Thesis (Ph.D.)--McMaster University, 2005. / Advisor: W. J. Slater. Includes bibliographical references (p. 172-184). Also available online.

Thesis--University of Chicago, 1912. / Includes bibliographical references.

Based on author's thesis. / Description based on print version record. Includes bibliographical references (p. 225-238) and index.

Thesis (doctoral)--Academia Georgia Augusta, 1914.

In Poetics, Aristotle defines lexis as being the “language” of tragedy, and this language is one of the elements of tragedy that creates the mimetic representation. As Aristotle literally describes of the words of tragic composition as “doing” something, I consider lexis as an equivalent to J.L. Austin’s locutionary function of language, and the creation of the mimetic representation as the illocutionary. Aristotle’s conception of tragic composition requires a rigid understanding of the tragic form and its proper deployment as he leaves no room for perlocution, and so I also employ Jan Mukařovský’s theory of intentionality/unintentionality in art to explain how a play such as Euripides’s Electra may be understood as a product of the literary culture in which it arose. I then review historical trends of translating Greek tragedy into English to establish how modern translation is moving further away from reverence to the lexis of tragedy. Finally I address the various sections of Electra, a play with an almost non-existent performance record in English, to establish how I may respect the original lexis in my own translation, thereby imparting a (hopefully) similar effect on a modern audience.

In this dissertation, I consider Euripides’ tragedies of 415 (Alexandros-Palamedes-Troiades) and 412 (Helen-Andromeda), and books 6-8 of Thucydides’ Histories (on 416/15-411), with attention to particular thematic elements in each text. These include: ritual and religious impiety; infighting and power struggles between the upper-classes; and personal or collective abandonment to erotic impulses. I propose that during the period in question (or when writing about the period in question, in Thucydides’ case), both authors place novel emphasis on the combined effect of all three elements. This novelty expresses itself in two major ways. First, the authors treat religious indecorum, aristocratic jockeying, and erotic impulsivity as a set, with a consistency that exists neither in Euripides’ previous works, nor in Thucydides’ Histories 1-5. Second, both authors develop a particular vocabulary for these religious and socio-political struggles. Thucydides introduces new terms, or prefers alternative definitions for some that he regularly employs. The result is a section of text that is at once consistent with the material that precedes it, yet outstanding for its peculiar thematic and verbal elements. The focused consistency of Euripides’ thematic and verbal choices in his trilogy of 415 supports the argument that the tragedies of this year must be read as an interdependent set, in which the first two works hold the keys to the content and reading of the third. In his works of 412, choice terms signal Euripides’ unique engagement with the mythical tradition; choice themes link Helen and Andromeda while separating them from Euripides’ other works. My aim in considering these innovations is to offer a fresh way into a wide-ranging conversation regarding Euripides’ and Thucydides’ shared historical context and the similarities between their respective texts. A focused perspective calls attention to the exceptionality of the narrative subset in question, the perception of which can be dulled by generalizing, comprehensive approaches. Euripides and Thucydides appear to have shared certain literary sensibilities that set them in close alignment with one another — and apart from their contemporaries — as men whose contributions to the broader literary landscape were remarkable for the precise features of their construction and expression. / 2020-10-08T00:00:00Z

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[pt] Esta tese investiga a passagem histórica da antiga questão do sentido da tragédia para a contemporânea constatação de uma tragédia do sentido no drama, culminando na discussão filosófica sobre a ruína da forma dramática tradicional em obras do final do século XIX até meados do XX - em especial, no caso de Samuel Beckett. / [en] This thesis investigates the historic passage from the old issue of the Meaning of Tragedy to the contemporary finding of a Tragedy of Meaning in drama, culminating in the philosophic discussion about the ruin of traditional dramatic form in the works of the late nineteenth until the mid-twentieth century in particular, in the case of Samuel Beckett.

