Dissertations / Theses on the topic 'Paulus, Friedrich'

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Neste trabalho busco analisar a visão básica de homem presente no pensamento do filósofo Nietzsche e do apóstolo Paulo. Nesse olhar dobrado procuro contemplar a relação existente na visão de homem nietzschiana e na visão paulina. Essa busca se dá a partir dos escritos dos autores e de seus comentadores, procurando identificar a fundamentação da visão de homem de cada um dos pensadores em foco. A primeira parte do texto procura identificar o conceito de corrupção do homem. Para Nietzsche, a corrupção presente no homem é resultado da realidade do cristianismo. Ele atribui à fé cristã a responsabilidade pela corrupção da humanidade. Esse processo se deu pela invenção da idéia de um Deus punidor e recompensador. Relacionada a idéia de Deus, o pecado e suas conseqüências também foi uma invenção cristã para manipular a humanidade. Assim, ele mostra que o homem precisa romper com essas idéias, por que elas negam, destroem a vida. Enquanto Nietzsche nega a realidade do pecado, Paulo edifica seu conceito de corrupção
In this paper, I seek to analyze the basic vision of this man in the thought of the philosopher Nietzsche and the apostle Paul. In this double looking, I try to contemplate the relationship existing in the vision of man nietzschiana and in the vision pauline. This search is given from the writings of the authors and their commentators, trying to identify the reasons for man's vision of each thinkers in focus. The first part of the text has as its purpose to identify the concept of corruption of man. For Nietzsche corruption present in the man is a product of the reality of Christianity. He attaches the Christian faith as responsible for the corruption of humanity. This process made by the invention of the idea of a God punishment and rewarding. Linked with the idea of God, sin and its consequences also was a Christian invention to manipulate mankind. Thus, it shows that man must break with these ideas, because they deny and destroy his life. As Nietzsche denies the reality of sin, Paulo builds its concept of

Slightly revised version of her dissertation (Ph. D.), Universität-Bremen, 1999--Cf. p. (7).
Anhang presents the aphorisms chiefly discussed, those by Jean Paul, Novalis, and Friedrich Schlegel. Includes bibliographical references (p. 110-115).

Orientador: Oswaldo Giacoia Júnior
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A presente tese de doutoramento tem como propósito analisar e justificar a emergência e a importância da noção de psicologia dentro do projeto filosófico nietzscheano a partir do primeiro aforismo de Humano, Demasiado Humano. Ao observarmos o conjunto do programa, percebe-se que o filosofo anunciou no primeiro aforismo do livro de 1878 tanto um projeto, quanto um plano interpretativo. Portanto, ao analisar MA I 01, tem-se contato (i) com a natureza da empresa crítica nietzscheana, (ii) com os termos de sua proposta metodológica e (iii) com o alcance positivo de sua perspectiva teórica. Esses três fatores apontariam para dois conceitos fundamentais em sua filosofia: história e psicologia. Defendemos que tanto a história quanto a psicologia denotam a influência de Paul Rée como um dos interlocutores mais presentes na obra de Nietzsche desse período. A determinação da psicologia, oriunda das exigências metodológicas trazidas pela filosofia histórica, remete à pergunta pela emergência das significações e das construções provenientes dos chamados sentimentos morais. Nesse curso, Nietzsche produziu sua filosofia sobre um solo psicológico em que as sensações e os sentimentos funcionariam como os elementos empíricos constitutivos das coisas humanas
Abstract: This doctoral thesis aims at analysing and justifying the coming to light and the importance of the notion of psychology within Nietzsche's philosophical project, departing from the first aphorism of Human All Too Human. When one observes this program as a whole, one realizes that Nietzsche has announced in the first aphorism of the 1878 book at the same time a project and a plan of interpretation. Analysing, therefore, MA I 01, one approaches (i) the nature of Nietzsche's critical undertaking, (ii) the terms of his methodological proposition and (iii) the positive scope of his theorietical perspective. All of these three elements would indicate fundamental philosophical concepts: history and psychology. Such determinations denote the especial influence of Paul Rée as one of the most present philosophical interlocutors of Nietzsche's life. The determination of psychology which comes to light in virtue of methodological demandings (historical philosophy) leads back to the question concerning the coming to light of the meanings and productions grounded in moral sentiments. Thus, on this way Nietzsche elaborated his philosophie on the ground of the psychology, where the sensations and the sentiments could be taken as the empirical elements which constitute human things
Doutorado
Filosofia
Doutor em Filosofia

Romantic symbolism is a poorly understood concept. It was first formulated by the Romantics in a variety of contexts. Goethe develops his theory of the symbol most notably in his scientific works. Schelling's approach to the Romantic symbol is firmly rooted in his philosophical writings. Coleridge articulates a Romantic notion of symbolism across his extensive literary criticism. The foundational influence of these related theories of Romantic symbolism can be seen in the artistic, literary, and scientific productions of Romantic minded individuals all over Europe in the late eighteenth and early nineteenth century. However, the nature and scope of the Romantic symbol as originally formulated by Goethe, Schelling, and others has been obfuscated in unfortunate ways by the contemporary theoretical assumptions and narrow interpretations of recent academic scholarship. This thesis restores the original connotation of the Romantic symbol by identifying the common way in which it is misconstrued: the ontic fallacy.

