Στην εργασία αυτή γίνεται ανάλυση των αγώνων λόγων στις τραγωδίες Εκάβη και Τρωάδες του Ευριπίδη και εξετάζεται ο ρόλος του λόγου σε περίοδο πολιτιστικής κρίσης. Για το λόγο αυτό στην παρούσα μελέτη οι εξεταζόμενοι αγώνες συσχετίζονται με την ανάπτυξη της σοφιστικής και της ρητορικής, καθώς και με τον Πελοποννησιακό πόλεμο (περίοδο κατά την οποία παρουσιάστηκαν τα έργα). Μέσα από την ανάλυση των αγώνων λόγων διαφαίνεται η συγκεχυμένη θεώρηση των ανθρώπων για θεσμούς και αξίες, για τους θεούς, ο ανεξιχνίαστος ρόλος του ίδιου του θεϊκού στοιχείου, καθώς και η κατάρρευση της ετερότητας σε περιόδους κρίσης (Έλληνες-βάρβαροι, άνδρες-γυναίκες, ελεύθεροι-υπόδουλοι). Συμπεραίνεται ότι ο λόγος σε περιόδους κρίσης αποτυπώνει τη σύγχυση των αξιών και ότι, αντί να βοηθά στη διασαφήνιση των πραγμάτων και επομένως στην απόδοση της δικαιοσύνης και την αποκατάσταση της τάξης των πραγμάτων, επιτείνει την κρίση. / In this study there is an analysis of the agones logon of Euripides’ tragedies Hecuba and Troades and an examination of the role of logos in period of cultural crisis. This is the reason that in this work the agones logon of these tragedies are related to the evolution of sophistic and rhetoric activity and to the Peloponnesian War as well (during this period these tragedies were presented). The analysis of these agones logon shows the confused way humans think of the gods, the undetected role of the divine element itself and the collapse of the polarities during cultural crisis (Greeks-barbarians, men-women, free-enslaved). It is concluded that logos in periods of crisis reflects the confusion of the cultural values and that, instead of leading to the clarification of human issues and consequently to the administration of justice and the restoration of order, exacerbates the crisis.

The thesis Love as Will to Dialogue in William Shakespeare's Tragedies deals with the analysis of selected characters' dialogues found in six William Shakespeare's tragedies. The aim of the thesis is to prove the given assumption of tragic ending caused by emotionally related characters and their mutual lack of communication in each play. The thesis is formally divided into theory and practical analysis. The theory is focused on definition of two major terms dialogue and love, from the view of linguistics, psychology, psychology of communication and philosophy. Following practical analysis offers detailed study of selected dialogues. The last part of the thesis summarizes the main implications found in analysis and proposes possible benefits of the work.

Vittorio Alfieri (1749-1803) usava nel creare le sue tragedie un piano particolare: dapprima 'ideava', cioè fissava rapidamente la struttura dell'opera; in seguito, 'stendeva', e metteva su carta tutto ciò che gli passava per la mente, in prosa, con impeto e furore; in ultimo, 'verseggiava', ed ogni pensiero veniva cambiato in endecasillabi, ed attentamente limava tutte le imperfezioni: nasceva così la tragedia.