Tomando a ética como um modo de se conduzir que se constitui, a um só tempo, da relação que estabelecemos com o outro, por intermédio da relação que tecemos conosco mesmos, procuramos abordar no presente trabalho a temática dos enlaces e desenlaces constituintes do viver-junto. Duas interrogações nos acompanham: como o indeterminado atravessa nossa experiência e sob que condições somos convocados a responder pelos efeitos imprevisíveis das ações que protagonizamos. Para contornar este problema de pesquisa, encetamos um caminho duplo. Um deles parte de narrativas de um percurso escolar trilhado no decurso de oito anos em escolas da rede pública estadual do município de Porto Alegre. Tais narrativas estão referidas a uma coleção de acontecimentos não-lineares entornados da matéria mais ínfima da experiência pedagógica onde o critério escolhido para narrá-las não foi outro senão a intensidade com que produziram um certo desassossego e desalojamento em sua narradora – único modo encontrado de dar um registro simbólico às cenas ali testemunhadas. O outro caminho encetado diz respeito a um percurso investigativo, teórico-conceitual onde procuramos situar nosso problema de pesquisa através de uma releitura da obra de Aristóteles, em especial, de sua Ética a Nicômaco, buscando fazer jus ao modo como o filósofo evoca e ocupa-se dos impasses éticos em seu tempo. Seguindo esta via, procuramos realizar uma interlocução com o campo da psicanálise, em especial, com o modo como Lacan dedica-se a recolher alguns elementos ensejados no pensamento aristotélico procurando interrogá-los e contornar a questão do homem e da relação que este estabelece com sua própria ação. Esta articulação toma o seminário em que trata Sobre a Ética da Psicanálise, como um importante ponto de interlocução. Nossa escolha por escrever um trabalho de dissertação que segue uma via dupla justifica-se no modo como nossa questão investigativa se faz operante na própria estrutura que imprimimos ao nosso texto, na fenda que se abre entre experiência e reflexão teórica e que sinaliza certa impossibilidade de efetuar a passagem de uma trilha para a outra sem ter de contabilizar as perdas que esta transposição nos convoca a responder. Assim, procuramos sustentar nosso problema de pesquisa desdobrando-o em três capítulos: no primeiro, trabalhamos com as temporalidades do possível, do necessário e do acaso no sentido de pensá-la como instâncias que condicionam a ação humana e que restringem o poder do agente de determinar sobre tudo o que lhe acontece; no segundo, avançamos no sentido de pensar a respeito de pretensas posições ocupadas em arranjos circunstanciais nas quais o agente acaba sendo investido de um suposto domínio sobre sua conduta, sobre o contexto do qual participa e sobre a conduta daqueles que o entornam; por fim, no último capítulo de nosso trabalho, procuramos tratar da dimensão trágica da existência explorando as relações entre ação e transmissão simbólica. / This work presents the connections and disconnections that are developed through relationships and by living together based on an understanding of ethics both as the way we conduct ourselves and are constituted that are woven together to form who we really are. There are two fundamental questions in this work: how the indeterminate affects our experience and under what conditions we are called on to respond to the unpredictable effects of our actions. In order to address these research questions we employed a two-prong approach that sustains, rather than resolves, the tension between theory and experience. One way is based on eight years of narratives from the state public schools in the city of Porto Alegre. These narratives are based on a collection of specific non-linear teaching experiences. In order to symbolically register the particular scenes in these testimonies, the narratives were chosen based on their intensity and whether they decentered or produced restlessness in the narrator. The second approach is the investigative process. We placed our research within theoretical concepts based on a re-reading of Aristotle, particularly Neomachean Ethics, in order to do justice to the ethical dilemmas of his time. We make a psychoanalytical intervention, using Lacan’s articulation of dialogue that was presented in his seminar The Ethics of Psychoanalysis, to utilize elements of Aristotle’s ideas to question the relationship between man and his own actions. Our desire to operationalize the work that we do in this text led us to employ this two-pronged approach. We create an opening between experience and theoretical reflection, which signals the impossibility of going from one to the other without accounting for the losses that this transition creates. This work is divided into three chapters. In the first chapter, we work with temporalities of the possible, the necessary and chance as instances that condition human action and diminish the power of the agent to determine exactly what will happen to him. The second chapter advances this by exploring the alleged positions occupied in circumstantial arrangements in which the agent is supposedly invested in the domination of his own conduct, the context in which participation occurs, and the conduct of those who surround him. The final chapter of this work addresses the tragic dimension of existence by exploring existing relationships between action and transmission.