This dissertation explores the intimate relationship between irony and romantic subjectivity, by drawing on feminist psychoanalytical theory, via an examination of the shiftings of irony, and humor, in the works of the Swedish romanticist P. D. A. Atterbom (1790–1855). It looks at the critical role played by irony in the formation of Romantic subjectivity, and explores irony’s potential to undermine dualistically gendered notions of subject-object relations. For Atterbom, irony is an aesthetic concept closely related to drama, informed not only by German Romantic-ironic theorists such as Friedrich Schlegel and Jean Paul, but also by the works of Shakespeare, Ludwig Tieck, and E. T. A. Hoffmann. The thesis follows the shiftings of Romantic irony in Atterbom’s major literary texts: the cycle of poems Blommorna [The Flowers] (1811), where the Ovidian transformations are used metafictively to play with the relation between poet, poem, and reader; and the literary satire Rimmarbandet [The Rhyme Band] (1810), which, inspired by Tieck’s Der Gestiefelte Kater (1797), uses the metafictive theatre-in-the-theatre motif, as well as carnivalesque and grotesque motifs to expose contrived theatricality and homosocial misogyny in the prevailing culture. The dynamic between the satirist’s subject and the attacked object is a polarized power struggle, where revolt is followed by submission. In this respect, Romantic satire is here conservative. In the fairy tale play Lycksalighetens ö [Island of Felicity] (1824–27), tragedy’s irony is a dialectic between the ideal and the real that strives to create both inner and outer renewal. The play reaches out metafictively to the reader and turns her/him into the poet of a new version of the fairy tale. The reading/writing process inscribed in the work thus becomes a form of renewal and liberation from grief, and old, patriarchal gender roles. Finally, the humorous, unfinished idyll Fågel Blå [Blue Bird] (1814, 1818, 1858) is a work in many pieces, a fragment, a sketch and a non finito that together stages a restorative creative process, where the reader is asked to take part in joining together the scattered parts of Blue Bird itself. To conclude, irony is a feature of Romanticism, which makes the Romantic, literary subject relational and dialogical, open to its Other, and herein lies a form of ethics and an escape from a conventional, patriarchal notion of the self. I discuss this with Julia Kristeva’s theories on how subjectivity changes when it becomes poetic and Jessica Benjamin’s Winnicott-influenced theory of how play can offer a way out from patriarchy’s strict gender roles. The shiftings of irony in Atterbom’s work show a development from the satirical subject, where an aggressive form of self-assertion conceals a lack of individuality – via tragedy’s painstaking efforts to integrate repressed aspects of the self – to the idyll’s more harmonious subject, who has the capacity to laugh at him/herself and see both the grotesque in the holy, and the holy in the grotesque.

This essay investigates the prospect of Romantic Irony’s potential resurgence in contemporary poetics and discusses its relevance and likeness with metamodernism. The internet has by now not only seeped into, but fully permeated, the process of literary production and distribution. The effect of this has been the birth of a new kind of poetic discourse which can broadly be called metamodernism, The New Sincerity or Alt-lit. This movement is characterized by its self-reflexive metacommentary, fragmentary nature and an oscillation between of irony and sincerity. Vermeulen and Akker, among others, have hinted at metamodernism’s relation to Romanticism, but research into the specifics of its tendency towards Romantic Irony is scarce. By viewing the writings of Steve Roggenbuck (a central figure in the new poetic movement), alongside the philosophy of Friedrich Schlegel, I propose a comparative framework for discussion of sincerity, irony and the instrumentalization of contemporary metamodernist writing. I demonstrate that Roggenbuck’s writing displays narratological, tropological and thematic tendencies commonly associated with both Romantic Irony and metamodernism. Apart from broader structural comparison, I attempt a comparative analysis between Roggenbuck’s poetry (2010-2015) and Thomas Carlyle’s novel “Sartor Resartus” (1833-1834) in order to provide a visualisation of the rhetorical and narratological strategies of Romantic Irony. I aim to frame Romantic Irony as a sensibility, or mode of discourse - rather than a strict system of thought - which may still be at work today. In extension, the sensibilities of Romantic Irony may shed further light into the philosophical potential of the seemingly incomprehensible and contradictory tendencies of metamodernism. By ironicizing its poetic form, literary ambition and desire for sincerity in a post-postmodern era, Roggenbuck’s poetry celebrates ambiguity and literary failure, ultimately framing irony as a constructive and potentially democratic operation.

Cette étude est consacrée à la critique contemporaine occidentale de la rhétorique initiée par la critique nietzschéenne de la philosophie métaphysique. La rhétorique se présente comme une remise en cause et une ré-vision profonde et radicale de la nature du langage lui-même, et par la suite, de tous les aspects de la vie sociale et culturelle. Cette étude traite principalement de la pensée rhétorique chez quatre penseurs, Jacques Derrida, Michel Foucault, Paul de Man and Roland Barthes. Dans leurs héritage commun et leur critique de l'approche critique nietzschéenne, ils ont mis en lumière une double nature de la rhétorique : celle-ci non seulement caractérise le mécanisme de la métaphysique, mais aussi conduit tout usage du langage, y compris le discours critique, à un « piège » de déconstruction. Dans leur exposition de la nature et du mécanisme de la rhétorique, ils ont consacré leurs efforts, d'une part, à la réfutation d'une conception aristotélicienne du langage et de la rhétorique; et d'autre part, à une critique d'un certain aveuglement dont faisaient preuve les critiques de la métaphysique. Leur pensée critique sur la rhétorique se résume alors à deux questions: qu'est-ce que la nature de la rhétorique et à partir de là, du langage ? Comment la pensée critique — sur celle-ci et avec celle-ci — est-elle possible ? S’engageant dans une double tâche — une critique (démystification) et une auto-critique — la pensée critique se transforme alors à une « critique de la critique » en tant qu'une réflexion sur la limite de la pensée critique elle-même. C'est-à-dire, une critique — dans le sens kantien du mot — de l'[im]possibilité de la pensée rationnelle. Notre étude se concentre alors sur deux points : premièrement, la nature de la rhétorique telle que l'expose chacun de ces penseurs depuis sa propre perspective intellectuelle. Deuxièmement, la stratégie critique proposée et employée par chacun d'entre eux
This thesis is a study of the contemporary Western critical approach to the problem of rhetoric pioneered by Nietzsche, in which rhetoric presents itself as a profound and radical questioning as well as a re-vision of the nature of language itself, and consequently of all aspects of social and cultural life. This study mainly addresses the rhetorical thinking of four critics — Jacques Derrida, Michel Foucault, Paul de Man and Roland Barthes — who, in their common inheritance from and critique of Nietzsche’s own critical approach, have revealed a dual-nature of rhetoric which not only characterizes the mechanism of metaphysics, but also inevitably enmeshes all human thinking — including critical thinking — in a trap of deconstruction. This double-edged character of rhetoric sets a dual-task for critical thinking: an endless criticism [demystification] and self-criticism. Critical thinking thus turns out to be a “critique of criticism” as a reflection on the limit of critical thinking itself, that is, a critique — in the Kantian sense of the word — of the [im]possibility of rational thinking. Accordingly, this study focuses on two points: firstly, the dual-nature of rhetoric as expounded by each one of the critics from his specific intellectual perspective; secondly, the strategy for critical thinking proposed and employed by each of them

