Made available in DSpace on 2016-04-25T19:20:57Z (GMT). No. of bitstreams: 1 Ana Claudia Ayres Patitucci.pdf: 1239532 bytes, checksum: d95058d97bc1d847354f6e10f2772cd9 (MD5) Previous issue date: 2009-04-13 / This research deals with the tragic anthropological concept contained in Freudian theory. It focuses on the investigation of tragic as a concern that describes the human condition, from its matrix founded in religion, Greek tragedy and the tragic philosophy of Schopenhauer and Nietzsche. In Greek religiosity, the ontological rupture is placed between men and gods: these are immortal and those mortal ones, hence the strength and fragility of their condition. This religious experiment produced an anthropological perception that the Greek poets presented in the Athenian tragedy. In the view of the tragic poet, the meaning of human life was granted by the relationship with the gods and by the mortal condition, originating the tragic situation of the hero. In the modern philosophy of our era, the tragic has become a philosophical category. The elements that shaped the tragic man in the Greek narrative have unfolded on the reflection of the human condition and transformed into the themes that characterize the existential tragedy: the value and purpose of life in face of the ailment of the mortal condition, the human fallibility, human fragility and the contradictions which disintegrate the notion of unity of the world and man. Our hypothesis is that Freud, such as the Greek poets and modern philosophers, conceived a tragic vision of the human condition. Equipped with the Greek and philosophical conceptual repertoires, the intention of this research is to perform an analysis of the Freudian work in order to enlighten the tragedy in the human soul and the relationship between man and culture, configuring Freud s tragic human being / Esta pesquisa trata da concepção antropológica trágica contida na teoria freudiana. Ela parte da investigação do trágico como um conceito que descreve a condição humana, desde sua matriz fundada na religião e na tragédia grega e na visão trágica de homem na filosofia de Schopenhauer e Nietzsche. Na religiosidade grega está colocada a ruptura ontológica entre homens e deuses: estes são imortais e aqueles mortais, daí a força e a fragilidade de sua condição. Essa experiência religiosa produziu uma percepção antropológica que os poetas revelaram na tragédia grega. No entender do poeta trágico, o sentido da vida humana era conferido pela relação com os deuses e pela condição mortal, originando a situação trágica do herói. Na filosofia moderna de nossa era o trágico se tornou categoria filosófica. Os elementos que configuraram o homem trágico na narrativa grega se desdobraram na reflexão sobre a condição humana e se transformaram nos temas que caracterizam o trágico existencial: o valor e a finalidade da vida frente ao padecimento da condição mortal, a falibilidade humana, a fragilidade humana e as contradições que desintegram a noção de unidade do mundo e do homem. Nossa hipótese é que Freud, tal como os poetas gregos e os filósofos modernos, concebeu uma visão trágica da condição humana. A intenção dessa pesquisa é fazer, aparelhada pelos repertórios conceituais gregos e filosóficos, a análise da obra freudiana de modo a iluminar o trágico na alma humana e na relação entre homem e cultura, configurando o homem trágico de Freud

L’écriture dramatique contemporaine est souvent tournée vers le mythe grec tragique comme source d’inspiration. Or, le concept de tragique est loin d’être évident, tantôt compris dans un sens existentiel, étroitement lié à la pensée philosophique allemande du XIXe siècle qui lui adonné naissance, tantôt dans un sens esthétique, produit de son rapport étroit au genre dramatique de la tragédie. La présente étude interroge la question du tragique dans des écritures dramatiques contemporaines d’origine différente : plus précisément, nous abordons douze oeuvres dramatiques, françaises et grecques, qui couvrent la seconde moitié du XXe siècle au sens large, et que caractérise l’usage du mythe tragique ou des motifs tragiques. Notre approche est structurée sur deux axes : d’une part est examinée la notion de personnage, élément principal de l’oeuvre dramatique, dans son devenir tragique. Ainsi, dans les deux phases de ce que nous appelons le« mouvement tragique », le personnage passe de l’identité à l’altérité de soi, pour se choisir ensuite en tant qu’être fini, ou autrement, en