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Harbsmeier, Martin S. "Betrug oder Bildung : die römische Rezeption der alten Sophistik /." Göttingen : Ed. Ruprecht, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3025887&prov=M&dokv̲ar=1&doke̲xt=htm.
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Levett, Bradley Morgan. "Contradiction and authority in Gorgias /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11460.
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Buchanan, Angela S. "The Sophists and The federalist : re-examining the classical roots of American political theory." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941733.
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The field of rhetoric has recently begun to position the Sophists as an integral part of the history of the discipline. Sophistic influence has been acknowledged in other fields as well, particularly philosophy and literary theory; however, Sophistic influence on political theory has been virtually ignored. This thesis examines the epistemology of the Sophists within the context of the debates of ancient Greece, and illustrates the connections between Sophistic thought and the ideology behind the structuring of the American federal government. Specific connections are made between the epistemology of the Sophists and that expressed in The Federalist, as well as that of earlier political theorists Thomas Hobbes and John Locke.Department of English
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Leibowitz, Lisa Shoichet. "On hedonism and moral longing the Socratic critique of sophistic education in Plato's "Protagoras" /." Diss., Connect to online resource - MSU authorized users, 2006.
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Whittington, Richard T. Bowery Anne-Marie. "Where is Socrates going? the philosophy of conversion in Plato's Euthydemus /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5216.
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Johnson, Diane Louise. "Claudius Aelianus' Varia historia and the tradition of the miscellany." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25073.pdf.
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Martinez, Josiane Teixeira. "A defesa de Palamedes e sua articulação com o Tratado sobre o não-ser, de Gorgias." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270752.
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Orientador: Flavio Ribeiro de OliveiraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente trabalho pretende uma interpretação individualizada do pensamento de Górgias e isenta de uma visão estereotipada sobre os sofistas. Desse modo, a partir da tradução e análise dos discursos gorgianos conhecidos como Defesa de Palamedes e Tratado sobre o não-ser ou sobre a natureza, nos propomos a investigar como esses dois discursos se articulam no que diz respeito às idéias gorgianas sobre conhecimento, linguagem e discurso. Em nossa análise, partimos do pressuposto de que os discursos remanescentes de Górgias apresentam uma coerência não apenas formal, estilística, mas também conceitual, que proporcionam, senão uma teoria explícita e categórica sobre o conhecimento e a linguagem, proporcionam ao menos certos elementos que nos permitem inferir um novo modo de pensar e conceitualizar a linguagem e o discurso em sua relação com o conhecimento
Abstract: This work is an effort to make an individualized interpretation of Gorgias¿ thought, exempt of stereotypes about the sophists. Thus, we translate and analyze Gorgias¿ texts known as Palamedes and On not being or on nature, in order to examine how these two discourses are connected in regard to the Gorgias¿ ideas about knowledge, language and discourse. In our analysis, we presuppose that the remaining Gorgias¿ texts present not only a formal and stylistic coherence but also a conceptual one, which provide, if not an explicit and categorical theory on knowledge and language, at least certain elements that allow us to infer a new way of thinking and conceptualizing the language and the discourse in relation to knowledge
Doutorado
Linguistica
Doutor em Linguística
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Veniamin, Christopher. "The transfiguration of Christ in Greek Patristic literature : from Irenaeus of Lyons to Gregory Palamas." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332881.
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Garcia, Ehrenfeld Claudio. "Lucian's Hermotimus. : essays about philosophy and satire in Greek literature of the Roman Empire." Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/lucians-hermotimus(508a8ae4-45a7-4230-b365-dd65ecf82a59).html.
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This dissertation considers the interaction between philosophy and satire in Greek literature of the Roman Empire through a detailed study of Lucian's Hermotimus. The argument is divided into three parts. Chapters 1, 2 and 3 show that recent studies of the dialogue value it according to two distinct ethic and aesthetic scholarly traditions (developmentalist and unitarian) which find themselves in opposition when defining the value of scepticism in Lucianic literature. Chapters 4 and 5 address the form of the Hermotimus, and argue that despite its aporetic tendencies its main character, Lycinus, gives a moral message. Chapters 6 and 7 examine the ways in which the Hermotimus is a parody of protreptic literature and invites its readers not to live in any particular way, but to think about the rhetoric of other protrepic and aporetic philosophical texts of the second century AD. In the dissertation’s conclusion some guidelines to reading the Hermotimus as a destabilizing aischrologic text are presented.