La thèse étudie la fondation morale de la justice politique, et plus particulièrement l'opposition entre universalisme et contextualisme. S'opposent une position de droit (déontologique) qui fait de l'individu un être rationnel porteur de droits indépendamment de son contexte de vie, et une position plus historique (téléologique), qui étudie les parcours des communautés humaines afin de comprendre les évaluations morales de chacune et les projets qui s'y attachent. Après avoir dégagé le noyau théorique de cette opposition à l'aide des pensées de Kant et de Hegel, la pensée de Ricœur est étudiée comme une tentative d'imbrication de ces deux perspectives normatives. Ricœur, sur la base d'un sujet qu'il montre brisé mais néanmoins capable, développe un concept de raison pratique, selon un double versant moral et politique. L'imbrication des revendications kantiennes et hégéliennes est rendue possible grâce aux deux «concepts mixtes» d'autonomie et de conscience historique
The thesis studies the moral foundation of political justice, and more particularly the opposition between universalism and contextualism. Are opposed a legal (deontological) approach conceiving the individual as a bearer of rights independently of his living environment, and a more historical (teleological) approach wich looks at the development of human communities to understand each one's moral claims and projects. After having analysed the underlying conceptual background of this opposition through the thoughts of Kant and Hegel, the thought of Paul Ricœur is studied as an attempt to interweave both moral perspectives. Ricœur, on the basis a subject that is shown to be broken but yet capable, develops a concept of practical reason wich includes both a moral and a political perspective. The interweaving of Kantian and Hegelian claims is then made possible on the basis of the "two-sided concepts" of autonomy and historical conscience

L'auteur se propose d'étudier, à travers l'œuvre théorique d'écrivains mineurs aujourd'hui oubliés, les conceptions idéologiques et esthétiques de la bourgeoisie cultivée en Allemagne entre 1890 et 1933. Dans ce contexte, il est particulièrement attentif à l'intrusion d'éléments fascisants dans une pensée idéaliste et conservatrice au départ. Parallèlement, en matière d'esthétique, il montre que le recours aux traditions classiques et romantiques aboutit à la défense d'un classicisme "monumental" et d'un art "populaire" né du "sang et du sol". Les distorsions que subit l'héritage du passé lors de son assimilation par la droite littéraire au début du siècle sont analysées de façon systématique dans une première partie, consacrée, pour l'essentiel, à Julius Langbehn et Friedrich Lienhard. On y trouve l'inventaire des réactions conservatrices face à la modernité critique de la civilisation industrielle et capitaliste, de la démocratie, du naturalisme. . . ), et l'esquisse des solutions envisagées (nostalgies agraires, maintien de structures politiques et sociales archaïques, revalorisation du passé culturel. . . ). Un nationalisme exacerbé qui ne cache ni ses velléités impérialistes ni son antisémitisme, donne à ces tentatives en faveur du "renouveau allemand» une coloration volkisch. Des tendances comparables ont marqué l'œuvre de Paul Ernst dont l'itinéraire est retracé dans la deuxième partie. Mais ici, on voit le conservatisme, traumatisé par l'expérience de la première guerre mondiale, évoluer en courant "révolutionnaire" désireux d'en finir avec l'ère "bourgeoise". Cependant, jamais la distance par rapport à l'idéologie nationale-socialiste n'est totalement abolie. À l'ambiguïté des positions politiques, culturelles et religieuses correspond l'accueil que le régime hitlérien a réservé aux auteurs en question, dont l'intégration dans la culture officielle du 3e Reich s'explique par la nécessité de composer avec les milieux ayant favorisé son avènement.