MORENO FILHO, José William Moreira. A Transvaloração dos valores em O nascimento da tragédia. 2008. 116f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2008. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-10-02T13:47:10Z No. of bitstreams: 1 2008_dis_jwmmorenofilho.pdf: 649094 bytes, checksum: 986ba2ec8811ece7ab173281a1fac2e3 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-10-04T15:39:59Z (GMT) No. of bitstreams: 1 2008_dis_jwmmorenofilho.pdf: 649094 bytes, checksum: 986ba2ec8811ece7ab173281a1fac2e3 (MD5) / Made available in DSpace on 2017-10-04T15:39:59Z (GMT). No. of bitstreams: 1 2008_dis_jwmmorenofilho.pdf: 649094 bytes, checksum: 986ba2ec8811ece7ab173281a1fac2e3 (MD5) Previous issue date: 2008 / The major purpose of the present study is to make explicit the possible presence of a revaluative approach in Nietzsche’s first published work, The birth of tragedy. That book brings, according to the philosopher, the first signs of his mature central conception: the revaluation of all values, that is, the birth of a new consciousness and new values. In the late period of his philosophical works, such as Ecce homo, Twilight of idols and Attempt of self-critique, Nietzsche points out to that intention of a reformulation of his initial conceptions. That is to say, he declares that The birth of tragedy was his first revaluation of all values. If we mainly focus on his early (1872 – 1875) as well as his late (1886 – 1888) philosophical works, we can find throughout the relation between art and knowledge in what sense the revaluation of all values is to be conceived. It is on art, more specifically on the art of tragedy that Nietzsche sees a positive way for human existence, since art makes life become positive. If mankind adopted a way of life guided by its own artistical powers, it could recognize its proper skills either to create or to destroy moral values, becoming able of promoting a radical change of predominant moral values, that is, a revaluation of all values. Nevertheless, the belief of an unlimited knowledge, which the unartistic tendency inherited from the aesthetic socratism opposes the offspring of a new tragic (artistic) approach. That belief erroneously over-estimates rationality as it were able to solve all enigmas of life. Therefore, The birth of tragedy brings the very foundations of Nietzsche’s late philosophy, since one can find in that work the most important issues of his thought: the critique of an exaggerated rationality initiated by an unartistic tendency named aesthetical socratism; the apology of a tragic wisdom (dionisiac), which will only be apprehended by art. Nietzsche’s struggle, therefore, aimed to call modern mankind’s attention, witch inherited aesthetic socratism, to realize the decadence of a lifestyle guided by unartistic tendencies; he also pointed out that only throughout an artistic existence mankind would be able to overcome decadent values. In that sense, art is Nietzsche’s affirmative proposal in The birth of tragedy which will be maintained in his latest philosophy. That is because it is only by that first work that the philosopher would be able to propose a revaluation of all values in his final work, by means of which life would be toned up in order to become positive. / A proposta deste trabalho tem como objetivo central explicitar a presença de um caráter transvalorativo na primeira obra publicada por Nietzsche: O nascimento da tragédia. Esta traz embrionariamente, segundo o próprio filósofo, o que seria mais tarde o objetivo central de toda sua filosofia: a transvaloração de todos os valores, isto é, o nascimento de um novo parâmetro de avaliação, de novos valores. Nietzsche, em textos de seu último período filosófico como Tentativa de autocrítica, Crepúsculo dos ídolos e Ecce Homo, [aponta para essa intenção de redimensionamento de suas teses iniciais; ou seja,] alega que O nascimento da tragédia foi a sua primeira Transvaloração de todos os valores. Focando exclusivamente em textos escritos na sua juventude (1872 – 1875) e maturidade (1886 – 1888) filosófica, a relação entre arte e conhecimento, nos períodos apontados, indicará em que sentido a transvaloração deve seguir. É na arte, mais precisamente na arte trágica, que Nietzsche vislumbra uma existência positiva, no sentido de que a arte afirma a vida. O homem, assumindo uma vida artística, ou seja, reconhecendo-se como criador e destruidor de valores, torna-se capaz de promover uma mudança radical nos valores vigentes, uma transvaloração dos valores. Entretanto, a crença no conhecimento ilimitado, que a tendência inartística do socratismo engendrou em nossa sociedade moderna, obsta a vinda de uma nova era trágica (artística). Essa crença supervaloriza a razão dotando-a, segundo Nietzsche, erroneamente da capacidade de desvendar os enigmas da vida. Assim, O nascimento da tragédia traz em si as bases da filosofia tardia nietzschiana, pois nela já se encontram temas de extrema importância do seu filosofar, são eles: crítica à razão exacerbada iniciada por uma tendência inartística denominada de socratismo (estético e teórico) e a apologia a uma sabedoria trágica (dionisíaca), a qual só pode ser aprendida através da arte. A luta de Nietzsche é, portanto, alertar o homem moderno, herdeiro do socratismo, o quanto a vida guiada por essa tendência inartística é decadente; é mostrar que só através de uma existência artística o homem seria capaz de superar valores decadentes. A valorização da arte é a proposta afirmativa de Nietzsche em O nascimento da tragédia que será retomada em sua filosofia derradeira, pois é somente por meio dela que uma transvaloração de todos os valores se tornará possível e, consequentemente, a vida será tonificada e afirmada.