Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2016-02-18T08:16:52Z No. of bitstreams: 2 Dissertação- Dráulio Carvalho Assis - 2015.pdf: 1556498 bytes, checksum: 98cc49a2be356c4b243600a891407196 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-02-18T09:56:43Z (GMT) No. of bitstreams: 2 Dissertação- Dráulio Carvalho Assis - 2015.pdf: 1556498 bytes, checksum: 98cc49a2be356c4b243600a891407196 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-02-18T09:56:43Z (GMT). No. of bitstreams: 2 Dissertação- Dráulio Carvalho Assis - 2015.pdf: 1556498 bytes, checksum: 98cc49a2be356c4b243600a891407196 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-08-28 / This dissertation seeks to reveal through the poetry of James Douglas Morrison, best known for becoming a myth as lead singer of the American band The Doors in the sixties, the dilemma of its historic man of conflicts and man mythological in his tragic search cross to the other side, so, a different view of the hegemonic vision of society, a reconciliation as historical subject. Bring to light some thinkers who reflect on time, memory, myth, tragic and poetry that we have to tell us to outline as man sees the flow or interiority that time in your consciousness. Jim Morrison's poetry becomes a revelation that moment in which consciousness sees the flow of time in its interiority and shows continuity in anguish and identities. The revelation of a transcendent term becomes an illumination which aims to immanence, that is, the eternal now and what it can reveal itself in its duration. The historical reality is loaded and then builds images with mythological content profiling dreamily walking and the progress of actions, therefore, poetry imbued with allegorical images the capture and visualize, breaking standards and implementing utopian conceptions, opening doors and can outline a new ethos. Within this allegorical conception to Walter Benjamin, the historian has hidden the awakening of gift of the past with the now knowledgeability in an immediate correspondence with the redemption of history. According to Marcelo Marques myth acts ethically in human existence by its poetic force, the human making it possible thus demystify Jim Morrison in his poetry that reveals his anguish, show a more human face who sought redemption through poetry. Understanding this search on your "moment of now" at this intersection and past his poetic recall the world is opening doors to redemption of history, as glimpsed like lightning in the dark night the connection of past and present experiences in the eternal now. In his tragic poetry Jim Morrison reveals their looks, conflicts, unreasonable and his misfortune that are contemporary, as in Baudelaire, Rimbaud and other artists, with the gift of modern society. Poetry as crossing times becomes the wild eye and the tragic awareness that awakens the instant of now, allowing the redemption of continuity identities and anguish in the heart of the story. / Essa dissertação busca revelar através da poesia de James Douglas Morrison, mais conhecido por ter se tornado um mito como vocalista da banda norte-americana The Doors na década de sessenta, o dilema de seus conflitos de homem histórico e homem mitológico em sua busca trágica de atravessar para outro lado, ou seja, uma visão diferenciada da visão hegemônica da sociedade, em uma reconciliação como sujeito histórico. Trazemos à tona um pouco dos pensadores que refletem sobre o tempo, memória, mito, trágico e poesia. O que têm a nos dizer para delinearmos como o homem encara o fluxo ou interioridade desse tempo em sua consciência. A poesia de Jim Morrison se torna uma revelação desse instante em que a consciência encara o fluxo do tempo em sua interioridade e mostra sua continuidade em angustias e identidades. A revelação de um termo de transcendência passa a ser uma iluminação que se propõe à imanência, ou seja, ao eterno agora e o que ele em si pode nos revelar em sua duração. A realidade histórica se carrega e se constrói então de imagens com teor mitológico que perfilam oniricamente o caminhar e o desenrolar das ações, portanto a poesia imbuída de imagens alegóricas as capturam e as visualizam, quebrando padrões e implantando concepções utópicas, abrindo portas, podendo delinear um novo ethos. Dentro dessa concepção alegórica, para Walter Benjamim, o historiador tem o dom de despertar o escondido do passado com o agora da cognoscibilidade em uma correspondência imediata com a redenção da história. De acordo com Marcelo Marques o mito atua eticamente na existência humana pela sua força poética, tornando possível o humano, assim desmitificar Jim Morrison em sua poesia que revela suas angustias mostrando um rosto mais humano que buscou sua redenção através da poesia. Compreender essa busca em seu “instante do agora”, no cruzamento do presente e passado em sua rememorização poética do mundo é abrir portas para redenção da história, pois vislumbrou como relâmpago na noite escura a ligação de vivências do passado e do presente no eterno agora. Em sua poesia trágica, Jim Morrison revela seus olhares, conflitos, desmedidas e seu infortúnio que são contemporâneos, como em Baudelaire, Rimbaud e outros artistas, com o presente da sociedade moderna. A poesia como cruzamento de tempos torna-se o olho selvagem e a consciência trágica que desperta no instante do agora, possibilitando a redenção da continuidade de identidades e da angustia no coração da história.