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Zadorojnyi, Alexei. "Plutarch's literary paideia." Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288017.
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Gabioneta, Robson 1979. "Um estudo sobre o sofista Protágoras nos diálogos de Platão." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281600.
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Orientador: Alcides Hector Rodriguez BenoitDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Protágoras é considerado pela maior parte dos críticos como o primeiro e o maior sofista de todos os tempos. Por outro lado, Sócrates é qualificado como o filósofo de Platão. É senso comum da história da filosofia que os sofistas são adversários dos filósofos, desse modo, Protágoras seria o maior adversário de Sócrates. Porém, ao lermos os diálogos por eles mesmos, como nos ensinam os textos de Hector Benoit, veremos que o problema não é tão simples assim. Platão, com suas inversões, surpreende até mesmo o mais atento leitor. Uma delas, para nós a mais importante, a troca de posições entre Sócrates e Protágoras acerca da possibilidade ou não do ensino da virtude política, será discutida por nós quando analisarmos a relação entre os personagens no diálogo Protágoras. Portanto, neste momento discutiremos as posições políticas do sofista. Porém, Platão não fica apenas no pensamento político de Protágoras, ele, ou para ser mais preciso, Sócrates dá a palavra para o sofista dizer o que pensa acerca de sua própria tese: 'o homem é a medida de todas as coisas'. Platão investiga a famosa frase de Protágoras dando a ela um novo sentido que a história da filosofia jamais esqueceria, a saber: 'conhecimento é sensação'. Veremos como Sócrates, com a arte que emprestou de sua mãe, a maiêutica, secreta aos falsos sofistas, aproxima esta de outras teorias. Nossa hipótese acerca da maneira platônica de investigar a tese do homem medida será: 1) Platão isola esta teoria, procurando seus limites; 2) depois faz o mesmo com outras teorias, para logo em seguida juntar o que lhe parece semelhante e separar o que é dessemelhante; no primeiro procura o que é harmônico, no segundo cria o confronto; 3) por fim, Platão olha tudo de novo em busca do que pode ou não pode ser usado. Além dos diálogos Protágoras e Teeteto, Protágoras aparece nos seguintes diálogos: Hípias Maior, Menão, Livro X da República, Eutidemo, Fedro, Crátilo, Sofista e Leis. Procuraremos discutir o motivo que levou Protágoras a ser citado em 10 diálogos de Platão, quase metade dos seus diálogos. Além disso, aproveitando a classificação de Protágoras como sofista-mor, procuraremos nestes diálogos os atributos que este gênero recebe. Ao fazermos isto percebemos que o conceito sofista é vasto e significativo dentro dos diálogos, ao ponto do conceito ser digno de receber um diálogo inteiro, o Sofista. Por este diálogo notamos que o sofista possui uma relação íntima com seu suposto adversário, o filósofo. Pensamos que para Platão é responsabilidade do sofista a busca incansável pelo conhecimento, por este motivo o filósofo o ama. Já o filósofo tem a obrigação de purificar o sofista de sua incessante pesquisa, tornando-o ele também filósofo
Abstract: Protagoras is considered by most critics as the first and greatest sophist of all times. On the other hand, Socrates is described as Plato's philosopher. It's common sense of the history of philosophy that the sophists are opponents of philosophers thus Protagoras would be the greatest adversary of Socrates. However, when we read the dialogues for themselves, as we learn from the Hector Benoit texts, we see that the problem is not so simple. Plato, with his inversions, surprises even the most attentive reader. One of them, for us the most important, the exchange of positions between Socrates and Protagoras about whether or not the teaching of political virtue is possible, will be discussed by us when we analyze the relationship between the characters in the dialogue Protagoras. We will be discussing now the political positions of the sophist. But Plato does not stick only to Protagoras' political thought, he, or to be more precise, Socrates gives the word to the sophist so he can say what he thinks about his own thesis: ' Man is the measure of all things '. Plato investigates Protagoras' famous phrase by giving it a new meaning the history of philosophy would never forget, namely: ' knowledge is sensation.' We'll see how Socrates with the art borrowed from his mother, maieutic, secret to false sophists, approaches this to other theories. Our hypothesis about the platonic way to investigate the Man-measure theory will be: 1) Plato isolates this theory, searching for its limits, 2) then he does the same to other theories, right after that he gathers together what looks alike to him and separates what is dissimilar, in the first he searches for what is harmonic, in the second he creates the confrontation and 3) finally, Plato looks everything all over again in search of what may or may not be used. Besides the dialogues Protagoras and Teeteto, Protagoras appears in the following dialogues: Hippias Major, Meno, Book X of the Republic, Euthydemus, Phaedo, Cratylus, Sophist and Laws. We will seek to discuss the reason that led Protagoras to be mentioned in 10 dialogues of Plato, almost half of his dialogues. Moreover, taking advantage of the classification of Protagoras as chief-sophist, we seek in these dialogues the attributes received by this genus. By doing this we realize that the sophist is vast and significant concept within the dialogs to the point of the concept being worthy of receiving an entire dialogue, the Sophist. Through this dialogue we note that the Sophist has an intimate relationship with his supposed adversary, the Philosopher. We think that for Plato it is the Sophist's responsibility the tireless search for knowledge, for this reason the Philosopher loves him. But the Philosopher is obliged to purify the Sophist of his relentless research, turning him too into the philosopher
Mestrado
Filosofia
Mestre em Filosofia
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Cunha, Neto Osvaldo 1980. "Protágoras e a doxografia platônica sobre o mais eminente sofista = estudo e tradução = Protagora and the platonic doxography about the most eminente sophist : study and translation." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270390.