tant qu’être « inscrit dans la mort », pour arriver finalement à la transcendance de sa propre finitude. D’autre part est examinée la notion de personne tragique, à savoir la conception de l’homme « réel », telle qu’elle est configurée par le lecteur/spectateur à partir du personnage tragique. Le sens de la personne tragique consiste en le passage de celle-ci du monde quotidien à un « nouveau réel », où dominent le devenir et l’ouverture à l’Autre. Dans ce cadre, la catharsis qu’éprouve le spectateur est identifiée à la « joie tragique ». / Contemporary playwriting turns often towards the tragic Greek myth as source of inspiration.However, the concept of “the tragic” is far from being evident, sometimes understood in anexistential meaning, tightly attached to the German philosophical thought who has given it birth,sometimes in an esthetic meaning, as a result of its close relation to the genre of tragedy. Thepresent study examines the concept of tragic in contemporary plays of different origin: moreprecisely, we study twelve plays, French and Greek, that cover the second half of the twentiethcentury in the broadest sense, characterized by the use of the tragic myth or of tragic motifs. Ourapproach is based on two axes: on one hand we examine the notion of character, a fundamentalelement of a dramatic work, in his becoming tragic. In this way and according to the two phasesof what we call “the tragic movement”, the character, after passing from the identity to the alterityof self, he then “chooses” himself as a finite being, or, in other words, as a being “inscribed indeath”; finally, he arrives at the point of transcendence of his own finitude. On the other hand, weexamine the notion of the tragic person, namely the conception of the “real” human, as it isformulated on the basis of the tragic hero, by the reader/spectator. The meaning of the tragicperson lies in a passage from the ordinary world to a “new reality”, where the becoming of thehuman being and the openness to the Other dominates. In this context, the spectator experiencesthe catharsis that can be identified with the “tragic joy”.

As a young man of twenty-one in 1886, William Butler Yeats announced his ambition to unify Ireland through heroic poetry. But this prophetic urge lacked structure. Yeats had only some callow notions about needing self-possession and appropriate control of his imagery. As a result, his search for essential knowledge and experience soon led him into occult and symbolist vagueness. Yeats' mind grew flaccid, and his art languished in preciosity for over a decade. Lotos-eating had replaced prophetic fervor. However, early in the new century, as Yeats neared middle age and permanent mediocrity, he recovered his early zeal and finally found the means to give it artistic shape. Through daily theatre work he had discovered tragedy. And through personal trials he had developed a tragic sense. Hence, an entire tragic perspective was born, one that would dominate Yeats' mind and art the rest of his life. Locating the contours of Yeats' shift in-viewpoint, then, provides the key to understanding the man and his mature work. The present study does just that, tracing the origin, development, and elaboration of Yeats' tragic perspective, from its theoretical underpinnings to its poetic triumphs. Above all, this study supplies the basic context of Yeats* careers why he took the path he did, and how he wove all that he found along the way into a remarkable fabric.

La recherche vise à élaborer la condition tragique qui émane de la figure de l'enfant au cinéma – à travers ses traumas, ses blessures, voire sa destruction et sa perte – devant laquelle le spectateur adulte éprouve un certain malaise. Nous pouvons voir au cinéma des enfants aux prises avec des conditions de vie traumatisantes, voire inhumaines. Que ce soit les enfants abandonnés ou orphelins, les enfants violés, les enfants maltraités, les enfants victimes de guerre – incluant la dualité paradoxale qu’instaure l'enfant-soldat, de Ivan (« L’enfance d’Ivan », Tarkovski, 1962) à Komona (« Rebelle », Kim Nguyen, 2012) – ou les enfants face à la mort, diverses situations peuvent contribuer à inscrire l'enfance dans le registre du tragique, par la destruction ou la perte de l'enfance. L'enfance détruite porte en elle une blessure (trauma) – qu'elle soit physique ou psychique – qui renvoie au « manque », ou à la fragilité humaine que traduit l'image de l'enfant dit « sans secours ». Quand