L’argument de cette recherche propose d’étudier le concept du pouvoir et ses manifestations chez les héroïnes tragiques de Shakespeare Ophélie, Desdémone, Lady Macbeth, et Cléopâtre. Cette étude suit deux axes d’interprétation, la domination et la résistance qui constituent le pouvoir féminin à travers ses productions verbales et ses projections mentales. Ces aspects sont explorés à travers une théorie de poétique cognitive et d'analyse de conversation. En parallèle, les théories critiques vont compléter la discussion des résultats trouvés. Ce travail explore comment les héroïnes tragiques de Shakespeare mènent leur propre résistance et exercent une contre-force à un poly-système patriarcal basé sur un héritage de séparation de genre. Ces personnages brossent un portrait distinctif d'héroïsme tragique féminin ; une voix indépendante et vibrante dans le texte shakespearien. / The Shakespearean tragic heroines are a polemical topic. Critics are divided between a reading that describes them as complex and dynamic protagonists and a reading that sees their presence as ornamental and paper-thin in the Shakespearean dramatic tradition. This study examines tenets of power within four major tragic figures, Ophelia, Desdemona, Lady Macbeth, and Cleopatra. Conversation analysis and disciplines from cognitive poetics, text world theory and conceptual metaphor analysis, will be used to study these characters’ utterances and thoughts. The research shows that Ophelia, Desdemona, Lady Macbeth, and Cleopatra are actively involved in power relations. They manifest dominance, exercise resistance, and sow dissidence within masculine narratives of authority. The conclusion can also be drawn that the Shakespearean tragic heroine succeeds in breaking through patriarchal embargo, embraces power, and inaugurates a distinctive concept of female heroism.

This dissertation undertakes to examine the dramatic prixis and the ideological systems which shape Voltaire’s tragic oeuvre. This study takes the position that these texts are multi-voiced, open-ended and performance-directed. The analytical approach taken draws from semiotic, Marxist and feminist critical techniques. Thirteen plays were chosen for analysis: "Artémire" (1720), "Hérode et Mariamne" (1724, 1725, 1763), "Eriphile" (1732), "Zaïre" (1732), "Adélaïde du Guesclin" (1734, 1751, 1765), "Zulime" (1740, 1762), "Mahomet" (1741), "Sémiramis" (1748), "Oreste" (1750), "Rome sauvée" (1752), "Olympie" (1760), "Le Triumvirat" (1764) and "Les Guèbres" (1769). Chapter I undertakes the analysis of the textual codes, largely concentrating on the language which resulted from or which perisisted despite external reaction to the text, in order to reconstruct the rules by which language operated in the tragic form. Tragedy's requirement of "noble" language and action restrict it to those who had the classical education necessary to understand and manipulate its rules, thereby establishing a gender and class privilege within the text. Chapter II begins with the premise that performance is not external or incidental but integral to the texts under examination. It details the impact which performance and performers had on the text and on public response to that text. It also brings to light Voltaire's profound ambivalence towards this influence on "his" texts. The desire to control performance led Voltaire to become a "director" of his plays in the modern sense, as he sought to impose his ideas of decor, costume, staging and declamation. Chapter III defines ideology as the system or systems of belief which underlie and inform the texts. The analysis is organized around three broad areas of social organization: government, religion and the family. Special attention is paid to the status and treatment of women within these areas. The chapter examines whether the systems revealed are static or dynamic over time, personal to Voltaire or drawn from a wider social group, radical or conservative in content. The Appendix to this study furnishes a chronological table of textual transformations for each play studied, giving the source, location, date, extent, speaker, content and function of changes. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

No description available.