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Orientador: Flávio Ribeiro de OliveiraTexto em grego com tradução paralela em português
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O diálogo Protágoras coloca frente a frente Sócrates e Protágoras...Observação: O resumo, na íntegra, poderá ser visualizado no texto completo da tese digital
Abstract: The dialogue Protagoras puts face to face Socrates and Protagoras...Note: The complete abstract is available with the full electronic document
Mestrado
Linguistica
Mestre em Linguística
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Lopez, Noelle Regina. "The art of Platonic love." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:5e9b2d70-49d9-4e75-b445-fcb0bfecdcef.
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This is a study of love (erōs) in Plato’s Symposium. It’s a study undertaken over three chapters, each of which serves as a stepping stone for the following and addresses one of three primary aims. First: to provide an interpretation of Plato’s favored theory of erōs in the Symposium, or as it’s referred to here, a theory of Platonic love. This theory is understood to be ultimately concerned with a practice of living which, if developed correctly, may come to constitute the life most worth living for a human being. On this interpretation, Platonic love is the desire for Beauty, ultimately for the sake of eudaimonic immortality, manifested through productive activity. Second: to offer a reading of the Symposium which attends to the work’s literary elements, especially characterization and narrative structure, as partially constitutive of Plato’s philosophical thought on erōs. Here it’s suggested that Platonic love is concerned with seeking and producing truly virtuous action and true poetry. This reading positions us to see that a correctly progressing and well-practiced Platonic love is illustrated in the character of the philosopher Socrates, who is known and followed for his bizarre displays of virtue and whom Alcibiades crowns over either Aristophanes or Agathon as the wisest and most beautiful poet at the Symposium. Third: to account for how to love a person Platonically. Contra Gregory Vlastos’ influential critical interpretation, it’s here argued that the Platonic lover is able to really love a person: to really love a person Platonically is to seek jointly for Beauty; it is to work together as co-practitioners in the art of love. The art of Platonic love is set up in this way to be explored as a practice potentially constitutive of the life most worth living for a human being.
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Franzoni, Maria Giulia. "A philosophy as old as Homer : Giacomo Leopardi and Greek poetic pessimism." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/11357.
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The aim of this thesis is twofold: it explores Giacomo Leopardi's (1798-1837) interpretation of, and engagement with, Greek pessimistic thought and, through him, it investigates the complex and elusive phenomenon of Greek pessimistic thought itself. This thesis contends that Greek pessimistic thought – epitomised by but not limited to the famous wisdom of Silenus, the µὴ φῦναι topos – is an important element of Greek thought, a fundamental part of some of Greece's greatest literary works, and a vital element in the understanding of Greek culture in general. Yet this aspect of ancient thought has not yet received the attention it deserves, and in the history of its interpretation it has often been forgotten, denied, or purposefully obliterated. Furthermore, the pessimistic side of Greek thought plays a crucial role in both the modern history of the interpretation of antiquity and the intellectual history of Europe; I argue that this history is fundamentally incomplete without the appreciation of Leopardi's role in it. By his study of and engagement with ancient sources Leopardi contributed to the 19th century rediscovery of Greek pessimistic wisdom, alongside, though chronologically before, the likes of Arthur Schopenhauer, Friedrich Nietzsche, and Jacob Burckhardt. Having outlined some fundamental steps in the history of the reception of Greek pessimism, this thesis examines the cardinal components of Leopardi's reception of it: his use of Greek conceptions of humanity to undermine modernity's anthropocentric fallacy, his reinterpretation of the Homeric simile of the leaves and its pessimistic undertones, and his views on the idea that it would be best for man not to be born.