Le lecteur de Ricœur doit s’habituer à une pensée académique toujours en débat et/ou en dialogue avec différentes figures de la tradition. Sa philosophie héritière de l’existentialisme (Kierkegaard, Jaspers, Heidegger...) et de la philosophie réflexive française (dont le disciple de Fichte, Jean Nabert est un des principaux représentants), est aussi, en continuité avec ce qu’on appelle les philosophies du sujet. Il a débattu également avec les principaux courants intellectuels de son époque comme la psychanalyse, le structuralisme, le marxisme, l’école des Annales... Enfin, on peut ajouter le fait que la philosophie de Ricœur n’est pas systématique, si par là on entend la compréhension du monde et de la vie à partir d’une idée originaire. On ne trouve pas chez Ricœur une idée à laquelle on arriverait par induction et/ou à partir de laquelle on procéderait par déduction. Son œuvre cependant, n’est pas une pure polysémie, elle est traversé par des axes qui lui confèrent alors un caractère unitaire. À partir de deux de ces axes, je me propose d’articuler sa pensée. Le premier est l’idée de liberté. Des auteurs comme François Dosse et Johan Michel sont d’accord pour soutenir que la philosophie de Ricœur est une philosophie de l’agir. Une philosophie de la volonté et de la liberté peut on dire aussi par l’intime liaison des termes volonté, liberté et action. D’autres auteurs comme Michaël Foessel et Jean-Luc Amaric estiment, par contre, que le thème fondamental des travaux de Ricœur est l’imagination. Le deuxième axe est son kantisme-posthégélien que se détache sur un arrière-plan aristotélicien. C’est la raison pour laquelle ce travail s’ouvre sur une ample préface, contenant les notions préliminaires nécessaires à sa compréhension. Il fallait expliciter, me semble-t-il, ces présupposés autour de la thématique abordée, celle de la liberté, afin de les avoir présents à l’esprit. Ensuite, on distinguera deux parties : dans la première, les Chapitres I et II sont consacrés à montrer les présupposés théoriques de Ricœur autour de la liberté ; dans la seconde, les Chapitres III, IV et V constituent le développement et l’application de ces présupposés. Dans ce dernier cas, une partie importante du travail est construite autour de ce que je considère comme les chef-d’œuvre de Ricœur : la Métaphore vive, Temps et Récit, Soi- même comme un autre. En fait, c’est à partir des présupposés traités dans les Prolégomènes et les Chapitres I et II que j’ai vu ces œuvres prendre une unité autour de la question de la liberté et plus précisément, de l’historicité de la liberté. Je dis bien l’historicité de la liberté, et non pas la liberté tout court, parce qu’ou fur et à mesure que l’on approfondit la notion de liberté chez Ricœur, on s’aperçoit qu’il ne s’agit pas seulement de l’idée de liberté d’après ses caractères essentiels, mais qu’il y a quelque chose de plus...Ce « plus » est la compréhension de ce qu’est la liberté dans le monde, dans les œuvres humaines (parmi lesquelles les plus importants les œuvres écrites comme les lois, la littérature, l’histoire, les livres sacrés...), et dans le temps. L’historicité de la liberté réunit ainsi, comme la notion d’histoire chez Hegel, le côté subjectif et le côté objectif de la liberté. On comprend de cette façon le retournement décisif de la philosophie contemporaine vers l’herméneutique et, dans le cas de Ricœur, vers l’herméneutique textuelle. Ainsi s’explique que l’on arrive à la conviction que les récits ont un aspect cognitif tout à fait légitime. Enfin, s’il y a une expression de Ricœur lui-même qui évoque la densité de cette question et qui a retenu particulièrement mon attention, c’est la suivante : « Tout ce que l’on raconte arrive dans le temps, prend son temps, se déroule temporellement. » (« De l’Interprétation », recueil Du texte à l’action, Éd. poche “Points-Essais, 377”, Paris, Seuil, 1998, p. 14).
Some authors like François Dosse and Johann Michel hold that Ricoeur's philosophy is a philosophy of action. It may also be called a philosophy of the will and freedom, given the close link between the terms, will, freedom and action. Furthermore, it is strongly influenced by his post-Hegelian kantism that emerges from an Aristotelian background. A wide preface opens this work, therefore, to explain Ricoeur's major philosophical presuppositions about the question of freedom. 1) Chapters I and II are devoted to show the theoretical assumptions of Ricoeur about freedom and 2) Chapters III, IV and V are the development and implementation of such presuppositions. Moreover, an important part of the work is built around what I consider as his three masterpieces: The Rule of Metaphor, Time and Narrative and Oneself as Another. Starting from the presuppositions treated on the preface and on chapters I and II, these works attain its unity in relation to historicity of freedom. It is thus concluded that it is not a matter of freedom restricted to its essential characteristics, but to the understanding of what freedom is in the world, among human works (namely the most important, the works written such as laws, literature, history, holy books...), and what it is in time. It is also understood the turning point of contemporary philosophy to hermeneutics, to textual hermeneutics in the case of Ricoeur, and how convincing is that stories have a cognitive aspect completely legitimate. Finally, if there is an expression of Ricoeur that evokes this issue in all its density is as follows: "Everything that is recounted occurs in time, takes time and unfolds temporally." ("De l'Interprétation" Du texte à l'action, Ed. poche "Points-Essais, 377", Paris, Seuil, 1998, p. 14)

Ce travail s'ouvre sur une ample préface en explicitant les présupposés majeurs de la pensée de Ricceur autour de question de la liberté. Ensuite, on distinguera deux parties : 1 ) les Chapitres I et II sont consacrés à montrer les présupposés théoriques de Ricœur autour de la liberté ; et 2) les Chapitres III, IV et V constituent le développement et l'application de ces présupposés. Puis, une partie importante du travail est construite autour de ce que je considère comme ses chef-d'œuvre : la Métaphore vive, Temps et Récit, Soi- même comme un autre. C'est en partant des présupposés traités dans les Prolégomènes et les Chapitres I et II que ces œuvres prendront une unité autour de l'historicité de la liberté. On comprend alors qu'il ne s'agit pas seulement de l'idée de liberté d'après ses caractères essentiels, mais de ce qu'est la liberté dans le monde, dans les œuvres humaines (parmi lesquelles les plus importants les œuvres écrites comme les lois, la littérature, l'histoire, ies livres sacrés. . . ), et dans le temps. On comprend aussi le retournement décisif de la philosophie contemporaine vers l'herméneutique, dans le cas de Ricœur, vers l'herméneutique textuelle, et comment l'on arrive à la conviction que les récits ont un aspect cognitif tout à fait légitime. Enfin, s'il y a une expression de Ricœur lui-même qui évoque la densité de cette question c'est la suivante : « Tout ce que l'on raconte arrive dans le temps, prend son temps, se déroule temporellement. » (« De l'Interprétation », recueil Du texte à l'action, Éd. Poche "Points-Essais, 377". Paris, Seuil, 1998)
A wide preface opens this work, therefore, to explain Ricceur's major philosophical presuppositions about the question of freedom. 1) Chapters I and II are devoted to show the theoretical assumptions of Ricosur about freedom and 2) Chapters III, IV and V are the development and implementation of such presuppositions. Moreover, an important part of the work is built around what I consider as his three masterpieces: The Rule of Metaphor, Time and Narrative and Oneself as Another. Starting from the presuppositions treated on the preface and on chapters I and II, these works attain its unity in relation to historicity of freedom. It is thus concluded that it is not a matter of freedom restricted to its essential characteristics, but to the understanding of what freedom is in the world, among human works (namely the most important, the work's written such as laws, literature, history, holy books. . . ), and what it is in time. It is also understood the turning point of contemporary philosophy to hermeneutics, to textual hermeneutics in the case of Ricceur, and how convincing is that stories have a cognitive aspect completely legitimate. Finally, if there is an expression of Ricceur that evokes this issue in all its density is as follows: "Everything that is recounted occurs in time, takes time and unfolds temporally. " ("De l'lnterpretation" Du texte a Taction, Ed. Poche "Points-Essais, 377", Paris, Seuil, 1998)

