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Readers of Homer’s Iliad immediately confront the anger of Achilles; the first word of the poem, μῆνις, forefronts the hero’s godlike wrath. Yet little attention has been paid to the important relationship that exists between Achilles’ anger and his grief. In this dissertation I identify language in the poem unique to Achilles, linking his grief for Patroklos with a longing, ποθή. The most important interpretive consequence of this link between ποθή and grief, I argue, is the proper understanding of the insatiable roots of his subsequent anger. Achilles experiences the death of Patroklos as a rending of the fabric of his life. In this state of restless volatility, we see that Achilles’ anger is one more response to an underlying experience of rupture and thus is both aimless and fruitless. Although Achilles succeeds in ensuring the future sack of Troy by killing Hektor, his behavior remains insatiate, since his deeds of anger are motivated by a desire for what cannot be achieved, life shared with Patroklos. The persistence of his attempted vengeance beyond the slaying of Hektor reveals the futility of his underlying longing, such that, according to the poem, the only end he can make of his grief-driven anger, finally, is to let it go. The Trojans’ grief for Hektor is never described with the language of longing, and this surprising exclusion underscores the contrast between Achilles and Hektor. Where Achilles has a uniquely independent status, Hektor is continuously tied to the city as a whole and part of a rich network of close relations. Rather than exploring the rupture of a single, highly personal relationship, perhaps typical of a warrior far from home many years, with Hektor’s death the poem depicts the impending destruction of an entire civilization. Thus every expression of grief for this warrior refers not only to personal loss but to the multiple relationships that will be impacted by his death. The Trojans’ grief for their defender cannot linger on the sense of rupture in the present, but rather their grief is shaped by a forward-looking sense of doom. / 2022-07-31T00:00:00Z

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Ni réquisitoire ni plaidoyer pour la vengeance, la présente recherche part d’une butée dans la clinique : la parole de vengeance entendue dans le cadre thérapeutique. Redécouvrant que son traitement fait acte de civilisation, nous montrons qu’elle est avant tout un enjeu de structure sur le plan psychique permettant de nouer les registres de l’imaginaire et du symbolique. L’élaboration théorique ici construite est confrontée à une clinique analysée jusque dans ses ressorts transférentiels, là où, encore, la vengeance peut ne pas être absente. La parole de vengeance, dans le cadre clinique, engage le sujet dans le temps et dans son rapport à l’Autre. L’entendre, c’est permettre une régénération de l’ordre social et symbolique. Et en ce domaine, les enjeux dans la postmodernité sont d’importance ! / This reseach project is neither an indictment nor a means of defending acts of vengeance, but rather the result of a problem in clinical practice: what to do about the words, even threats of vengeance heard in the context of therapy. Byrediscovering psychological treatment as a civilised response, we aim to show that what is at stake is above all the way the psyche is structured so as to permit the patient to come into contact with the domain of the imaginary and the symbolic. Thetheoretical framework we elaborate here is obliged to confront a clinical practice, where all motivations for transference are analysed in depth and where, yet again, the desire for vengeance may well be present. Words or threats of vengeance, in the clinical context, commit the patient to a longterm process and to a certain relationship to the big Other. Hearing this enables the social and symbolic order to be reborn. And this is where our postmodern categories of thought have an important role to play!

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[pt] A reciprocidade é um tema clássico nos estudos antropológicos, mais frequentemente abordada mediante perspectivas positivas de interação, como a troca de favores e dádivas; no entanto, a violência motivada pela troca de hostilidades e ofensas revela uma parte negativa, que insistimos em recalcar: os ciclos de vingança, as desforras. Tendo em vista entender vingança e honra enquanto elementos culturais, este trabalho procura diagnosticar como tais aspectos estão inseridos em um contexto de reciprocidade violenta, sobretudo na realidade brasileira. Para tal, examinaremos dentre outros fatores as lutas de famílias, o banditismo social, a relação entre os poderes público e privado ao longo da história e as representações culturais que simbolizam e reconstroem vingança e vingador no imaginário popular brasileiro. / [en] Reciprocity is a classical theme among anthropological studies, more frequently considered under positives perspectives of interaction, as the exchange of favors and gifts; however, the violence motivated by the exchange of hostilities and offenses reveals a negative part, strongly repressed: the cycles of revenge, the retaliations. Aimed at understanding vengeance and honor as cultural elements, this work seeks to diagnose how these aspects are inserted in a context of violent reciprocity, especially in Brazilian reality. Therefore, we will examine the blood feuds, the social banditism, relations between public and private powers throughout history and cultural representations that symbolize and helped to forge vengeance and avenger at people s imagination.

