This study examines how the concept of tragedy has been introduced and has negotiated itself into modern Chinese literary discourse during a time period of thirty-two years from 1917 to 1949. Taking into consideration the simultaneous development of a modern Chinese literary tradition, this study concentrates on the relationship between the discourse on one particular genre and the discourse on literature as a whole during the process of reception of an alien literary concept and its influence on indigenous literature. Modern Chinese intellectuals interpret the concept of tragedy from two main aspects: one is in the theatrical domain where tragedy functions as a dramatic form closely related to the emergence of a new genre in Chinese literature, namely, the spoken drama (huaju); the other is in the aesthetic domain where tragedy (or more specifically, the tragic) operates as a literary or philosophical idea and offers possibilities for the development of this notion in non-dramatic literature. This dual-focus approach is fundamental in the formation of a modern Chinese discourse on tragedy, as a paralleled line of arguments concerning these two aspects remains visible in the modern period. The major influence from foreign intellectual tradition on modern Chinese perception of tragedy takes the shape of two pairs of different perspectives, namely, literary utilitarianism and literary aestheticism in theoretical discussions, corresponding to realism and romanticism in literary creativity. These two pairs of perspectives set the tone for modern Chinese understanding of the concept of tragedy: literary utilitarianism and literary aestheticism focus respectively on the foremost importance of tragedy’s practical utility in social progression, or of tragedy’s aesthetic function to offer emotional cleansing to the audience; realism and romanticism debate the intricate relation between tragedy and social reality that besieged several generations of writers throughout the Republican era. It is noticeable that these viewpoints have not developed in a balanced way, as a pragmatic realist perspective has prevailed in both theory and practice, while the aesthetic/romantic pursuit being either rejected or incorporated into the ultimate thematic concern with social reformation and national salvation. This study abstracts the idea of the tragic from its dramatic form in examining the cross-genre and multidisciplinary development of the concept of tragedy in modern Chinese literary tradition. The main body of the thesis contains four chapters. The first chapter sets the scope of this study by clarifying several terminologies that are key to approach the long-lasting debates on whether there is a Chinese tragedy in 20th-century Chinese literary discourse. The second chapter focuses on the period of the New Culture Movement from 1917 to 1927, when the counter-traditional and iconoclastic agenda dominates the overall literary field and associates tragedy largely with literature’s functional role in social criticism. The third chapter examines theories and writings produced from 1928 to 1937, when the perspective of pragmatic realism prevails the reading of the tragic due to the strengthened connection between literature and politics. The fourth chapter centres on the wartime literary expression of the tragic from 1937 to 1949, when the Anti-Japanese War homogenises the literary subjects with an overt and unified political theme to inspire the people with optimism and fighting spirit. By exploring the possible factors that differentiate modern Chinese tragic perception from its foreign counterparts, this study investigates and demonstrates the constant interplay among several cultural, social, and political factors in affecting the formation of a modern critical discourse on tragedy.

Thesis (Ph. D.)--Universität Hamburg, 1928. / Vita. Includes bibliographical references (p. 144-145).

O objetivo desta tese é investigar de que modo o Contemporâneo fala através da arte cinematográfica, ou seja, pergunta-se, na dobra do tempo do agora, sobre o que há para ser visto e afirmado na vida contemporânea através do cinema. Essa pesquisa utilizou-se dos pressuspostos teóricos-epistêmicos do aporte existencial e trágico, com obras de Nietzsche, Clément Rosset, Rogério de Almeida, Beccari e Oliveira. Para mapear os modos como o contemporâneo tem sido evocado pelo cinema, usou-se a metodologia qualitativa de inspiração deleuziana, da cartografia e mapeamentos em platôs estéticos-discursivos. Foram delineados três a partir de uma vasta revisão fílmica operada principalmente nos últimos dez anos (2008-2017): (1) platô distópico, analisado por meio do filme Holy Motors (2012); (2) platô ilusório, trazido pelo filme O Duplo (2013) e (3) platô trágico, iluminado pela obra A Grande Beleza (2013). A partir de uma descrição fílmica cuidadosa e pela ótica da hermenêutica trágica, inspirada na obra de Beccari, constatou-se que o cinema tem mostrado o Contemporâneo por diversas matizes e forças, o que reverbera no modo de se pensar o homem e seus modos plurivocais de vida no mundo atual, seja no horizonte educacional ou quaisquer outros. / This thesis aims to investigate how the Contemporary speaks through cinematographic art, that is, it is questioned in the present about what is to be seen and affirmed in contemporary life through the cinema. This research made use of the theoretical and epistemic presuppositions of tragic thinking, with works by Nietzsche, Clément Rosset, Rogério de Almeida, Beccari and Oliveira. In order to evaluate the ways in which the contemporary has been evoked by the cinema, the methodology used was qualitative of Deleuze inspiration, cartography and mappings in aesthetic and discursive plateaus. Three films were drawn from a broad film review mainly carried out over the last ten years (2008-2017): (1) dystopic plateau, analyzed through the Holy Motors film (2012); (2) illusory plateau, studied by the film The Double (2013) and (3) tragic plateau, through the analysis of the work The Great Beauty (2013). From a careful film description and from the perspective of tragic hermeneutics, inspired by Beccari\'s work, it has been observed that cinema has shown the Contemporary by various shades and forces, which has repercussions on the way one thinks about man and his manners plurivocals of life in the world today.

