama, drama moderno e tragédia, que - além de justificar o título - são a chave da presente tese. / This work intends to interpret the first two books written by Peter Szondi (1929-1971), Theory of the modern drama and An essay on tragic, in view of his main theoretical references and the criticist\'s personal and intellectual itinerary, from Budapest to Berlin, between 1944 and 1961. It\'s argued that this period not only concentrates the most striking readings and experiences of the future philologist and essayist, but shaped an oeuvre which would later inflect decisively towards the suspension of and reflection upon the assigned years. The period\'s defining feature is seen here as both the confrontation with the artistic and philosophical tradition condensed on the works analyzed in those two books, and the remaking, in a peculiar way, of a then recent critical theory which, in face of present circumstances, intended to reflect upon the crisis of that same tradition. This tense line - between modernity and tradition - which gives life to both books is our source of interest on Szondi\'s oeuvre. In the nucleus of this confrontation and remaking process one can find the notions of drama, modern drama and tragedy, which - besides justifying the title - are the key to the present dissertation.

Esse trabalho busca interpretar as duas primeiras obras do crítico Peter Szondi (1929-1971), Teoria do drama moderno e Ensaio sobre o trágico, à luz de suas principais referências teóricas e do percurso pessoal e intelectual do crítico de Budapeste a Berlim entre os anos de 1944 e 1961. Acredita-se que esse período não só condensou as leituras e esperiências de maior impacto para as convicções do futuro filólogo e ensaísta, mas deu a obra um forma que sofreria, a seu término, uma inflexão decisiva, a qual suspendia e refletia justamente os anos referidos. Vê-se como traço definidor desses anos tanto o embate com a tradição artística e filosófica sedimentada nas obras analisadas nos dois livros como a reelaboração, em sentido próprio, de uma teoria critica então recente que procurara, em função de seu próprio presente, refletir sobre a crise dessa tradição, sendo esse fio tenso - entre a modernidade e tradição - não só o que dá vida a esses dois livros, mas o que justifica aqui o interesse pela obra de Szondi. No centro desse embate e reformulação se encontram as noções de drama, drama moderno e tragédia, que - além de justificar o título - são a chave da presente tese. / This work intends to interpret the first two books written by Peter Szondi (1929-1971), Theory of the modern drama and An essay on tragic, in view of his main theoretical references and the criticist\'s personal and intellectual itinerary, from Budapest to Berlin, between 1944 and 1961. It\'s argued that this period not only concentrates the most striking readings and experiences of the future philologist and essayist, but shaped an oeuvre which would later inflect decisively towards the suspension of and reflection upon the assigned years. The period\'s defining feature is seen here as both the confrontation with the artistic and philosophical tradition condensed on the works analyzed in those two books, and the remaking, in a peculiar way, of a then recent critical theory which, in face of present circumstances, intended to reflect upon the crisis of that same tradition. This tense line - between modernity and tradition - which gives life to both books is our source of interest on Szondi\'s oeuvre. In the nucleus of this confrontation and remaking process one can find the notions of drama, modern drama and tragedy, which - besides justifying the title - are the key to the present dissertation.

Zugl.: Wien, Universiẗat, Diss.

A partir de uma perspectiva que valoriza a teoria dos gêneros literários, o presente trabalho busca verificar como se processam, na obra da escritora brasileira Hilda Hilst, as relações entre lírica, teatro e prosa narrativa. Seu principal parâmetro teórico é o trabalho de Peter Szondi: Teoria do drama moderno, livro em que o crítico alemão aborda a mistura de gêneros literários como tentativas de superar, na criação estética, problemas objetivos relacionados à situação histórica de determinada forma literária. No caso de Hilda Hilst, serão analisadas como as incursões da autora no teatro e na prosa narrativa funcionam como resposta problemática à recepção de uma lírica inicialmente balizada pelos ideais poéticos da Geração de 45. Demonstro, assim, como as tentativas da autora em outras modalidades discursivas produzirão alterações formais significativas em sua obra, a partir da contaminação estrutural de um gênero para o outro. / Taking into consideration a perspective that privileges the Theory of literary forms, this study aims at verifying the way it works, in the production of the Brazilian writer Hilda Hilst, the relations among lyrics, theater and narrative prose. The theoretical parameter is the works Theory of Modern Drama, by Peter Szondi, in which the German critic deals with the question of mixture of literary forms as an alternative to overcome objective questions related to the historical situation of a certain literary form. Concerning Hilda Hilst, we intend to analyse how the incursions of the author in theater and narrative prose appear as a problematic response to the reception of a lyrics initially guided by the poetic ideals of the Generation of 45. As we intend to demonstrate, the attempts on the part of the author in other discursive types will produce significant formal modifications in her work, by means of the contamination of structures of one gender to another.