El propòsit d'aquesta investigació és mostrar com la caracterització del poètic ha de passar necessàriament per la qüestió Grècia–––modernitat, i com tal qüestió ajuda a aclarir les mútues implicacions del poètic amb la qüestió del ser i el caràcter històric. Per tal de fer-ho s'atén a l'obra de diferents poetes, tenint com a punt de partida els “assajos d'Homburg” de Friedrich Hölderlin, potser el primer en formular la radical diferència Grècia ––– modernitat, i contrastant-los amb la tasca poètica de Píndar i amb l'obra de Paul Celan. La investigació es du a terme assumint la crítica de Szondi al procedir tant de la filologia, com, molt particularment en el nostre cas, de l'hermenèutica filosòfica, advertint dels perills de veure el poema en la historia i no, tal com exigeix Szondi, la historia en el poema. A més es fa entenent “la història” no en el sentit d'una successió d'èpoques que sorgeixen i s'enfonsen, sinó, en consonància amb el que defensa Martínez Marzoa, en el sentit de l'únic moviment de sorgir i pèrdua de Grècia, interpretant, aleshores, el que ve després en relació amb aquest esdeveniment. Hölderlin formula una teoria dels gèneres poètics en els “assajos d'Homburg”. Malgrat el seu caràcter fragmentari, ens ha semblat que aquells que s'orienten cap als poemes grecs acaben tancant-se en una interpretació consistent molt il•luminadora del que és Grècia o la seva poesia, en la mesura que constitueix un sistema que caracteritza i diferencia els tres gèneres principals (épos, mélos i tragèdia) fent-los participar d'una estructura comuna, i ho fa de tal manera que admeten només una ordenació, aconseguint amb això donar compte tant del que és el poètic a Grècia, com del mode de ser que cada gènere comporta, i, també, de la història o del temps que és l'esdevenir i perdre's de Grècia. En la primera part de la investigació s'analitza la utilitat de la teoria hölderliniana dels gèneres poètics grecs a l'hora d'interpretar la poesia grega, i molt especialment de llegir Píndar, utilitat que sembla provenir del fet que els poemes grecs participin d'una empresa comuna consistent en l'explicitació d'en què consisteix ser, amb la qual cosa mouen el ser (i.e. el cercle dels gèneres). En la part central del treball s'interpreta el text de Hölderlin titulat “Über die Verfahrungsweise des poetischen Geistes”, en el qual l'autor sembla assajar una poètica que serveixi per al poema en general i per al modern en particular, i es constata, en les dificultats que es van plantejant amb la necessitat d'establir sempre una nova contraposició, certa impotència en aquesta pretensió. Tal impossibilitat sembla respondre al fet que el poema modern ja no participa de cap gran projecte comú, ja no mou la història, quedant-li només el paper de reconèixer l'alteritat respecte el moment en què això es donava i el ser-ne una certa perspectiva, un cert recollir la història. L'alteritat del poema modern respecte Grècia, solidària de l'alteritat respecte la validesa, és clau en tota la poesia moderna i marca l'evolució del poema “avui” que trobem en l'anàlisi d'”El meridià” de Paul Celan. En aquest discurs constatem la conflictiva relació que té el poema amb el seu caràcter marginal, i la possibilitat de, si no superar, almenys assumir aquesta situació essent donació a... i interpretació de... un singular, una data. Per a això li caldrà assolir una individuació radical, però sense abandonar del tot els límits que li marca el llenguatge, essent així una determinada perspectiva sobre la història del ser i, alhora, quelcom a interpretar.
The purpose of this research is to show how the characterization of the Poetic matter must go through the question Greece–Modernity, and how that question is helping to clarify mutual implications between the Poetic matter and the question of the being and the historical character. Its objective is to pay particular attention to the work of various poets, starting with the «Homburg Essays» of Friedrich Hölderlin, probably the first one to formulate the radical difference Greece–Modernity, and contrast them with the work of Pindar and Paul Celan. In the first part of this investigation the usefulness of the Hölderlin theory of the poetic genres is analised to explain Greek poetry and especially in order to read Pindar, confirming that what the philologists consider the most characteristic aspect of his poetry corresponds with great precision with the traits that the hölderlinian system attributes to «lyrical poetry». The reason for them corresponding seems to come from the fact that Greek poems take part in a common undertaking consisting in the exegesis of the being, with which they move the being (i.e. the circle of genres). In the central part Hölderlin's text “Über die Verfahrungsweise des poetischen Geistes“ is interpreted, in which the author seems to try a poetics that could be used for the poem in general and for the modern one in particular, confirming by the necessity to always establish a new opposition a certain impossibility in the aspiration. Such impossibility seems to respond to the fact that the modern poem doesn't participate in any common project any more, it isn't the motor of history, leaving it only the role of recognising the alterity in relation to the moment in which the movement was happening and to being a certain perspective on it. The poems acceptance of its alterity in relation to Greece, closely tied to its alterity regarding validity, determines the evolution of the poem “today” that we found in the analysis of “The meridian” of Paul Celan: now the poem must be a donation to... and a interpretation of... a singular, a date, being then a certain perspective on the history of the being and, at the same time, an interpretable one.
El propósito de esta investigación es mostrar cómo la caracterización de lo poético tiene que pasar necesariamente por la cuestión Grecia–modernidad, y cómo tal cuestión ayuda a aclarar las mutuas implicaciones de lo poético con la cuestión del ser y el carácter histórico. Se pretende hacerlo atendiendo a la obra de diferentes poetas, teniendo como punto de partida los “ensayos de Homburgo” de Friedrich Hölderlin, tal vez el primero en formular la radical diferencia Grecia– modernidad, y contrastándolos con la obra de Píndaro y de Paul Celan. En la primera parte de la investigación se analiza la utilidad de la teoría hölderliniana de los géneros poéticos griegos para interpretar la poesía griega, y muy especialmente para leer a Píndaro, comprobando que aquello que los filólogos consideran lo más característico de su poesía encaja con gran precisión con las cualidades que el sistema hölderliniano atribuye a la «lírica». La razón de este encaje parece encontrarse en el hecho de que los poemas griegos participan de una empresa común consistente en la exégesis del ser, con lo cual mueven el ser (i.e. el círculo de los géneros). En la parte central se interpreta el texto de Hölderlin titulado “Über die Verfahrungsweise des poetischen Geistes”, en el cual el autor parece ensayar una poética que sirva para el poema en general y para el moderno en particular, constatando en la necesidad de establecer siempre una nueva contraposición cierta impotencia en esa pretensión. Tal imposibilidad parece responder al hecho de que el poema moderno ya no participa de ningún gran proyecto común, ya no mueve la historia, quedándole sólo el papel de reconocer la alteridad respecto el momento en que eso se daba y ser una cierta perspectiva sobre ello. La asunción de su alteridad respecto Grecia, solidaria de la alteridad respecto la validez, marca la evolución del poema «hoy» que encontramos en “El meridiano” de Paul Celan: ahora el poema tiene que ser donación a... y interpretación de... un singular, una fecha, siendo entonces una determinada perspectiva sobre la historia del ser y, a la vez, un interpretable.