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Boskovic, Vladimir D. "The Ethos of Language and the Ethical Philosophy of Odysseus Elytis." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11573.
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My dissertation deals with the ethical philosophy of the Greek poet and Nobel Prize winner Odysseus Elytis (1911-1996). Responding to the "ethical turn" in literary scholarship, I scrutinize the notion of ethos and ethics, which permeates Elytis' writing, and its place in Elytis' poetic universe. Revolving around Elytis' "theory of analogies," this topic involves a number of diverse and complex literary dialogs, from Plato and Plotinus to German and Greek Romantics, forming part of an unwavering aesthetical and ethical worldview—an alternative cultural, spiritual, and political paradigm Elytis sought to establish. I often encountered little-noticed textual connections which show deeper background contacts, such as the permeating role of Platonism in the literary formation of many among these authors, or Elytis' reading of Friedrich Hölderlin which was at times surprisingly compatible with Heidegger's. I also argue that Elytis' reception of ancient philosophers and poets, such as Empedocles or Pindar, was often intrinsically connected with the ethical considerations of his times. The dissertation includes archival material from the Aristotelian University of Thessaloniki and the Gennadius Library in Athens, which confirmed many of my hypotheses about Elytis' intellectual preoccupations.The Classics
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Park, E. C. "Plato and Lucretius as philosophical literature : a comparative study." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:97c3ba13-d229-429d-83fc-138fcbaf58b1.
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This thesis compares the interaction of philosophy and literature in Plato and Lucretius. It argues that Plato influenced Lucretius directly, and that this connection increases the interest in comparing them. In the Introduction, I propose that a work of philosophical literature, such as the De Rerum Natura or a Platonic dialogue, cannot be fully understood or appreciated unless both the literary and the philosophical elements are taken into account. In Chapter 1, I examine the tradition of literature and philosophy in which Plato and Lucretius were writing. I argue that the historical evidence increases the likelihood that Lucretius read Plato. Through consideration of parallels between the DRN and the dialogues, I argue that Plato discernibly influenced the DRN. In Chapter 2, I extract a theory of philosophical literature from the Phaedrus, which prompts us to appreciate it as a work of literary art inspired by philosophical knowledge of the Forms. I then analyse Socrates’ ‘prelude’ at Republic IV.432 as an example of how the dialogue’s philosophical and literary teaching works in practice. In Chapters 3 and 4, I consider the treatment of natural philosophy in the Timaeus and DRN II. The ending of the Timaeus is arguably an Aristophanically inspired parody of the zoogonies of the early natural philosophers. This links it to other instances of parody in Plato’s dialogues. DRN II.333-380 involves an argument about atomic variety based on Epicurus, but also, through the image of the world ‘made by hand’, alludes polemically to the intelligently designed world of the Timaeus. Through an examination of Plato’s and Lucretius’ polemical adaptation of their predecessors, I argue that even the most seemingly technical passages of the DRN and the Timaeus still depend upon literary techniques for their full effect. The Conclusion reflects briefly on future paths of investigation.
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Konik, Adrian. "Apollo, Dionysus, dialectical reason and critical cinema." Thesis, University of Port Elizabeth, 2003. http://hdl.handle.net/10948/295.