l’enfant doit faire face à une situation tragique où il est sans défense et confronté à son propre anéantissement, sa figure devient pour nous traumatique. Nous suggérons que le tragique place l’enfant au cinéma dans un après-coup qui renvoie à un traumatisme premier fondamental, prototype de toute situation traumatique. Pour le psychanalyste Sigmund Freud, ce serait un traumatisme lié à la détresse infantile – le « Hilflosigkeit » – qui correspond à la première angoisse vécue par le nourrisson dû à son impuissance (« Inhibition, symptôme et angoisse », [1926] 1951, Paris : PUF). Dans cette lignée, certains psychanalystes (comme Otto Rank ou Jean-Marie Delassus) préciseraient que le traumatisme s'installe dès la naissance, qui marque de manière universelle le premier sentiment de perte et d'angoisse suite à l'éjection dans un monde étranger et d'abord impossible, ce qui correspond à une dislocation première (suivant le sens qu’en propose Benoit Goetz dans « La dislocation » (2002, Paris : Éditions de la Passion)). L'enfant au cinéma, qui traverse des épreuves qui nous sont difficiles à concevoir, nous regarde et pointe en nous nos propres faiblesses, et cela interagit avec nos propres traumatismes. Quelques exemples filmiques viendront soutenir la recherche, avec principalement l’analyse d’un film exemplaire, « Les tortues volent aussi » de Bahman Ghobadi (2004). / This study aims to develop the tragic condition that emerge from the child's figure in cinema – through his traumas, his wounds, or the destruction and loss of childhood – before which the adult viewer may feel uncomfortable. Children in films can deal with particularly traumatic circumstances, if not inhuman. Whether children are abandoned or orphaned, raped, abused, victims of war – including the paradoxical duality that the child-soldier establishes, from Ivan (in "Ivan’s chilhood", Tarkovski, 1962) to Komona (in "War witch", Kim Nguyen, 2012) – or facing death, various situations can contribute to include childhood in the tragic register, with the destruction or loss of childhood. A destroyed childhood carries a wound (trauma) – physical or psychological –, which refers to a default or the human fragility that the image of the “helpless child” reflects. When a child has to deal with a tragic situation while he is defenseless and facing his own destruction, his figure becomes one that is traumatic. The tragic puts the child in a state of “afterwardsness” (après-coup), which refers to a primary and fundamental trauma, prototype of all traumatic situations. For Sigmund Freud, that primary trauma arises from the first anguish experienced by the infant because of his helplessness, that he names "Hilflosigkeit" ("Inhibition, symptôme et angoisse", [1926] 1951, Paris: PUF). For some psychoanalysts (such as Otto Rank or Jean-Marie Delassus), this trauma sets in at birth, which represents the first feeling of loss and separation following the ejection in a world that is unfamiliar and at first impossible, which corresponds to a first dislocation in the meaning that Benoit Goetz intends in "La dislocation" (2002, Paris: Éditions de la Passion). In movies, the child who gets thought hardships that can barely be imagined looks at us and emphasizes our own weaknesses, and it interacts with our own traumatic experiences. This study is supported by a number of examples of different movies, but with one main film analysis, "Turtles can fly" by Bahman Ghobadi (2004).

The classification of the Meditations of Marcus Aurelius as a spiritual exercise by Pierre Hadot has been widely accepted and exerts a strong influence on any interpretation of the text. However, such genre categorization is by itself an interpretative choice excluding other possible readings. The present thesis offers a new reading of the Meditations based on Gilles Deleuze's interpretation of stoicism and on his philosophy of event. This reading avoids any genre classification and focuses instead on the text itself by analyzing the changes of linguistic person. The Deleuzian interpretation of linguistic person and his concept of event allow for explanation of this particular feature of the Meditations and thus for addressing the problem of person and individual in stoic philosophy. Furthermore, the Deleuzian framework makes it possible to explore significant, but up to now marginalized themes recurring in the text that are directly linked to the problem of individuation - non-tragic theatre and death.