Made available in DSpace on 2016-03-15T19:45:53Z (GMT). No. of bitstreams: 1 Sonia Maria Rodrigues.pdf: 1081355 bytes, checksum: 7818c319dfc3cb1d1388f3d5b5e26cb6 (MD5) Previous issue date: 2013-02-20 / The purpose of this dissertation is to examine the construction process of the poetic effect in the narrative of the novel o remorso de baltazar serapião, written by Valter Hugo Mãe, taking the linguistic and extralinguistic resources used by the author as a reference. For the text analysis, the reading of two excerpts is selected and Olivier Reboul s concept that considers the central motif a procedure that serves as the textual organization principle and the speech s live unit constituent is applied. In this way, it may be shown that ambiguous irony is #1 excerpt s central motif (Introductionencounter, conflict s unfolding) while ironic hyperbole is #2 excerpt s central motif (Passionate agressions). The study has shown that through the selection of the figures as the central motif, the novelist created unusual ways of saying, bringing strength and originality to the speech. As a result of the study it is also shown the components of classical tragedy and the interweaving of the novel s main figure the irony with the tragic and the black humor. / Esta pesquisa tem por objetivo central analisar o processo de construção do poético na narrativa do romance o remorso de baltazar serapião, de Valter Hugo Mãe, tomando como referência principalmente os recursos linguísticos e extralinguísticos por ele empregados na obra. Para a análise do texto, será privilegiada a leitura de dois excertos do romance a partir do modelo defendido por Olivier Reboul, que elege o motivo central como um procedimento que serve de princípio organizador para o texto e se constitui na unidade viva do discurso. Assim, procuraremos comprovar que o motivo central do excerto 1 (Encontro-Apresentação, desencadeamento do conflito) será a ironia ambígua, enquanto do excerto 2 (Agressões Apaixonadas) será a hipérbole irônica. O objetivo é mostrar que o romancista criou modos de dizer que se afastam do uso comum, promovendo força e originalidade ao discurso, ao eleger as figuras como motivo central. Por fim, como resultado da pesquisa, mostraremos também os elementos da tragédia clássica e o entrelaçamento da principal figura do romance a ironia, com o trágico e o humor negro.

Cette étude est consacrée au tragique dans les fictions d’amour staëliennes. Les héros nobles sont livrés à une lutte vaine contre le destin, en sachant qu’ils vont mourir. Leur ambivalence les empêche de vivre tout épanouissement individuel, dans une société qui vit un immense échec social, moral et politique. Le bonheur précaire vécu est suivi du silence, de l’absence et du sentiment d’une culpabilité mortelle dans un espace et un temps initialement tragiques. Le sujet tragique remet en cause ses qualités morales et intellectuelles. Lucide, démuni devant le savoir tragique, désillusionné sur l’amour et sur la vie, cet être accomplit son rôle tragique : se sacrifier et disparaître. Son renoncement donne un effet émouvant et sublime. Staël dénonce à travers le tragique les crimes de la Révolution, la tyrannie de napoléon. La souffrance humaine peut être perfectible. Le tragique staëlien donne une leçon esthétique : la vérité est dans la liberté morale et la beauté de l’âme. / This study is devoted to the tragic in love staëliennes fictions. The noble heroes engaged in a futile struggle against fate, knowing they will die. Their ambivalence prevents any living individual fulfillment in a society that lives a huge social failure, moral and political. Precarious lived happiness is followed by silence, the absence and the feeling of a deadly guilt in a space and a time initially tragic. The tragic subject undermines his moral and intellectual qualities. Lucid, powerless before the tragic knowledge, disillusioned about love and life, this being accomplished his tragic role: sacrifice and disappear. His renunciation gives a moving and sublime effect. Staël denounces the tragic through the crimes of the Revolution, the tyranny of Napoleon. Human suffering can be improved. The tragic staëlien gives an aesthetic lesson: the truth is in moral freedom and beauty of the soul.