The Classical Tradition, now more commonly known as Classical Reception, is a growing sub-discipline in Classics which seeks to trace the influence of Greco-Roman culture in post-classical works. While scholars have already done much to analyze specific texts, and many of these analyses are theoretically complex, there has yet to be a review of the theories these scholars employ. The purpose of this study is to provide researchers with a theoretical tool kit which allows them greater scope and nuance when analyzing usages of classical mythology. It examines five different approaches scholars have used: adaptation, allusion, intertextuality, reception, and typology. Each theory is followed by an example from Spanish literature or film: Apollo and Daphne in Calderón's El laurel de Apolo, Orpheus in Unamuno's Niebla, Dionysus in Unamuno's San Manuel Bueno, mártir, Persephone in del Torro's El laberinto del fauno, and the werewolf in Naschy's Waldemar Daninsky films. This thesis argues that a critical pluralist approach best captures the nuance and variety of usages of classical mythology. This allows for both objective and subjective readings of texts as well as explicit and implicit connections to classical mythology.

Ein Kupferstich von J. C. Klengel und G. W. Hüllmann in dem 1790 herausgegebenen Buch „Briefe über das Radeberger Bad“ geben Auskunft, dass Lotzdorf und Liegau bereits frühzeitig für Badefreuden berühmt waren. und einige historische Hintergründe über den Entdecker Christoph Seydel, den Tannengrund, das Radeberger Bad, das Mohr- und Stahlbad Augustusbad sowie einige der berühmten Gäste dieses Bades, wie z.B. Gerhard von Kügelgen, Wilhelm von Kügelgen, Caspar David Friedrich, Carl Gustav Carus, Prof. Carl August Richter, Prof. Adrian Ludwig Richter, der Schriftsteller Jean Paul, Theodor Körner und viele andere. In Radeberg und Umgebung entstand eine Bäderkultur.

This dissertation is presented in two parts. It first identifies the shape and content of an ancient system of Christian thought predicated on the theology of the cross of Jesus Christ, and proposes the marks typifying its theologians. Over against the ensuing hermeneutic it next finds the project of twentieth century Swiss theologian Karl Barth to exhibit many of the defining characteristics of this system, and Barth himself to be fairly deemed a modern theologian of the cross. He crucially recovers, reshapes and reasserts the classical theologia crucis as a modern theological instrument, one answering enlightened theology’s self-glorifying accommodation to modernity with the living Word of the cross. The crucicentric system itself is found to comprise two major theological dimensions, epistemological and soteriological. Each of these comprises dialectically corresponding aspects connected with false and true creaturely glory. The cruciform Word (or theology) speaking through this system likewise moves in two directions. It declares negatively that any attempt by the creature to circumvent the cross so as to know about God directly, or to condition God's electing decision, is necessarily the attempt to know and act as God alone may know and act - an attempt therefore on the glory of God. It declares positively that in the crucified Christ God formally discloses the knowledge of God, and determines the creature for God. This knowledge and election are appropriated to the creature as, drawn into the cruciform environment, its attempt to glorify itself is negated and Christ's exalted humanity received in exchange. Thence it is lifted to participate in Christ's mind and in his glory, a process guided by the Holy Spirit and completed eschatologically. The database for this research includes selected primary materials in the Apostle Paul, Athanasius, a group of medieval mystical theologians, the reformer Martin Luther - particularly here his Heidelberg Disputation, and Karl Barth. It also pays attention to the recent secondary literature peripherally or more concertedly connecting itself to the theology of the cross, of whatever period. In this literature numerous suggestions for the content of the theology of the cross exist, a major methodological task in the current research being to bring these together systematically. To the extent that the inner structure of the system carrying the cruciform Word has not previously been made explicit, and Barth's crucicentric status not finally determined, in moving towards these achievements this dissertation breaks fresh ground. In the process a new test by which to decide the crucicentric status of any theological project is developed, and a further and crucicentric way of reading Barth proposed.
This dissertation identifies the shape, content, and marks of the theology of the cross, an ancient and still extant epistemological and soteriological system of Christian thought. Applying the resulting hermeneutic it then shows this system to be present with renewed vitality and future significance in the modern project of seminal Swiss theologian Karl Barth (1886-1968).

