Esta dissertação, As formas dramáticas do cômico e do trágico em La Celestina, analisa quatro personagens da obra Tragicomedia de Calisto y Melibea ou La Celestina atribuida a Fernando de Rojas. A análise apresenta, a partir de leituras críticas e teóricas, elementos de comicidade e de tragicidade na trajetória das personagens Calisto, Centurio, Celestina e Melibea. O texto é composto de introdução, três capítulos e as considerações finais. Na Introdução, apresentamos um breve histórico das principais críticas instituídas à obra, principalmente, no que diz respeito ao seu gênero literário. No primeiro capítulo, procuramos apontar algumas das diversas formas de comicidade que propiciam o riso no comportamento das personagens Calisto e Centurio; no segundo, apresentamos os elementos pertencentes às teorias do trágico, em seu sentido clássico e moderno, que estão presentes ou se relacionam às ações de Melibea; no terceiro e último capítulo, do mesmo modo, indicamos os possíveis elementos trágicos no comportamento de Celestina. E por fim, as Considerações finais, nas quais, após análise, entendemos que as personagens masculinas, Calisto e Centurio, desempenham uma função cômica na obra, ao passo que as duas femininas, Celestina e Melibea, são responsáveis por grande parte dos aspectos trágicos da referida obra. / This dissertation examines four characters of the work Tragicomedia de Calisto y Melibea or La Celestina attributed to Fernando de Rojas. The analysis shows, from critical and theoretical readings, elements of comicality and tragic in the path of the characters Calisto, Centurio, Celestina and Melibea. The text consists of an introduction, three chapters and final considerations. In the Introduction, a brief history of the main comments attributed to the work is presented, primarily related to its literary genre. In the first chapter, we point out some of the various forms of humor which provide laughter in the behavior of the characters Calisto and Centurio; in the second chapter, we present the elements belonging to the theories of tragedy in its classical and modern sense, which are present or are related to the actions of Melibea; similarly, in the third and final chapter, we indicated the possible tragic elements in the behavior of Celestina. And finally, the closing comments, in which, after the analysis, we believe the male characters, Calisto and Centurio, play a comic role in the piece, while the two women, Celestina and Melibea, are responsible for most of the tragic aspects of the work.

No Renascimento, o surgimento de um senso histórico que pensava os antigos em seus termos próprios, e a ideia de que seria preciso imitar os antigos, não resultaram em apenas uma posição humanista, qual seja, aquela tendência que foi predominante e que enfatizava o poder da liberdade humana sobre os caprichos da Fortuna. Também surgiu um ponto de vista trágico, no qual se insere Maquiavel e que possuirá importantes aspectos comuns com a recuperação do trágico entre os alemães do século XIX. O ponto de vista trágico levou Maquiavel a pensar a república como arena institucional-legal que permite um equilíbrio tenso e criativo entre forças sociais opostas, capaz de canalizar as ambições para o bem comum, fazendo com que a vitalidade expansiva dos cidadãos colabore para a vitalidade expansiva da república. / In the Renaissance, the emergence both of a historical sense that made it possible to regard the Ancients according to their own standards, and of the notion that it would be necessary to emulate them resulted not only in a humanist attitude, i.e. the predominant disposition at that time, which emphasized the power of human freedom over the whims of Fortune. It also brought to light a tragic point of view, in which Machiavelli partakes, which will have important common traits with the retrieval of the tragic among the XIX century Germans. The tragic point of view lead Machiavelli to think the Republic as a legal-institutional arena which allows a taut and creative equilibrium between opposite social forces, capable of directing the aspirations for the common good, making the expansive vitality of the citizens collaborate with the expansive vitality of the Republic.

Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2017-04-03T14:00:22Z No. of bitstreams: 1 2016- Edmilson Moreira de Carvalho.pdf: 515540 bytes, checksum: 84c24075582e9a863a85af1a9a243938 (MD5) / Made available in DSpace on 2017-04-03T14:00:22Z (GMT). No. of bitstreams: 1 2016- Edmilson Moreira de Carvalho.pdf: 515540 bytes, checksum: 84c24075582e9a863a85af1a9a243938 (MD5) Previous issue date: 2016-04-28 / One of the main themes in the thinking of Nietzsche consists of his critique of the rationalism created by Socrates, which, to the detriment of the artistic form of treating life, establishes the predominance of science as the only generator of knowledge, therefore, of the truth. What he stands for is a tragic view of the world, in which art, with its characteristics, specially the appreciation of illusion and appearance, is the guider of life, including the knowledge itself. So, we see the author turn his thinking to the Pre-Socratic period, appreciating the thoughts of philosophers from that time, when life and art were not separated, since the instinct for knowledge had not spoiled them yet. The art among the Greek, specially tragedy, represents, to Nietzsche, the climax of this civilization, the will of living of these people, who, before knowing, wanted to live and who understood that knowledge must serve life, and not the other way around. Therefore, facing the issues through which his time goes, and identifying their causes in the Socratic rationalism, we see Nietzsche claim the return of a tragic era, which, following the Pre-Socratic format, would have art as its founder. / Um dos principais temas presentes no pensamento de Nietzsche consiste em sua cr?tica ao racionalismo criado por S?crates, que, em detrimento da forma art?stica de se tratar a vida, estabelece a predomin?ncia da ci?ncia como ?nica formadora de conhecimento, portanto, de verdade. O que ele defende ? uma vis?o tr?gica do mundo, na qual a arte, com suas caracter?sticas, principalmente a valoriza??o da ilus?o e da apar?ncia seja norteadora da vida, inclusive do pr?prio conhecimento. Ent?o, vemos o autor voltar seu pensamento para o per?odo pr?-socr?tico, valorizando o pensamento dos fil?sofos dessa ?poca em que a vida e a arte n?o se dissociavam, porque o instinto de conhecimento ainda n?o as havia contaminado. A arte entre os gregos, principalmente a trag?dia, representa para Nietzsche o apogeu dessa civiliza??o, a vontade de vida desse povo, que antes de conhecer queriam viver, e que entendiam que o conhecimento deve servir a vida e n?o o contr?rio. Assim, diante dos problemas pelos quais passa sua ?poca, e identificando suas causas no racionalismo socr?tico, vemos Nietzsche reclamar o retorno de uma era tr?gica, que nos mesmos moldes dos pr?-socr?ticos, teria a arte como fundadora

Este trabalho tem como objetivo investigar a configuração de uma visão trágica do mundo na obra do escritor Rubem Fonseca. Para isso, em cada um de seus quatro capítulos é analisado um conto considerado exemplar no que diz respeito a essa configuração. São eles Madona (de A coleira do cão, 1965), O pedido (de Feliz ano novo, 1975), Mandrake (de O cobrador, 1979) e Meu avô (de Pequenas criaturas, 2002). O título da dissertação foi escolhido com base nos três principais fatores dessa configuração que são encontrados nos contos e que, combinados, dão a esses textos sua dimensão trágica. / This study aims to investigate the configuration of a \"tragic perception of the world\" in the work of the writer Rubem Fonseca. To do so, in each of its four chapters a short story considered exemplar regarding this configuration is examined. They are Madona (from A coleira do cão, 1965), O pedido (from Feliz ano novo, 1975), Mandrake (from O cobrador, 1979) e Meu avô (from Pequenas criaturas, 2002). The title of this dissertation was chosen based on the three main aspects of this setting that are found in the short stories and that, combined, give these texts its tragic dimension.

Thesis (D. Min.)--Midwestern Baptist Theological Seminary, 2002. / Abstract. Includes bibliographical references (leaves 206-209).

Thesis (D. Min.)--Midwestern Baptist Theological Seminary, 2002. / Abstract. Includes bibliographical references (leaves 206-209).