A partir de uma perspectiva que valoriza a teoria dos gêneros literários, o presente trabalho busca verificar como se processam, na obra da escritora brasileira Hilda Hilst, as relações entre lírica, teatro e prosa narrativa. Seu principal parâmetro teórico é o trabalho de Peter Szondi: Teoria do drama moderno, livro em que o crítico alemão aborda a mistura de gêneros literários como tentativas de superar, na criação estética, problemas objetivos relacionados à situação histórica de determinada forma literária. No caso de Hilda Hilst, serão analisadas como as incursões da autora no teatro e na prosa narrativa funcionam como resposta problemática à recepção de uma lírica inicialmente balizada pelos ideais poéticos da Geração de 45. Demonstro, assim, como as tentativas da autora em outras modalidades discursivas produzirão alterações formais significativas em sua obra, a partir da contaminação estrutural de um gênero para o outro. / Taking into consideration a perspective that privileges the Theory of literary forms, this study aims at verifying the way it works, in the production of the Brazilian writer Hilda Hilst, the relations among lyrics, theater and narrative prose. The theoretical parameter is the works Theory of Modern Drama, by Peter Szondi, in which the German critic deals with the question of mixture of literary forms as an alternative to overcome objective questions related to the historical situation of a certain literary form. Concerning Hilda Hilst, we intend to analyse how the incursions of the author in theater and narrative prose appear as a problematic response to the reception of a lyrics initially guided by the poetic ideals of the Generation of 45. As we intend to demonstrate, the attempts on the part of the author in other discursive types will produce significant formal modifications in her work, by means of the contamination of structures of one gender to another.

The thesis analyzes the Szondi's test and its theory in the light of current knowledge. Its aim is to examine the potential of this diagnostic method and to consider the possibilities of its application. On the basis of the free-association research, the direction of interest has divided into two studies. The first of them verifies the relationship of Szondi's theory with personal characteristics that are attributed to individual photos (stimulus material) on the scale of the semantic differential. In most cases, the results confirm significant differences between the factors. In the second study, the narrative approach is selected, it means "telling stories" method will be used for discover the projective potential. Qualitative analysis indicates that stories have some similarities- in the context of given factors, however, in most cases, they do not follow Szondi's assumptions. In order to confirm the potential of the possibility to know the proband's personality or life, the data obtained has not proved sufficient. The data does suggest, however, that after further research, the benefit of its application could be confirmed. KEY WORDS: Szondi test, projection, semantic differential, stories analysis

As a whole, this work serves to illuminate the tragic as a fundamental human phenomenon and an objective fact that is distinct not only from comedy and irony but from other forms of calamity and modes of failure. I consider three distinct sources of philosophical knowledge on tragedy. The first is tragic drama and literature, the second is the theory of the tragic and the third source consists of the employment of the concept of tragedy to discuss events or characters that one encounters in life. I carefully draw upon the first two sources to thicken the elaborations of four different facets of the third. In this process, I extrapolate Szondi’s notion that tragedy is a specific dialectic in a specific space. In the course of this work, I place a greater emphasis upon this general concept of the tragic as opposed to a poetics of tragedy. The dissertation bears out, however, that it is ultimately poetics - and not the dialectic as general concept - that provide us with the richer insights into tragedy as it unravels in life. The specific dialectic of tragedy unravels so as to cause the irreplaceable loss of something of great value. This provides me with a structuring element that ties the four central chapters together. In terms of content, I emphasize also upon the tragic flaw as a set of character traits (manifested by an individual or some form of collective) which keep tragedy in place. The consideration of the figure of Willy Loman allows me to examine the tragedy of failure of expectations which is a distinct category of the tragic and yet it oscillates such that ties together the other themes. A central idea that emerges from an analysis of the overlapping themes is that prior to tragedy is the investment of the deepest inner resources into a process. This investment gives rise to identity and to expectations. As a tragedy unfolds, the source of the identity or of expectation becomes also the birth place or the generator of all threats to this identity and the collapse of long nurtured expectations.

As a whole, this work serves to illuminate the tragic as a fundamental human phenomenon and an objective fact that is distinct not only from comedy and irony but from other forms of calamity and modes of failure. I consider three distinct sources of philosophical knowledge on tragedy. The first is tragic drama and literature, the second is the theory of the tragic and the third source consists of the employment of the concept of tragedy to discuss events or characters that one encounters in life. I carefully draw upon the first two sources to thicken the elaborations of four different facets of the third. In this process, I extrapolate Szondi’s notion that tragedy is a specific dialectic in a specific space. In the course of this work, I place a greater emphasis upon this general concept of the tragic as opposed to a poetics of tragedy. The dissertation bears out, however, that it is ultimately poetics - and not the dialectic as general concept - that provide us with the richer insights into tragedy as it unravels in life. The specific dialectic of tragedy unravels so as to cause the irreplaceable loss of something of great value. This provides me with a structuring element that ties the four central chapters together. In terms of content, I emphasize also upon the tragic flaw as a set of character traits (manifested by an individual or some form of collective) which keep tragedy in place. The consideration of the figure of Willy Loman allows me to examine the tragedy of failure of expectations which is a distinct category of the tragic and yet it oscillates such that ties together the other themes. A central idea that emerges from an analysis of the overlapping themes is that prior to tragedy is the investment of the deepest inner resources into a process. This investment gives rise to identity and to expectations. As a tragedy unfolds, the source of the identity or of expectation becomes also the birth place or the generator of all threats to this identity and the collapse of long nurtured expectations.