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The contemporary era is dominated by an Apollonian visual language, i.e. the visual language of mainstream cinema and the mass media, and this study concerns the role that critical cinema, as Dionysian subverter, plays under such conditions. I argue that critical cinema should not be viewed as something completely ‘new’ but rather as a new, or at least the latest, manifestation of an older subversive ‘Dionysian’ voice that has made its presence felt since the dawn of the hegemony of an Apollonian disposition in Homeric epic. (I maintain that the history of western culture can be understood in terms of the persistent tension between Apollonian and Dionysian dispositions, and I use the distinction Derrida makes in Différance, between restricted and general economies, to distinguish between them, respectively.) I begin by considering the Dionysian echoes within Homer’s Iliad and then consider the way in which they became a ‘roar’ in the tragedies of Aeschylus. After Aeschylus a predominantly Apollonian voice asserted itself once again (to various degrees) through the work of Sophocles and Euripides. This was in keeping with the trend towards a more (Apollonian) restricted economy that is reflected in the writings of Homer’s literary successors, and which reached a crucial stage in Plato’s valorisation of ‘dialectics’, or what I term ‘dialecticis m’, which saw the birth of ‘dialectical language’. Through Plato dialecticism, or dialectical language, became instantiated as the ‘language’ of western philosophy and this predisposed western culture to develop along predominantly Apollonian lines. This continued from Plato, through the Middle Ages, until in the 17th century this Apollonian trend became manifest in the concept of the stable, integral, autonomous and self -transparent Cartesian ego, which is inextricably linked to dialectical language that promises certainty of ‘truth’ and maintains the possibility of representing the world in its entirety (as a system). In the contemporary ‘age of a world picture’, the hegemonic (Apollonian) visual language of mainstream cinema and the mass media propagates and perpetuates the belief in the possibility of representing the world in its entirety through the image, and insofar as it caters to audiences’ needs for stability and certainty (of ‘truth’) through providing such ‘complete’ representations, shapes their subjectivity along the lines of the Cartesian ego. According to Baudrillard, in contemporary society and culture the hyperreal realm of visual language has become far more significant for individuals than their immediate, empirical experiences, and that, as a result, they are far less predisposed to discussion and reflection and far more prone to passive ‘watching’. Also, Adorno maintains that it is impossible to have a form of critical cinema because of the way in which features inherent to cinema predispose it towards being an ideological apparatus. However, if both Baudrillard and Adorno are correct then the future appears increasingly bleak as it involves nothing other than the continuation and propagation of the hegemony of the visual language of mainstream cinema and the mass media, with no possibility for critical resistance. I argue instead that critical cinema is possible because the move towards a more restricted economy, motivated by an Apollonian disposition, did not develop from Homer to the contemporary era without meeting Dionysian resistance. I trace the presence of a subversive Dionysian voice through Homer’s Iliad, through Aeschylus’ Prometheus Bound, and through Plato’s Dialogues, where it echoes in the sentiments of some of Plato’s interlocutors, such as Callicles. In addition, I maintain that a ‘Dionysian’ voice resonates through both Nietzsche’s and Heidegger’s respective criticisms of ‘dialectical language’ and the ‘validity’ of the Cartesian ego. I argue that critical cinema, particularly Aronofsky’s postmodern critical cinema, parallels their similar epistemological and ontological perspectives in the way in which it engages with the (Apollonian) visual language of mainstream cinema and the mass media, and thereby, potentially, facilitates a more porous and protean subjectivity.
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Sorensen, Anders Dahl. "Craftsmanship, teleology, and politics in Plato's 'Statesman'." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:990cdb12-accb-47dd-9801-75181bacd935.
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In this thesis I attempt to bring out some interesting implications of Plato’s political thought as it is presented in the Politicus. In particular, I will show how this dialogue provides a new picture of the relation between ruler and ruled; a picture that stresses the importance and responsibility of every citizen, not just of the statesman himself. This is achieved by an analysis of the notion of political craftsmanship envisaged by the main speaker of the dialogue, the Eleatic Stranger. However, before I turn to consider the Politicus itself, I provide a brief presentation of another Platonic craftsman, the demiurge of the Timaeus. As will be clear, the teleological structure, and the accompanying terminology, of his craftsmanship will mirror that of the true statesman and thus help us understand the latter’s political rule. My choice to focus on this aspect of the Politicus is motivated by the text itself. For the question of the kind of craftsmanship involved in political rule is picturesquely, yet effectively, brought to the fore by the myth in the early parts of the dialogue, which distinguishes between two rival conceptions and associates the statesman with one of them. I conclude by reflecting on the significance of my findings for Plato’s political thought as a whole.
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Rader, Richard Evan. "Shadows on the son Aeschylus, genealogy, history /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1189987057.
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Thomas, Maureen E. "The Divine Communion of Soul and Song: A Musical Analysis of Dante's Commedia." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450117394.
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Workman, Jameson Samuel. "Chaucerian metapoetics and the philosophy of poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:8cf424fd-124c-4cb0-9143-e436c5e3c2da.