Par nature, le théâtre a partie liée avec le temps. Dans les sept pièces conservées de Sophocle, χρόνος est au cœur du discours des personnages, comme sujet de leur réflexion sur l’existence, mais aussi comme agent de la progression du drame. Au premier niveau, son action est destructrice, car l’homme de Sophocle, « homme d’un jour » (Aj.399 et Ant. 790), éprouve durement sa nature brutale, faite de revirements arbitraires, auxquels il résiste autant qu’il peut, à moins qu’il ne s’en joue. Mais au second niveau, celui de la dynamique de l’action, le temps est aussi constructeur de l’effet tragique. En atteste le lexique, important et varié, capable de rendre visible la fatalité en marche au sein de la tragédie. Ainsi, le temps, non représentable puisqu’il échappe à la mimèsis, peut servir de révélateur à la tension latente, qu’on appelle communément le tragique, concept flou et jamais véritablement défini par les textes, et qui va trouver ici une consistance poétique et une définition nouvelle dans l’observation des choix d’écriture du dramaturge. Ce faisant, c’est la démarche créatrice de Sophocle que l’on interroge. L’analyse du vocabulaire dans des passages choisis dément sa réputation d’auteur peu spectaculaire : retard, hâte, revirements, hasard, opportunité…sont mis en valeur au cœur des vers comme des indicateurs majeurs de la marche du drame vers sa fin. Et si l’on croise ensuite les données lexicales avec les marques de l’énonciation et les éléments des rites civiques qui affleurent dans les textes, on distingue alors la concaténation assurant la cohésion des ensembles et forgeant la temporalité propre à chaque pièce. Du rapport contraint entre le temps dramatique et le temps scénique, Sophocle a tiré des effets originaux qui forment sa poétique. Comme l’aède-démiurge d’Homère, le dramaturge construit ses tragédies en charpentier de l’effet tragique. Il fabrique un présent dramatique parsemé de signes indiciels marquant le passage de χρόνος. Ce présent, troublé par le passé qui s’y déploie encore, est celui de l’inadaptation du héros, tout à la fois temps de l’urgence, du retard, de l’immobilité qu’il faut conjurer pour que la perspective d’un futur puisse prendre forme. La tragédie sophocléenne s’avère finalement très consciente d’elle-même, développant un langage performatif qui entraîne à l’action, disant le rapport sensible de l’homme au temps et tout à la fois sa propre relation au temps qui la compose.MOTS-CLÉS : tragédie-effet tragique-deixis-temps-temporalité / By nature, theatre and time are linked. In Sophocles’ seven remaining tragedies, χρόνος is in the heart of the characters’ speeches, as a subject of their thought about human life, but first of all, as an agent of the progressing plot. On the first level, his action is destructive, because Sophocles’ hero, “a man of one day” (Aj. 399 and Ant.790), is afflicted by the brutal nature of time, made of arbitrary reversals to which he tries to resist to, as much he can, unless he makes light of them. But, on the second level, action in progress, time is also constructive of the tragic effect. This is attested by many and diverse words, showing fate going through the tragedy. So, time, that is impossible to represent on stage, because it is outside of the mimesis, reveals the hidden tension, commonly named the tragic, a woolly concept, never really defined by the texts, which will find here a poetic consistency and a new definition by the observation of the playwright’s choices. Thus, it is Sophocles’ creative reasoning that is analysed. According to the vocabulary in some passages selected, his reputation of not being a very spectacular author is belied: delay, haste, reversals, luck, opportunity… are highlighted in the texts, as major indicators of the action progressing to its end. And then, by crossing the lexical data, the enunciation marks and elements of civic rituals showed on the surface of the texts, we can then clearly distinguish the logical sequences of events making the tragedies’ coherence and the own temporality of each work. Sophocles builds his tragedies like a “carpenter” of the tragic effect. He makes up a dramatic present scattered with a plenty of signs showing χρόνος going through. At the end, Sophoclean tragedies are conscious of their own structure, because they develop a performative language to speak about the sensitive relation between man and time, and also, about their relation with time making of their poetic organization.KEYWORDS: tragedy-tragic effect-deixis-time-temporality