In addition to his renowned musical output, Richard Wagner produced a logorrhoeic prose oeuvre, including a dramatic sketch of the last weeks of the life of Jesus Christ entitled Jesus von Nazareth. Though drafted in 1848-1849, it was published only posthumously, and has therefore been somewhat neglected in the otherwise voluminous Wagnerian literature. This thesis first examines the origins of Jesus von Nazareth amidst the climate of revolution wherein it was conceived, ascertaining its place within Wagner’s own internal development and amongst the radical thinkers who influenced it. While Ludwig Feuerbach has traditionally been seen as the most prominent of these, this thesis examines Wagner’s sources more broadly. The thesis then summarizes and analyzes Jesus von Nazareth itself, particularly in terms of Wagner’s use of biblical scripture. The thesis demonstrates how his not infrequent misuse thereof constitutes one way in which Wagner transmogrifies Jesus as mutable lens through which his own ideology of social revolution is reflected. It also attempts to provide a critical assessment of the relative dramatic merits of Jesus von Nazareth and looks into Wagner’s ultimate decision not to complete the work. The thesis then briefly summarizes the changes that occurred in Wagner’s mature Christological outlook subsequent to his drafting of Jesus von Nazareth, attempting to concisely demonstrate some developments beyond Wagner’s well-known encounter with the philosophy of Arthur Schopenhauer. The thesis concludes with an evaluation of how Jesus von Nazareth informed Wagner’s general religious outlook and the extent to which this worldview is a productive one.

Thesis (Ph.D.)--York University, 2007. Graduate Programme in Philosophy.
Typescript. Includes bibliographical references (leaves 306-312). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR39035

Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2011
The theme of this work focuses on the idea of the abyss, distinguishing two aspects: pit as a symbol of abyss / sky as a symbol of abyss. But being the abyss itself a symbolic reading deep inside the man and, recognizing in man a need of transcendence in which he sometimes represents himself as immense, possibilities of speculation are created about another symbolic result - Being as a symbol of the abyss. Hence, it emerges the apparent permutability and reciprocity of these symbols. Exploring the symbols pit and sky, which, although imbued with a similar character of immensity in depth and height, they give the appearance of an existing opposition extendable to pairs of categories such as: inside / outside, light / darkness, and others, perceived and conceptualized as opposites, but which sometimes provide similar phenomena, we sought to demonstrate, in terms of visual perception and phenomenological speculation, the relationship with the vertiginous restlessness. We sought to substantiate an idea of abyss that represents both the appetence and the fear of self-knowledge, and from this, the validity of the forms (shapes) while symbolic representations of the being – present in the contemplation of the abyss – or of the abyss as a projection or a symbol of this one, and to speculate about the paths which were defined since the structuring of the material imagination until the acquisition of shapes and the establishment of the symbols used in the evocation of the abyss. In this paper, they were developed two parallel components: the plastic realization and the written reflection. Both arose from a speculation which found argumentative tools and resources while searching some approaches to the subject or related concepts, made by referential authors, which allow to contextualize it in some of the dimensions that have been already studied, to support the idea of abyss to be developed and to extend the formal or symbolic readings, necessary for the plastic development of the theme, helping to redefine the path, or clarifying some of the initial intuitions, and in return, to guide future researches.

The main topic of this diploma thesis resides in the comparison of the expressionist painting and the existential literature in connection with the motif of screaming. Despite the temporal and geographical distance of the two artistic movements (we are focused more profoundly in the German and Austrian expressionist painting, while the main literary work of this thesis, the existential novel The Fall comes from the great mind of a French writer, Albert Camus), the research aspires to prove the interconnection of the two movements and their common tendencies, based on the analyses of chosen themes, motifs, technics, and structure. We propose the motif of screaming as the main part of the comparison, as it constitutes an essential axis of the occidental art, as well as the crucial contact point between Expressionism and Existentialism. In spite of the bountifulness of the various interpretations this motif offers, we have chosen only selected ideas and concepts. As far as the formal structure is concerned, the work is divided into three chapters, where the first two are focused on the origins, a brief characterization of the main point of the two esthetics. Furthermore, they describe their related counterparts of the visual arts and literature (the Expressionist literature and Existential painting...

This thesis examines the intellectual environment in which Pope John Paul II's thought operates, especially as it pertains to his writings on the truth. The pontiff's thinking faces open hostility toward Christianity, as exemplified by Friedrich Nietzsche and Michel Foucault. The pope's theology pays attention and builds links to modern thought through its positive engagement with phenomenology and personalism, as well as through its opposition to materialism. Despite these connections, this theology fails to fit well with (post)modern thinking, as it takes a wider view of things in two ways: (1) By offering a spiritual sense of things, it goes beyond thought and takes into account supernatural sources of knowledge, sources which are both a one-time event (the Resurrection of Jesus Christ) and part of the ongoing journey of the Christian community; (2) By boldly referring to traditional, outmoded language, as with the words obedience and humility, with the same level of reverence and fullness of their sense as they were used before the secular-feminist era condemned these virtues. The strange and unique qualities of John Paul II's thinking issues from these two practices. It also arises from his bold ability to engage with modern thought without becoming defensive and without hiding behind the Bible or Catholic piety, though he uses both of these generously. John Paul II offers a clear alternative to the chaos and confusion of post-Enlightenment thought, in both his thought's style and substance. The Holy Father's words cause us to reflect more deeply than those of modern or postmodern thinkers, and call us away from the relativism of Richard Rorty, Foucault, and so many others. The pope's thought succeeds in part because he takes a much wider vista of things, in that he digs more deeply into Western and Christian thought and that he enters this heritage as an inheritor rather than as a skeptical scientist-researcher as in Foucault's case. The pope's thought also succeeds because he assigns spiritual meaning to this journey of Christian and world people. In this sense, his thought is also radically inclusive.
Systematic Theology & Theological Ethics
D. Th. (Systematic Theology)