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This thesis places Chaucer within the tradition of philosophical poetry that begins in Plato and extends through classical and medieval Latin culture. In this Platonic tradition, poetry is a self-reflexive epistemological practice that interrogates the conditions of art in general. As such, poetry as metapoetics takes itself as its own object of inquiry in order to reinforce and generate its own definitions without regard to extrinsic considerations. It attempts to create a poetic-knowledge proper instead of one that is dependant on other modes for meaning. The particular manner in which this is expressed is according to the idea of the loss of the Golden Age. In the Augustinian context of Chaucer’s poetry, language, in its literal and historical signifying functions is an effect of the noetic fall and a deformation of an earlier symbolism. The Chaucerian poems this thesis considers concern themselves with the solution to a historical literary lament for language’s fall, a solution that suggests that the instability in language can be overcome with reference to what has been lost in language. The chapters are organized to reflect the medieval Neoplatonic ascensus. The first chapter concerns the Pardoner’s Old Man and his relationship to the literary history of Tithonus in which the renewing of youth is ironically promoted in order to perpetually delay eternity and make the current world co-eternal to the coming world. In the Miller’s Tale, more aggressive narrative strategies deploy the machinery of atheism in order to make a god-less universe the sufficient grounds for the transformation of a fallen and contingent world into the only world whatsoever. The Manciple’s Tale’s opposite strategy leaves the world intact in its current state and instead makes divine beings human. Phoebus expatriates to earth and attempts to co-mingle it with heaven in order to unify art and history into a single monistic experience. Finally, the Nun’s Priest’s Tale acts as ars poetica for the entire Chaucerian Performance and undercuts the naturalistic strategies of the first three poems by a long experiment in the philosophical conflict between art and history. By imagining art and history as epistemologically antagonistic it attempts to subdue in a definitive manner poetic strategies that would imagine human history as the necessary knowledge-condition for poetic language.
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Rees, William J. "Cassius Dio, human nature and the late Roman Republic." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:75230c97-3ac1-460d-861b-5cb3270e481e.
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This thesis builds on recent scholarship on Dio’s φύσις model to argue that Dio’s view of the fall of the Republic can be explained in terms of his interest in the relationship between human nature and political constitution. Chapter One examines Dio’s thinking on Classical debates surrounding the issue of φύσις and is dedicated to a detailed discussion of the terms that are important to Dio’s understanding of Republican political life. The second chapter examines the relationship between φύσις and Roman theories of moral decline in the late Republic. Chapter Three examines the influence of Thucydides on Dio. Chapter Four examines Dio’s reliance on Classical theories of democracy and monarchy. These four chapters, grouped into two sections, show how he explains the downfall of the Republic in the face of human ambition. Section Three will be the first of two case studies, exploring the life of Cicero, one of the main protagonists in Dio’s history of the late Republic. In Chapter Five, I examine Dio’s account of Cicero’s career up to the civil war between Pompey and Caesar. Chapter Six explores Cicero’s role in politics in the immediate aftermath of Caesar’s death, first examining the amnesty speech and then the debate between Cicero and Calenus. Chapter Seven examines the dialogue between Cicero and Philiscus, found in Book 38. In Section Four is my other case study, Caesar. Chapter Eight discusses Caesar as a Republican politician. In Chapter Nine, I examine Dio’s version of the mutiny at Vesontio and Caesar’s speech. Chapter Ten examines Dio’s portrayal of Caesar after he becomes dictator and the speech he delivers to the senate. The Epilogue ties together the main conclusions of the thesis and examines how the ideas explored by Dio in his explanation of the fall of the Republic are resolved in his portrait of the reign of Augustus.
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Griffin, Michael J. "The reception of the Categories of Aristotle, c. 80 BC to AD 220." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:f4149a7e-2ad0-4d7b-b428-2ba55acf22d3.
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This thesis focuses on the ancient reception of the Categories of Aristotle, a work which served continuously, from late antiquity into the early modern period (Frede 1987), as the student’s introduction to philosophy. There had previously been no comprehensive study of the reception of the Categories during the age of the first philosophical commentaries (c. 80 BC to AD 220). In this study, I have collected, assigned, and analyzed the relevant fragments of commentary belonging to this period, including some that were previously undocumented or inexplicit in the source texts, and sought to establish and characterize the influence of the early commentators’ activity on the subsequent Peripatetic tradition. In particular, I trace the early evolution of criticism and defense of the text through competing accounts of its aim (skopos), which would ultimately lead Stoic and Platonic philosophers to a partial acceptance of the Categories and frame its role in the later Neo-Platonic curriculum.
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Taylor, Barnaby. "Word and object in Lucretius : Epicurean linguistics in theory and practice." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c0ed507b-6436-4c84-8457-34fa707af79a.