This thesis analyzes pain with respect to Nietzsche&#039 / s Dionysus-Crucified distinction. This distinction, which Nietzsche underlies, reveals his philosophical project. The meaning of pain is at the core point of this distinction. These two deities symbolizes attitudes towards life and pain in it. Dionysus represents the affirmation of becoming and tragic wisdom / and Crucified (Christ) represents despise and escape from life or ascetic ideals. In this sense, the dissertation will first trace Nietzsche&#039 / s world view. Then the following discussions will present a detailed analysis of ascetic ideals (and their genealogical roots), and tragic wisdom from the perspective of Nietzsche for consideration.

Thesis (Ph. D.)--Universität Basel, 1922. / Vita. Published also Berlin : B. Behr / F. Feddersen, 1923. Includes bibliographical references.

The following thesis outlines Hegel’s interpretation of Socrates in order to prove that as a negative dialectician, Socrates constitutes both a world historic personality who met a fate (Schicksal) which was tragic and practiced a philosophy which was tragically ironic. In this undertaking, Hegel’s Theory of Tragedy takes central importance which defines tragedy as two equally justified opposing forces which clash and destroy one another. This Theory of Tragedy is extended to show that through Socrates’ absolutely free will he brought himself to a tragic clash with the Athenian Ethical Life (Sittlichkeit), the Sophists’ arbitrary will, and the phenomenological will of uneducated Athenians. This clash is described in terms of a Hegelian Tragedy within which both Socrates and Athens were right and just in their actions against one another, but in the end were destroyed through those actions. His Method and Dialectic is then argued represent a negative dialectic which through the negation of negativity becomes positive as a midwifery of the consciousness. Next, because his Method and Dialectic begin in negativity and end in positivity, Socratic Elenchus is argued to not be representative of what has been termed “the Socratic Irony,” but instead only the negative moment of the Socratic Method. Finally, the Socratic Irony which Hegel argues is representative of both Socratic Philosophy and world history is defined as a Tragic Irony which sublates the finite consciousness of the phenomenological will, and the Ethical Life (Sittlichkeit), and the infinite arbitrary will of the Sophists in order to become a trans-subjective absolutely free will which becomes infinite itself like the Sophists’ will through reflection on the Ethical Life (Sittlichkeit).

Uppsatsens centrala tes är att tanken på den eviga återkomsten i Nietzsches prosadikt Så talade Zarathustra kan förstås som ett tragiskt ögonblick. För att kunna avhandla denna tes ställs den avgörande frågan: Vad avses med 'tragiskt ögonblick'? Jag söker syftesbestämma detta begrepp inom ramarna för den tyska idealismens tanketradition, där Schelling och Schopenhauer tjänar som exempel. Denna specifika förståelse av det tragiskas begrepp är att särskilja från genrebestämningar av tragedin. / The central thesis of this paper is that the thought of the eternal return in Nietzsche's work Thus spoke Zarathustra can be interpreted as a tragic moment. For proving this thesis, it is necessary to clearly understand how the concept of the metaphysically revelatory tragic moment within the tradition of German idealism differs from a genre-definition of tragedy. I use Schelling's and Schopenhauer's philosophies of art as examples of cases in German idealism where the tragic moment has been considered metaphysically revelatory. Thereupon I adjudicate whether the thought of the eternal return can qualify as such a moment.

Thesis (Ph. D.)--Universität Basel, 1922. / Vita. Published also Berlin : B. Behr / F. Feddersen, 1923. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1996. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 203-217).