The following dissertation examines Sartre’s notion of bad faith before identifying parallels found in Nietzsche’s Genealogy of Morals. Bad faith is often construed as lying to oneself; however, this entails an individual being both the deceiver and deceived which presents a number of paradoxes. By reconceptualising bad faith as self-deception rather than lying to oneself these paradoxes are avoided. Nietzsche’s Genealogy examines the development of modern morality and explains its genesis through identifying a specific psychological tendency, namely, ressentiment. Ressentiment is central to the Genealogy as it results in the idealisation of asceticism and the development of the bad conscience into guilt. These are core elements of what Nietzsche terms slave morality. By exposing ressentiment as a manifestation of bad faith this dissertation highlights the self-deception lying at the foundation of slave morality. Nietzsche believes that it is slave morality which predominantly constitutes modern morality, and manifestations of bad faith in Nietzsche’s account of modern morality therefore give credence to Nietzsche’s call to revalue our values.
Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.

This study offers a comparative investigation into selected figurative and nonfigurative, monochromatic (and mainly monochromatic) artworks by Ad Reinhardt, Ultimate Painting nr 39 (1963), Yves Klein, Monochrome bleu (IKB 3) (1956) and The thin red line (1970) by Douglas Portway. The aim of this research is to examine the possible subjective, meaningful function of the seemingly objective artworks. The selected artworks represent the formalist tendency of the high-Modernist conception of art-as-art, or the artwork as an autonomous objective object. At first sight the objective artworks seem to refute the subjective intentions of the artists who present them as both an externalisation of subjective experience and as possibly meaningful to the viewer. The investigation into the possible subjectively meaningful artworks is guided by an Existential approach to the aesthetic experience, as proposed by Nietzche’s Dionysian and Apollonian concepts as well as Sartre’s conceptualisation of néantisation and the imagination respectively. Both philosophers describe aesthetic experience as a meeting between both subjective and objective elements of their philosophy. The experience of the aesthetic (in the artworks) ultimately leads to a subjective space within which the seemingly objective artworks function as a subjective platform on which the Existential search for meaning can be considered (and possibly relieved).
MA (History of Art), North-West University, Potchefstroom Campus, 2014

The practice of photography creates a dialogue as an object of social analysis, beyond that of it's technical and formal specificities. An image holds a responsability, one that should be taken as an element of study to understand the History, seen as an efficitient form of reflection on the fate of Man and society. Paulo Nozolino's photographs tell personal stories and recall others lost in the course of history, in the search for personal truth, through a solitary praxis, marked by monochromatic tones. In this way, it becomes important to understand his work as an irreproachable mark on the history of portugeuse photography, one to be considered as a work of reference

The Program of the Czech Decadent Movement and the Question of Intertextuality. The Work of Miloš Marten This thesis explores the work of Miloš Marten (1883-1917) seeking to analyse its decadent narrative as a modern narrative that brings into play the unity between the pinnacle and the decline. It departs from the comparison between the style and interpretation of the two versions of Cyklus rozkoše a smrti (orig. The Cycle of delight and death; 1907 and 1917/1925) and the study of the realisations of this work. For this purpose the study contextually examines the conceptions of "intertextuality" from fin de siècle authors-critics, meaning their conceptualisations of similarity and/or identity of literary works which frequently involve a confluence of degeneration theory, the argument of the non-ethical nature of plagiarism and theory of decadence. All were often used as instruments of disqualification as well as justifications for a modern aesthetics and style. Reconstitution of Marten's theoretical reflection on artistic genres evidences his research of a harmonizing modern culture within an anti-syncretic tendency: mythology and revolt against myth Order being shifted to tragedy and parable, while the novel is designed as an analytical-critical synthesis. Applying contemporary approaches to...

Tese de Mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2009
The present essay tries to put forward a pictorial space perception in Heidegger’s thinking, taking as an object of study several of the author’s texts. In a first stage, we approach Heidegger’s thought on creation, where the conception of truth appears as original opening and disclosure, to then discover that it is through the artwork that its “thingness” manifests itself and where the essence of the creative act comes together in let-be the Being and in the making as to let-be the work of art. We also look into the existence of parallels between Heidegger’s and Buddhist thought. In the following chapter, before exploring Heidegger’s concept of pictorial space, we try to put forward how the concept has been looked at throughout time within the discipline of art history, referring to a select few examples that we consider to be fundamental in arguing our case. It is our conviction that the history of painting is a history of discontinuity, where each change is a radical rupture, a spacing that’s a new beginning. To know if we might speak and how we would speak of Heidegger’s pictorial space, in third Chapter we traced a path through Dasein and thing spaciality, so as to then grasp the meaning of concepts like space, time, place and emptiness. In the final chapter, we go back to the works of art, choosing those artists whose ways of doing echo our shared understanding of Heidegger’s thoughts, and therefore converging the analysis done all across the thesis. Overall, we try, through this investigation, to articulate Heidegger’s reasoning with an oriented analysis within art history, through a movement of approximation and removal, deepening the two-fold meaning of space in these two blocks – historical and conceptual – that make up that analysis. In conclusion, we establish our insight into the concept of pictorial space in the language of the thinker here being discussed and within the historical context, followed by a discourse on artists and works of art by us considered more suitable.