Si d'aucuns pensent que la tragédie est morte, le tragique quant à lui reste une catégorie théâtrale toujours actuelle. Chez Eugène Ionesco, dramaturge de la deuxième moitié du XXe siècle, nous retrouvons le sens du tragique dans ses oeuvres même si celui-ci diffère de l'époque antique. Le tragique ionescien s'inspire sur une vision du monde fondamentalement absurde. Ainsi, à l'instar de ses contemporains comme Samuel Beckett par exemple, Eugène Ionesco propose un tragique humble (cf. Jeux de massacre : tragique = absence d'issue), un tragique politique à la mesure des bouleversements du siècle (cf. Rhinocéros, Le Roi se meurt, Macbett, etc.). A la place des héros combattants, on a chez Ionesco des fantoches qui gesticulent, des objets qui prolifèrent (cf. Les Chaises) ; un langage humain qui est mis en cause (cf. La Cantatrice chauve « tragédie du langage »). Le théâtre d'Eugène Ionesco naît plutôt de la crise de l'humanisme. / If some people think that the tragedy died, the tragic as for him rest an always current theatrical category. At Eugène Ionesco, playwright of the second half of the XXth century, we find the sense (direction) of the tragic in its works even if this one differs from the antique time (period).The ionescien tragic is inspired on a vision of the world fundamentally absurd. So, following the example of his contemporaries as Samuel Beckett for example, Eugène Ionesco proposes a tragic humble (cf. Games (sets) of massacre: tragic = absence of outcome (exit)), a tragic political in the measure of the upheavals of the century (cf. Rhinoceros, King is dying, Macbett, etc.). On the place (square) of the heroes fighters, we have at Ionesco the marionettes which gesture, objects which proliferate (cf. Chairs); a human language which is questioned (implicated) (cf. The bald Opera singer "tragedy of the language"). The theater of Eugène Ionesco arises rather from the crisis of the humanism.

O objetivo desta dissertação é estudar o pensamento trágico e a manifestação do riso trágico como formas de aprovação incondicional da vida, portanto como alternativa às ilusões que determinam valores e condicionam a aprovação da vida à supressão do dado trágico do mundo. Desse modo, elege como principal objeto de investigação a relação entre a escolha trágica e as crenças humanas desde suas bases epistemológicas, morais, éticas etc. A partir dessa relação, podemos verificar o problema e a função das ilusões humanas, que nada mais são do que as próprias bases e crenças provenientes do pensamento não trágico, isto é, do pensamento que aprova a vida em determinadas condições, excluindo certos aspectos da realidade como o nada, o acaso e a desordem, ou simplesmente o dado trágico do mundo. O pensamento trágico emerge como uma intuição desse dado trágico do mundo, que podemos negar ou aprovar. Friedrich Nietzsche, o filósofo que apontou a emergência dessa escolha, desenvolve uma forma de denúncia ao ardil que nega a vida em seu aspecto dionisíaco, cujos maiores inimigos são os princípios e valores dos ideais da tendência socrática, de racionalização da vida, e da moral judaico-cristã, de negação dos instintos em vista de uma vida melhor em outro mundo. Além do próprio pensamento trágico, de inspiração nietzschiana, que culmina na filosofia trágica, desenvolvida em larga medida por Clément Rosset, também o riso trágico se coloca como uma forma de destruição, ainda que isso não seja a sua finalidade. Sua manifestação é expressão de júbilo da vida vivida no instante, sem preconcepções a respeito do que é o certo e o errado, o bem e o mal, o belo e o feio etc. Em vista disso, o percurso expositivo se concentrou primeiramente no pensamento e, posteriormente, no riso trágicos, mas tanto de um modo como de outro o resultado é o mesmo: vemos a destruição das ilusões, ou das bases e das crenças humanas, contra os abismos dionisíacos e a aprovação incondicional da vida, ou amor fati, que nos permite compreender o estado psicológico de celebração e festa mesmo diante da morte. / The aim of this dissertation is to study tragic thinking and the manifestation of tragic laughter as forms of unconditional approval of life, therefore as an alternative to the illusions that determine values and condition the approval of life to the suppression of the tragic data of the world. In this way, it selects as the main object of investigation the relation between the tragic choice and the human beliefs from its epistemological, moral, ethical, etc. bases. From this relation, we can verify the problem and the function of human illusions that are nothing but the very foundations and beliefs derived from nontragic thinking, that is, of the thought that approves life under certain conditions, excluding certain aspects of reality as nothingness, chance and disorder, or simply the tragic data of the world. Tragic thinking emerges as an intuition of this tragic data of the world, which we can deny or approve of. Nietzsche, the philosopher who pointed to the emergence of this choice, develops a form of denunciation to the riddle that denies life in its Dionysian aspect whose greatest enemies are the principles and values of the ideals of the \"Socratic tendency,\" of rationalization of life, and of Judeo-Christian morality, of denying instincts for a better life in another world. In addition to the Nietzschean-inspired tragic thinking that culminates in the tragic philosophy, developed to a large extent by Clément Rosset, also tragic laughter sets itself as a form of destruction, even if that is not the purpose. Its manifestation is the expression of joy of life lived in the instant, without preconceptions with what is right and wrong, good and evil, beautiful and ugly, etc. In view of this, the expository course focused first on tragic thought and then on tragic laughter, but in one way or another the result is the same: we see the destruction of illusions, or human foundations and beliefs, against the Dionysian abysses and the unconditional approval of life, or amor fati, which allows us the psychological state of celebration and party even in the face of death.