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This thesis combines a philosophical interpretation of Epicurean attitudes to language with literary analysis of the language of DRN. Chapters 1-2 describe Epicurean attitudes to diachronic and synchronic linguistic phenomena. In the first chapter I claim that the Epicurean account of the first stage of the development of language involves pre-rational humans acting under a ‘strong’ form of compulsion. The analogies with which Lucretius describes this process were motivated by a structural similarity between the Epicurean accounts of phylogenetic and ontogenetic psychology. Chapter 2 explores the Epicurean account of word use and recognition, central to which are ‘conceptions’. These are attitudes which express propositions; they are not mental images. Προλήψεις, a special class of conception, are self-evidently true basic beliefs about how objects in the world are categorized which, alongside the non-doxastic criteria of perceptions and feelings, play a foundational role in enquiry. Chapter 3 offers a reconstruction of an Epicurean theory of metaphor. Metaphor, for Epicureans, involves the subordination of additional conceptions to words to create secondary meanings. Secondary meanings are to be understood by referring back to primary meanings. Accordingly, Lucretius’ use of metaphor regularly involves the juxtaposition in the text of primary and secondary uses of terms. An account of conceptual metaphor in DRN is given in which the various conceptual domains from which Lucretius draws his metaphorical language are mapped and explored. Chapter 4 presents a new argument against ‘atomological’ readings of Lucretius’ atoms/letters analogies. Lucretian implicit etymologies involve the illustration, via juxtaposition, of language change across time. This is fully in keeping with the Epicurean account of language development. Chapter 5 describes Lucretius’ reflections on and interactions with the Greek language. I suggest that the study of lexical Hellenisms in DRN must be sensitive to the distinction between lexical borrowing and linguistic code-switching. I then give an account of morphological calquing in the poem, presenting it as a significant but overlooked strategy for Lucretian vocabulary-formation.
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Pascual, Martín Àngel. "El Protàgoras de Plató. Una narració socràtica per la presentació pública de la filosofia." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/369559.
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El Protàgoras de Plató dramatitza l’aparició i presentació de Sòcrates a la ciutat. El diàleg se situa a l’origen de la narrativa platònica sobre el fenomen socràtic, tot just quan Sòcrates s’hauria iniciat a concórrer la prometedora joventut d’una Atenes que és encara, però no per molt temps, en la seva màxima esplendor. El diàleg s’obre escenificant la compareixença pública de la filosofia, una compareixença que resulta sorprenent i demana de ser aclarida. A l’estrena de la narrativa platònica, la presència política de Sòcrates alerta als seus conciutadans: fa l’aparença de venir d’assetjar Alcibíades. A l’estrena de la narrativa platònica, Sòcrates fa l’aparença d’allò pel qual la ciutat el jutjarà una trentena d’anys més tard: corromp la joventut. D’aquesta manera, el Protàgoras duu a una narració socràtica dirigida als conciutadans atenesos que tot just acaben de topar amb ell, amb la finalitat d’oferir-los una explicació sobre els motius que l’haurien fet venir a aparèixer a la ciutat, i en especial, a concórrer la seva joventut més prometedora. El Protàgoras duu a una narració que vol presentar públicament la filosofia com una certa forma d’educació política, el Protàgoras duu a una narració que vol deslliurar i prevenir a la filosofia les males aparences que genera i fer-li un lloc a la ciutat. El primer amb el que el Protàgoras tracta és, doncs, amb l’aparença pública de la filosofia, així ho indica la seva acció i el contingut de la discussió, però nogensmenys, la seva forma d’exposició, prefigurada en la mateixa obertura del diàleg com una narració socràtica.Plato’s Protagoras depicts Socrates’ public appearance in the city. The dialogue is set at the very beggining of Plato’s overarching narrative about the socratic phenomenon, just when Socrates would have started to frequent the promising youth of Athens, a city still in its highest splendour. The dialogue opens displaying the public appearance of philosophy, an appearance that happens to be so shocking that demands to be clarified. At the premiere of the platonic narrative, the political presence of Socrates warns his fellow citizens: he appears to come from hounding Alcibiades. At the premiere of the platonic narrative, Socrates have the appearance of corrupting the youth, reason for which the city will prosecute him thirty years later. In this manner the Protagoras gives way to a socratic report adressed to the group of athenian fellow citizens that have just come across him, in order to explain to them the reason why he has now showed up in the city, and very especially the reason why he goes after the most promising youth of Athens. In the Protagoras, Plato places Socrates in need to display a narration that aims to present philosophy as a certain kind of political education. That is, Socrates is dramatically pushed to display a narration that attempts to release and prevent philosophy from the bad appearances that it may produce, replace them for edifying ones, so that philosophy could have a safe and beneficial place in the city. The first thing to deal with in the Protagoras is then the public appearance of philosophy. Not only the action and the content of the speeches point towards it, but also the style of composition of the dialogue, set in the opening as a socratic narration, aim for a public presentation of philosophy.