In the four early modern revenge tragedies I study, Thomas Kyd’s The Spanish Tragedy, William Shakespeare’s Titus Andronicus, Thomas Middleton’s The Revenger’s Tragedy, and John Webster’s The Duchess of Malfi, the ubiquitous depictions of corporeal violence underscore the authors’ skepticism of the human tendency to infuse bodies – physical manifestations of both agency and vulnerability – with symbolism. The revengers in these plays try to avenge the death of a loved one whose disfigured body remains unburied and often continues to occupy a place on stage, but their efforts to infuse corpses with meaning instead reveal the revengers’ perverse obsession with mutilation as spectacle. In Chapter one, I show how in The Spanish Tragedy Thomas Kyd portrays the characters’ assertions of body-soul unity to be arbitrary attempts to justify self-serving motives. Although Hieronimo treats Horatio’s dead body as a signifier of his own emotions, he displays it, alongside the bodies of his enemies, as just another rotting corpse. In Chapter two, I explore how in Titus Andronicus, William Shakespeare questions the efficacy of rituals for maintaining social order by depicting how the play’s characters manipulate rituals intended to celebrate peace as opportunities to exact vengeance; Titus demands human sacrifice as not just an accompanying element, but a central motive of rituals ostensibly intended to signify commemoration. In Chapter three, I read The Revenger’s Tragedy as illustrating Thomas Middleton’s characterization of the depiction of corporeal mutilation as an overused, generic convention; the play’s revenger, Vindice, attributes multiple, constantly shifting, meanings to the rotting skull of his lover, which he uses as a murder weapon. In Chapter four I argue that in The Duchess of Malfi, John Webster destabilizes spectators’ interpretive capacities; within this play’s unconventional dramatic structure, the main characters use somatic imagery to associate bodily dismemberment with moral disintegration. Corpses, the tangible remains of once vigorous, able-bodied relatives, serve as central components of respectful commemoration or as mementos of vengeance, yet these dead, often gruesomely mutilated bodies also invite repulsion or perverse curiosity. Thus, rather than honoring the deceased, revengers objectify corpses as frightening spectacles or even use them as weapons.

Revision of the author's Thesis (Universität zu Köln, 1993). / Includes bibliographical references and index.

Revision of the author's Thesis (Universität zu Köln, 1993). / Includes bibliographical references and index.

Hierdie studie, wat handel oor die Griekse tragedieskrywers en die deugde-etiek, val in vier hoofdele uiteen. In die eerste plek (afdeling 2) begin dit met ’n bespreking van die werk van die drie belangrikste tragedieskrywers – Aischulos, Sophokles en Euripides – en die sosiopolitieke tydsgewrig waarin dit geskryf is. Hierna word drie tekste van elke skrywer bespreek: Sewe teen Thebe van Aischulos; Antigone van Sophokles en Hippolutos van Euripides. Teen hierdie histories-vergelykende agtergrond volg ’n tematiese bespreking van die Griekse tragedieskrywers in die tweede plek (afdeling 3). Temas wat aan die bod kom sluit in: 1) Die rol van die antieke teater in die breë Griekse identiteit, veral met betrekking tot die tema van die individu binne die gemeenskap, en die verhouding tussen gehoor en kunswerk. 2) Die tema van die tragiese mens – en meer spesifiek die tragiese individu en sy/haar identiteit. 3) ’n Bespreking van die verhouding tussen die private (oikos) en openbare (polis) in antieke Griekeland. Hierdie tematiese bespreking dien dan as aanknopingspunt vir ’n bespreking van Aristoteles se deugde-etiek wat in die derde plek (afdeling 4) aan die beurt kom. In die laaste gedeelte van hierdie studie (afdeling 5) word gepoog om die verskeie temas soos behandel deur die Griekse tragedieskrywers, die politieke ruimte van die tragiese teater en Aristoteles se deugde-etiek, in gesprek te plaas met die estetiese en politieke implikasies van Gadamer se filosofiese hermeneutiek. Uiteindelik poog die studie om ‘n alternatief te formuleer op die gedepolitiseerde individu, wat in ons eie tyd ‘n probleem geword het. Teen die agtergrond kan dit verhelderend wees om te gaan kyk na hoe die klassieke tragedies, op die vooraand van Aristoteles se deugde-etiek, oor die kwessie van die verhouding tussen mens en samelewing nagedink het. Een van die punte wat hierdie werkstuk aanspreek, is dat die oorbeklemtoning van die individu in vandag se wêreld ʼn verlies aan tragiese wêreldbeskouing meebring, en dat dit ‘n verlies is wat die lewe van die individu en van die gemeenskap ten nouste raak. As alternatief word aangevoer dat die herstel van ’n holistiese, esteties-etiese lewensbeskouing tot groter politieke vervulling vir die mens kan lei as wat die eietydse mens beskore is. / Dissertation (MPhil)--University of Pretoria, 2014 / gm2015 / Philosophy / MPhil / Unrestricted