Made available in DSpace on 2014-06-11T19:35:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-08-17Bitstream added on 2014-06-13T21:08:06Z : No. of bitstreams: 1 leal_lf_dr_assis.pdf: 843436 bytes, checksum: a3d77c798018e2d1ec7c7d89ee82584e (MD5) / Esta tese analisa dois romances queirosianos vinculados ao gênero dramático, mais especificamente ao trágico. No primeiro momento, busca-se levar a efeito considerações teóricas acerca do trágico, caracterizando a sua especificidade, tanto na origem, quanto no seu desenvolvimento ulterior. Nesta busca da peculiaridade do sentido do trágico, a atenção volta-se para a evolução do gênero da Antigüidade ao Tempo Cristão, do trágico grego ao trágico moderno. Assim, elementos como Hybris, Antinomias Radicais, Patético, Presságios, Trama e Incesto são considerados para, num segundo momento, os romances em estudo serem analisados. Nesse sentido, tanto em A Tragédia da Rua das Flores quanto em Os Maias poder-se-á perceber a hybris, desmedida, a conduzir à hamartia, erro trágico a determinar a destruição das personagens. Nas duas obras, discute-se a individualidade das personagens, focalizada de maneira a que se constatem polaridades radicais, todavia, em Os Maias, a personagem reage melhor às intempéries individuais e sociais, enquanto a personagem de A Tragédia da Rua das Flores sofre veementemente os conflitos entre o desejo individual e a expectativa da sociedade. Da mesma maneira, nos dois romances, o leitor defronta-se com cenas patéticas e enternecedoras; entretanto, é em A Tragédia da Rua das Flores que o sentimento de comoção pode ser experimentado em grau mais elevado. Em se tratando dos presságios, que predizem a dimensão trágica dos amores incestuosos, através de símbolos e sonhos premonitórios, eles são menos diretos em Os Maias, obra mais complexa, do que em A Tragédia da Rua das Flores. Já peripécia, reconhecimento e catástrofe são elementos da tragédia clássica perfeitamente aplicáveis aos dois romances queirosianos, uma vez que... / This thesis analyses two romances of Queirós linked to the dramatic genre, specifically to the Tragedy. At the first moment, the aim is to solve theoretical considerations about the Tragedy, characterizing its specificity at the point of origin, as it does in its later development. In this search of the Tragic sense's peculiarity, attention is turned from the evolution of Antiquity type to the Christian Era, from the Greek Tragedy to the Modern style. Therefore, elements like Hybris, Radical Antinomies, Pathetic, Presages, Plot and Incest are considered and, as a second step, they are used to promote the romances' analysis. In this sense, both in A Tragédia da Rua das Flores (The Tragedy of the Flowers' Street) as in Os Maias (The Maias), the excessive Hybris becomes noticeable, leading to the Hamartia, a tragic mistake determining the destruction of the characters. In both works, the characters' individuality is analyzed, focusing on radical polarities. However, in Os Maias, the character resists better to the individual and social catastrophes, while the character of A Tragédia da Rua das Flores suffers as a result of the conflicts between individual desire and society's expectation. In the same way, in both romances, the reader faces himself with pathetic and touching scenes. Nevertheless, in A Tragédia da Rua das Flores the feeling of distress is experienced in a higher level. Dealing with Presages, which predict the tragic dimension of incestuous loves, through symbols and premonitory dreams, which are less straight in Os Maias, most complex work than A Tragédia da Rua das Flores. Peripetia, recognition and catastrophe are elements of the Classic Tragedy perfectly applicable to both Queirós' romances, as soon as the development of the intrigue... (Complete abstract click electronic access below)