Partindo do exame dos pressupostos do realismo formal no romance, a dissertação pretende demonstrar como a desconfiança do narrador beckettiano quanto aos fundamentos que sustentam a voz em primeira pessoa e a estrutura ficcional do romance, observada desde Molloy e Malone Morre, dá lugar ao exame dos fundamentos relacionados à constituição da própria noção de subjetividade e desdobra-se em reflexões de natureza linguística em O inominável. Momento em que a hipótese de que é na linguagem e pela linguagem que o homem se constitui como sujeito, formulada pelo linguista Émile Benveniste, será desenvolvida considerando a dimensão trágica da experiência do eu. Com efeito, parte da tarefa da desta dissertação consiste em demonstrar a pertinência do trágico em O inominável, com o propósito de aprofundar a discussão teórica sobre a narrativa do século XX. / From an examination of the formal assumptions realism in the novel, the dissertation aims to demonstrate how distrust of Becketts narrator at the grounds that support the voice in first person and the fictional structure of the novel, observed since Molloy and Malone Dies, giving rise to the investigation of the grounds related to the constitution of the notion of subjectivity and unfolds in linguistic nature reflections in The Unnamable. Moment when the hypothesis that it is in the language and by the language that humans is constituted as subject, formulated by the linguist Émile Benveniste, will be developed based on the tragic dimension of the experience of \"I\". Indeed, part of the task of this dissertation is to demonstrate the relevance of the tragic dimension in The Unnamable, in order to deepen the theoretical discussion of the twentieth centurys narrative.

Made available in DSpace on 2016-04-28T19:58:46Z (GMT). No. of bitstreams: 1 Kelly Cristina Fantini.pdf: 5088545 bytes, checksum: 72b10b9ce1d840b11e6845dadadaef27 (MD5) Previous issue date: 2012-06-21 / The objective of this dissertation is to recognize the concept of the tragic and the literary role in theatrical script of Toda nudez será castigada (1965), by the Brazilian playwright Nelson Rodrigues. It is intended to characterize the scripted text from the uniqueness of the word to the three-dimensionality of the performance of the word theater, covering many arts in staging: the dialogue, song, dance, music, painting, lighting, etc. In the multiplicity of the scene, we highlight the character and his dialogic speech to achieve the reading of the state of the dramatic hybris, combining actor and spectator by catharsis of passions. Following the thesis Sabato Magaldi (1962), we set the comparison between the tragedy of Racine and the one of Nelson Rodrigues, showing the tragic axis, between reason and passion, the intrigue of the characters in an act of interpretive and analytical approach between the classical and the modern. The difference between both is recognized by the "way" the director leads passion by mediating the dialog of the characters and by mirroring the tragic model of Phèdre of Racine. The recognition achieved by means of dialog has provided a methodological support and reconceptualization of the word rectified on the border of literary language and the performing language of the modern tragic drama of Rodrigues / O objetivo desta dissertação é reconhecer o conceito de trágico e seu papel literário no roteiro teatral de Toda nudez será castigada (1965), do dramaturgo brasileiro Nelson Rodrigues. Pretende-se caracterizar o texto roteirizado a partir da unicidade da palavra à tridimensionalidade da performance da palavra teatral, abrangendo muitas artes na encenação: o diálogo, o canto, a dança, a música, a pintura, a iluminação, etc. Na multiplicidade da cena, destacamos a personagem e sua fala dialógica para alcançar a leitura do estado de hybris dramático, conjugando ator e