Ce travail doctoral s'intéresse au phénomène de vengeance du consommateur insatisfait sur Internet et l'effet de cette action sur les attitudes des autres consommateurs. Deux études qualitatives et trois expérimentations ont été réalisées. Les résultats démontrent que la vengeance d'un consommateur insatisfait sur Internet est largement approuvée et elle influence défavorablement l'attitude à l'égard de la marque. Les individus exposés à la vengeance sur le Web, manifestent des sentiments d'empathie et d'admiration pour le vengeur et son action. La bonne nouvelle pour les marques, est qu'il existe des moyens de neutraliser cet effet. / This doctoral research focuses on the phenomenon of dissatisfied consumers revenge on the Internet and the effect of this action on other consumers attitudes. Two qualitative studies and three experiments were performed. The results show that the dissatisfied consumer revenge on the Internet is widely approved and it adversely affects brand attitude. Individuals exposed to a revenge on the Web, show feelings of empathy and admiration for the avenger and his action. The good news for brands is that there are ways to counteract this effect.

Cette étude a pour but d'éclaircir le sens et la structure du Conte du Graal de Chrétien de Troyes en les axant sur deux sujets : vengeance et résurrection. La partie Gauvain est souvent négligée, bien que les médiévistes reconnaissent qu'elle est une œuvre authentique de Chrétien. Les aventures de Gauvain échappent à notre compréhension à la lumière de notre conception générale du roman. Les épisodes de Gauvain se caractérisent par une suite de vengeances que les personnages secondaires éprouvent contre le second héros. Entre autres, l'épisode du roi d'Escavalon porte sur la quête de la Lance-qui-saigne. Mais, Chrétien évite de préciser le sens de cette quête. Pour le savoir, il est indispensable d'éclaircir le sens caché de cet épisode. Certes, la proposition du vavasseur sur la lance est énigmatique. Mais, lorsque nous superposons l'épisode du roi d'Escavalon et celui de l'ermite, nous pouvons, pour la première fois, deviner le sens du diptyque : la fonction de la Lance-qui-saigne est inverse à celle du Graal. Ce dernier soutient la vie de l'oncle de Perceval, tandis que la première sous-entend la mort de l'oncle de Gauvain et la destruction de Logres. Pour venger son seigneur tué par Gauvain, le but du vavasseur est de faire mourir le seigneur de son ennemi : Arthur. Par ailleurs, d'Erec à Yvain, l'importance de la résurrection est indubitable chez Chrétien. Dans l'épisode du Vendredi Saint, Perceval comprend le sens du crucifiement du Christ. Deux jours après, jour de Pâques, il fait sa communion en état de péché mortel. Dans le contexte du récit, il est clair qu'il s'agit de la résurrection spirituelle de Perceval. Cette résurrection illumine paradoxalement la partie Gauvain. A mesure qu'elle se déroule, Gauvain monte sur le trône du château des morts. Chrétien envisage de construire la partie Gauvain dans le style de la parodie

Ce travail doctoral s'intéresse au phénomène de vengeance du consommateur insatisfait sur Internet et l'effet de cette action sur les attitudes des autres consommateurs. Deux études qualitatives et trois expérimentations ont été réalisées. Les résultats démontrent que la vengeance d'un consommateur insatisfait sur Internet est largement approuvée et elle influence défavorablement l'attitude à l'égard de la marque. Les individus exposés à la vengeance sur le Web, manifestent des sentiments d'empathie et d'admiration pour le vengeur et son action. La bonne nouvelle pour les marques, est qu'il existe des moyens de neutraliser cet effet.

The intent of this thesis is to investigate the influence of 1980's and 1990's lesbian playwrights on modern queer representation in theatre. By analyzing the successful works of troupes and artists born out of the Women's One World (WOW) Café, it became apparent that the greatest changes in lesbian portrayal on stage came from queer and feminist authorship. Additionally, WOW Café became the common denominator in the success of many lesbian playwrights due to the freedom it gave its writers and performers. As an independent theatre, WOW allowed its members to experiment with few rules, and offered a stage to pieces too experimental, feminist, or queer to see commercial Broadway success. Thesis discussion includes analysis of historically homophobic theatre, the techniques and topics conveyed in the work of The Five Lesbian Brothers and Split Britches, and the importance of WOW as a stepping stone for the success of plays like Lisa Kron's Well. Lesbian-centric work is often left out of theatre history in classrooms even today, and by diving deeper into the important history of queer women in drama, the intent of this thesis is to add to the academia in a way that helps future lesbian artists, performers, and students recognize themselves in the narrative.