Ce travail se propose d'examiner la vision tragique des Grecs, en partant de son origine, Homère, pour voir ensuite comment elle se maintient, s'intensifie et parfois même se trouve abandonnée (chez Eschyle et Sophocle), puis se trouve enfin radicalement combattue par la théologie sotériologique de Platon. La vision tragique est une vision religieuse, structurée par la hiérarchie des destins -ceux des dieux, des héros, des hommes vivants et des habitants de !'Hadès. Entre la race des dieux et celle des hommes s'ouvre un abîme : les dieux ne sont pas mortels et les humains ne sont pas immortels. L'ingérence constante des dieux dans les affaires des hommes a le plus souvent comme résultat la souffrance, le malheur et la mort. Le monde d'après la mort est un lieu où les psychai demeurent, telles des ombres, inconscientes de leur propre existence et de celle des autres. Au cœur de cette vision, l'homme n'est pas libre et ne choisit pas, il n'est pas responsable de ses actes et ne mérite pas ce qu'il subit. Si l'on supprime une seule de ces quatre croyances fondamentales, ou si on assiste à une décision prise par un dieu bon, juste ou compatissant, on ne peut parler de vision tragique. Ce travail s'attache donc essentiellement aux textes où elle s'est exprimée dans toute sa pureté: Homère (L’Iliade), Eschyle (Les Perses), et Sophocle (Les Trachiniennes, Ajax, Antigone et Œdipe roi). Une attention particulière est portée aux mots qui la traduisent. Mais une vision différente s'oppose dès l'Odyssée et l'Orestie, vision anti-tragique qui trouve sa forme achevée dans la religion de Platon. La dernière partie de ce travail s'efforce d'en dégager les points principaux. Platon estime qu'il existe en l'homme un élément de nature divine et immortelle, d'où la substitution d'une théologie de la délivrance et de l'assimilation au divin à une théologie de la séparation. Le sage remplace le héros, ce n'est plus la mort glorieuse qui est une « belle mort» et qui doit être chantée, c'est celle de Socrate, le servant d'Apollon. Selon cette pensée philosophico-religieuse, l'homme est libre, il choisit et il est responsable, et mérite donc désormais les châtiments et les récompenses qui lui sont réservés. De plus, la théologie platonicienne est fondamentalement une théodicée: les dieux ne peuvent être que bons, l'origine du mal réside dans l'existence de deux âmes du Monde: une bonne et une mauvaise. Le message de la théologie tragique est la résignation devant le mystère. Platon se donne pour mission divine d'acheminer l'âme vers le salut, et, avec cette théologie anti-tragique, il crée un lien différent entre les dieux, les sages, les hommes, le destin, l'après-mort et la psychè. / This work proposes to examine the tragic vision of the Greeks, going back to its origins, i.e. Homer, in order to see how it is maintained, intensifies, and even finds itself abandoned (in Aeschyluses work or in Sophocleses one). Then we'II see how this vision was completely defeated by Plato's soteriological theology. The tragic vision is a religious vision, structured by the hierarchy of the Fates -Those of the gods, heroes, living men, and the inhabitants of Hades. Between the race of gods and that of humans there is an abyss: the gods are not mortal and humans are not immortal. The constant meddling of the gods in the affairs of humans most often results in suffering, unhappiness, and death. The world after death is a place where souls reside, that of shadows, unconscious of their own existence and the existence of others. At the heart of this vision, man is not fee and does not choose; he is not responsible for his acts and does not deserve what he undergoes. If one suppresses one of these four fundamental beliefs, or if one assists in a decision 111ade by a good, fair, or compassionate god, one cannot speak of tragic vision. Therefore, this work focuses essentially on the texts where it is expressed in all of its purity: Homer (The Iliad), Aeschylus (The Persians), and Sophocles (The Trachiniae, Ajax, Antigone, and Oedipus the King). Particular attention is given to the words that translate it. But a different vision opposes from the Odyssey and Oresteia, an anti-tragic vision which finds its form completed in the religion of Plato. The last part of this work strives to bring out the principal points. Plato assesses that there exists in man an element of divine and immortal nature, hence the substitution of a theology of deliverance and the assimilation to the divine with a theology of separation. The sage replaces the hero, it is no longer the glorious death that is a “beautiful death" and which must be chanted, it is that of Socrates, the servant of Apollo. According to this philosophico-religious thought, man is fee, he makes choices, and he is responsible, and thus deserves from this time forward the punishments and rewards that are in store for him. Furthermore, Platonic theology is fundamentally a theodicy: the gods can only be good, the origin of evil resides in the two souls of the World: the good and the bad. The message of tragic theology is the resignation to the mystery. Plato takes on as a divine mission moving the soul towards salvation, and with this anti-tragic, he creates a different link between the gods, the sages, men, destiny, the afterlife and the psyche.

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)

No Renascimento, o surgimento de um senso histórico que pensava os antigos em seus termos próprios, e a ideia de que seria preciso imitar os antigos, não resultaram em apenas uma posição humanista, qual seja, aquela tendência que foi predominante e que enfatizava o poder da liberdade humana sobre os caprichos da Fortuna. Também surgiu um ponto de vista trágico, no qual se insere Maquiavel e que possuirá importantes aspectos comuns com a recuperação do trágico entre os alemães do século XIX. O ponto de vista trágico levou Maquiavel a pensar a república como arena institucional-legal que permite um equilíbrio tenso e criativo entre forças sociais opostas, capaz de canalizar as ambições para o bem comum, fazendo com que a vitalidade expansiva dos cidadãos colabore para a vitalidade expansiva da república. / In the Renaissance, the emergence both of a historical sense that made it possible to regard the Ancients according to their own standards, and of the notion that it would be necessary to emulate them resulted not only in a humanist attitude, i.e. the predominant disposition at that time, which emphasized the power of human freedom over the whims of Fortune. It also brought to light a tragic point of view, in which Machiavelli partakes, which will have important common traits with the retrieval of the tragic among the XIX century Germans. The tragic point of view lead Machiavelli to think the Republic as a legal-institutional arena which allows a taut and creative equilibrium between opposite social forces, capable of directing the aspirations for the common good, making the expansive vitality of the citizens collaborate with the expansive vitality of the Republic.