O objetivo desta tese é propor um aporte teórico-filosófico vale dizer, uma filosofia do design que possa, de um lado, dimensionar a dinâmica dos processos simbólicos mediados pelo design e, de outro, situar a experiência estética articulada por esses processos. Os instrumentos de orientação utilizados foram as obras de Nietzsche, Clément Rosset, Paul Ricoeur, Rogério de Almeida e Mario Perniola, entre outros autores, além de obras literárias e cinematográficas, convocadas a ilustrar a noção de hermenêutica trágica, inaugurada neste trabalho. Tais instrumentos foram operados metodologicamente por meio de revisão bibliográfica (modalidade básica de pesquisa), guiando-se pela hermenêutica simbólica (Ricoeur). A discussão delineada em três capítulos (Filosofia do design, Filosofia trágica e Hermenêutica trágica) visa apresentar, no quarto capítulo (Design como articulação simbólica), aspectos de uma articulação simbólica operada pelo design e da qual se vale o olhar contemporâneo para compreender o mundo e para nele atuar. / This thesis aims to propose a theoretical and philosophical supply that is, a philosophy of design which can, on the one hand, to scale the dynamics of symbolic processes mediated by design and, on the other, to place the aesthetic experience articulated by these processes. The orientation tools were the works of Nietzsche, Clément Rosset, Paul Ricoeur, Rogério de Almeida, Mario Perniola, among others, in addition to films and literary works, convened to illustrate the notion of \"tragic hermeneutic\", inaugurated in this thesis. These instruments were methodologically operated through literature review (basic mode of research) and guided by the symbolic hermeneutics (Ricoeur). The discussion delineated in three chapters (\"Philosophy of design,\" \"Tragic philosophy\" and \"Tragic hermeneutics\") aims to present, in the fourth chapter (\"Design as symbolic articulation\"), some aspects of a symbolic articulation operated by design and by which the contemporary view takes to understand the world and to act on it.

O objetivo desta tese é investigar de que modo o Contemporâneo fala através da arte cinematográfica, ou seja, pergunta-se, na dobra do tempo do agora, sobre o que há para ser visto e afirmado na vida contemporânea através do cinema. Essa pesquisa utilizou-se dos pressuspostos teóricos-epistêmicos do aporte existencial e trágico, com obras de Nietzsche, Clément Rosset, Rogério de Almeida, Beccari e Oliveira. Para mapear os modos como o contemporâneo tem sido evocado pelo cinema, usou-se a metodologia qualitativa de inspiração deleuziana, da cartografia e mapeamentos em platôs estéticos-discursivos. Foram delineados três a partir de uma vasta revisão fílmica operada principalmente nos últimos dez anos (2008-2017): (1) platô distópico, analisado por meio do filme Holy Motors (2012); (2) platô ilusório, trazido pelo filme O Duplo (2013) e (3) platô trágico, iluminado pela obra A Grande Beleza (2013). A partir de uma descrição fílmica cuidadosa e pela ótica da hermenêutica trágica, inspirada na obra de Beccari, constatou-se que o cinema tem mostrado o Contemporâneo por diversas matizes e forças, o que reverbera no modo de se pensar o homem e seus modos plurivocais de vida no mundo atual, seja no horizonte educacional ou quaisquer outros. / This thesis aims to investigate how the Contemporary speaks through cinematographic art, that is, it is questioned in the present about what is to be seen and affirmed in contemporary life through the cinema. This research made use of the theoretical and epistemic presuppositions of tragic thinking, with works by Nietzsche, Clément Rosset, Rogério de Almeida, Beccari and Oliveira. In order to evaluate the ways in which the contemporary has been evoked by the cinema, the methodology used was qualitative of Deleuze inspiration, cartography and mappings in aesthetic and discursive plateaus. Three films were drawn from a broad film review mainly carried out over the last ten years (2008-2017): (1) dystopic plateau, analyzed through the Holy Motors film (2012); (2) illusory plateau, studied by the film The Double (2013) and (3) tragic plateau, through the analysis of the work The Great Beauty (2013). From a careful film description and from the perspective of tragic hermeneutics, inspired by Beccari\'s work, it has been observed that cinema has shown the Contemporary by various shades and forces, which has repercussions on the way one thinks about man and his manners plurivocals of life in the world today.