espectador pela catarse das paixões. Seguindo a tese de Sábato Magaldi (1962), marcamos o confronto entre a tragédia de Racine e a de Nelson Rodrigues, evidenciando o eixo trágico, entre a razão e a paixão, na intriga cruzada das personagens, em ato de aproximação analítica e interpretativa entre o clássico e o moderno. A diferença entre ambos é reconhecida pelo modo como o diretor conduz a paixão pela mediação do diálogo dos personagens e pelo espelhamento aplicado do modelo trágico de Fedra de Racine. Sua resultante nos revelou o modo da transformação do papel do trágico na representação da arquipalavra cultural e social no teatro moderno de Nelson Rodrigues. O reconhecimento alcançado pela via da dialogicidade nos propiciou o suporte metodológico e a reconceituação da palavra reificada na fronteira da linguagem literária e da linguagem performática do teatro trágico moderno rodriguiano

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2017-07-13T21:44:40Z No. of bitstreams: 1 Disserta??o de Cinthia dos Santos Sacramento Eloi.pdf: 838093 bytes, checksum: 10589c979fb94518e9f72934312dcb03 (MD5) / Made available in DSpace on 2017-07-13T21:44:40Z (GMT). No. of bitstreams: 1 Disserta??o de Cinthia dos Santos Sacramento Eloi.pdf: 838093 bytes, checksum: 10589c979fb94518e9f72934312dcb03 (MD5) Previous issue date: 2016-05-16 / Funda??o de Amparo ? Pesquisa do Estado da Bahia - FAPEB / This present work represents a study of work of Lygia Fagundes Telles, with the objective of analyzing the tragic presence in her narrative. To achieve this goal were used books of short stories, novels, interviews of the authoress, academic works and books about her work among them studies: Lucas (1990), R?gis (1998), Silva (2001), Rufino(2007), Lucena(2008), Machado(2009) e Gomes(2011).They are analyzed the tales ?Venha ver o p?r do sol?, ?Uma branca sombra p?lida, ?Semin?rio dos ratos?, ?Nada de novo na frente occidental?, and the novel Ciranda de Pedra (1954),investigating the complex interpersonal relationships that the characters feed and how the tragedy unleashes in their lives. We analyzed in what way the tragic is conceived in the narratives, many times from the perspective of classical tragedy, as arising from an individual failure or as the modern conception of the tragic it is inherent in human life. To support the analyzes were used studies about the tragic of the authors Arist?teles (1966), Georg Luk?cs (S/D), Emil Staiger (1977), Junito Souza Brand?o (1985), Rymond Williams (2002), Adilson dos Santos (2005), Friedrich Nietzsche (2007), Albin Lesky (2010) and Vernant and Vidal-Naquet (2014). / O presente trabalho representa um estudo da obra de Lygia Fagundes Telles, com o objetivo de analisar a presen?a do tr?gico em sua narrativa. Para alcan?ar tal objetivo foram utilizados livros de contos, romances, entrevistas da autora, trabalhos acad?micos e livros sobre sua obra, dentre os quais estudos de: Lucas (1990), R?gis (1998), Silva (2001), Rufino (2007), Lucena (2008), Machado (2009) e Gomes (2011). S?o analisados os contos ?Venha ver o p?r do sol?, ?Uma branca sombra p?lida?, ?Semin?rio dos ratos?, ?Nada de novo na frente ocidental?, e o romance ?Ciranda de Pedra? (1954), investigando as complexas rela??es interpessoais que as personagens alimentam e de que forma o tr?gico se desencadeia em suas vidas. Analisamos de que forma o tr?gico ? concebido nas narrativas, muitas vezes sob a perspectiva da trag?dia cl?ssica, como decorrente de uma falha do indiv?duo ou como a concep??o moderna de que o tr?gico ? inerente ? vida humana. Para subsidiar as an?lises foram utilizados estudos sobre o tr?gico dos autores: Arist?teles (1966), Georg Luk?cs (S/D), Emil Staiger (1977), Junito Souza Brand?o (1985), Rymond Williams (2002), Adilson dos Santos (2005), Friedrich Nietzsche (2007), Albin Lesky (2010) e Vernant e Vidal-Naquet (2014).