O objetivo desta tese é propor um aporte teórico-filosófico vale dizer, uma filosofia do design que possa, de um lado, dimensionar a dinâmica dos processos simbólicos mediados pelo design e, de outro, situar a experiência estética articulada por esses processos. Os instrumentos de orientação utilizados foram as obras de Nietzsche, Clément Rosset, Paul Ricoeur, Rogério de Almeida e Mario Perniola, entre outros autores, além de obras literárias e cinematográficas, convocadas a ilustrar a noção de hermenêutica trágica, inaugurada neste trabalho. Tais instrumentos foram operados metodologicamente por meio de revisão bibliográfica (modalidade básica de pesquisa), guiando-se pela hermenêutica simbólica (Ricoeur). A discussão delineada em três capítulos (Filosofia do design, Filosofia trágica e Hermenêutica trágica) visa apresentar, no quarto capítulo (Design como articulação simbólica), aspectos de uma articulação simbólica operada pelo design e da qual se vale o olhar contemporâneo para compreender o mundo e para nele atuar. / This thesis aims to propose a theoretical and philosophical supply that is, a philosophy of design which can, on the one hand, to scale the dynamics of symbolic processes mediated by design and, on the other, to place the aesthetic experience articulated by these processes. The orientation tools were the works of Nietzsche, Clément Rosset, Paul Ricoeur, Rogério de Almeida, Mario Perniola, among others, in addition to films and literary works, convened to illustrate the notion of \"tragic hermeneutic\", inaugurated in this thesis. These instruments were methodologically operated through literature review (basic mode of research) and guided by the symbolic hermeneutics (Ricoeur). The discussion delineated in three chapters (\"Philosophy of design,\" \"Tragic philosophy\" and \"Tragic hermeneutics\") aims to present, in the fourth chapter (\"Design as symbolic articulation\"), some aspects of a symbolic articulation operated by design and by which the contemporary view takes to understand the world and to act on it.

Thesis (Ph.D.)--McMaster University, 2003. / Advisor: Zdravko Planinc. Includes bibliographical references (leaves 347-362). Also available via World Wide Web.

Text in German / Friedrich Durrenmatt hat die meisten seiner Dramen als Komodien oder Tragikomodien bezeichnet, da er davon uberzeugt war, daB es unmoglich sei, in der heutigen Zeit noch Tragodien zu schreiben. Diese Arbeit versucht am Beispiel einiger dramatischer Werke Durrenmatts zu zeigen, daB der Autor der "Physiker", der "Panne" und anderer Stucke, vor allem des "Besuchs der alten Dame", in weit hoherem MaBe der griechischen Tragodie verpflichtet war, als er erkannte oder zugeben wollte / Friedrich Durrenmatt has described most of his dramas either as comedies or as bitter comedies for he firmly believed that it was not suitable to write tragedies in our modern times. This paper was written to prove with the help of a few examples that the author of "The Physicists", "The Puncture" and others especially "The Visit" - was more bound to the classical Greek form of tragedy than he recognized or admitted / Linguistics and Modern Languages / M.A. (German)

The goal of this thesis is to analyze five selected novels of the Norwegian modern literature in terms of the theory of tragedy. The thesis focuses on four basic aspects of the topic. First, we are trying to capture and describe the concept of tragic in general. This is done with help of theories of the tragic that: 1) are generally considered significant in the area of tragedy 2) are interesting in connection with the interpretation of the novels chosen for this thesis. Secondly, we are trying to describe main topics that could help us to identify and investigate the tragic in the above mentioned works. After this, the thesis brings a closer analysis of the novels with regard to the previously described theories. It also focuses in this connection on some additional characteristics of tragedy, as well as more theories connected to the tragic area. Furthermore, these analyses lead to repeated encounters of various interpretations of classical and modern features of tragedy. The conclusion of the thesis points out the most significant features of the analyzed works that form, according to my opinion, the tragic basis in the novels (in this context, the thesis compares the five chosen novels with each other, thus showing that one of them differs from the rest). As a result, I come to the conclusion...

Le tragique semble être au coeur de la littérature contemporaine. En effet, la mort de la tragédie classique ne signifie pas la disparition du tragique. Au contraire, celui-ci survit et prend de nouvelles formes. C'est précisément cette "nouvelle forme" que nous analysons dans notre thèse intitulée "L'oeuvre de Marguerite Duras ou l'expression d'un tragique moderne". L'oeuvre durassienne participe de ce que Jean-Marie Domenach nomme "le retour du tragique". Notre étude porte sur la vision tragique de Duras. Elle examine aussi l'évolution du tragique durassien en le comparant souvent au tragique antique. Nous essayons, également, les rapports complexes qui existent, chez Duras, entre le tragique et le comique. Nous tentons, en outre, de voir comment Duras réussit à dépasser ce tragique moderne en développant une esthétique du détachement / The tragic seems to be at the heart of contemporary literature. Indeed, the death of the tragedy does not mean taht the tragic has disappeared. On the contrary, the latter has survived and has taken on new forms. It is pricesely this "new form" that we analyze in our thesis entitled "The work of Marguerite Duras or the expression of a modern tragic". Duras' work is part of what Jean-Marie Domenach names "the return of the tragic". Our thesis studies Duras' vision of the tragic. It also examines the evolution of this tragic as we compare it with the tragic of the Antiquity. We also try to study the complex link between the tragic and the comic in Duras' work. We attempt to inderstand how Duras succeeds in surpassing the modern tragic as she develops an aesthetic of detachment