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Lee, Adam S. "The Platonism of Walter Pater." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:5a0d6f60-85cf-4835-8212-0e7ad1561dcc.
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After graduating from the Literae Humaniores course, which after the mid-nineteenth century came to revolve around Plato’s Republic, Walter Pater’s (1839-1894) professional duties spanning thirty years at Oxford were those of a philosophy teacher and lecturer of Plato. This thesis examines Pater’s deep engagement with Platonism in his work, from his earliest known piece, “Diaphaneitè” (1864), to his final book, Plato and Platonism (1893), treating both his criticism and fiction, including his studies on myth. Plato is an ideal philosopher, critic, and artist to Pater, exemplifying a literary craftsman who blends genres with the highest authority. Platonism is a point of contact with several of Pater’s contemporaries, such as Arnold and Wilde, from which we can take new measure of their critical relationships regarding aestheticism and Decadence. Pater’s idea of aesthetic education takes Platonism for its model, which heightens one’s awareness of reality in the recognition of form and matter. Platonism also provides a framework for critical encounters with figures across history, such as Wordsworth, Michelangelo and Pico della Mirandola in The Renaissance (1873), Marcus Aurelius and Apuleius in Marius the Epicurean (1885), and Montaigne and Giordano Bruno in Gaston de Latour (1896). In the manner Platonism holds that soul or mind is the essence of a person, Pater’s criticism, evident even in his fiction, seeks the mind of the author, so that his writing enacts Platonic love. Through close reading, we highlight his many references to Plato, identify Platonic subjects and themes, and explore etymological nuances in the very selection of his words, which often reveals a Platonic tendency of refinement towards immateriality, from seen to unseen beauty. As a teacher and an author Pater helped shape Oxonian Platonism, and through his writing we examine how Platonism informs his philosophy of aesthetics, history, myth, epistemology, ethics, language, and style.
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McDonald, Matthew William McDonald. "The Good, the Bad, and the Grouch: A Comparison of Characterization in Menander and the Ancient Philosophers." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461335881.
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Roane, Nancy Lee. "Misreading the River: Heraclitean Hope in Postmodern Texts." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1431966455.
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Vincent, Manon. "Les animaux dans la littérature hellénistique." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040225.
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Notre étude porte sur les animaux dans la littérature hellénistique. Nous avons volontairement choisi de travailler sur un vaste corpus afin de mettre en lumière les multiples représentations de l’animal apparaissant dans les textes de la période. La première partie de cette étude est consacrée à l’imagerie animale à travers laquelle les auteurs décrivent les caractères et les qualités de l’homme, exposant, dans une moindre mesure, les rapports analogiques entre les animaux. La deuxième partie s’attache à montrer les relations existantes, symboliques ou réelles, entre l’homme et l’animal. La mise en scène des animaux dans le récit traduit les pratiques et les modes de pensée de la société hellénistique vis-à-vis de l’animal. Quant à la dernière partie de cette étude, elle présente les tentatives d’objectiver les comportements et les qualités de l’animal. En ce sens, elle met en avant l’essor des écoles philosophiques et des sciences de la période par l’approche philosophique et didactique de la nature animale. Au fil des textes, la pensée hellénistique révèle la tension continuelle entre croyance et connaissance, entre représentations culturelles et « données scientifiques » sur l’animal. Si les auteurs conçoivent l’homme comme appartenant au continuum biologique animal, ils s’en démarquent par l’affirmation de sa supériorité d’un point de vue intellectifOur study focuses on animals in Hellenistic literature. We deliberately chose to work on a large text corpus in order to highlight the multiple representations of the animal appearing in the texts of the period. The first part of this study is devoted to animal imagery through which the authors describe the characters and human qualities, exposing, to a lesser extent, the analogue relationship between animals. The second part aims to show existing relationships, symbolic or real, between man and animal. The staging of the animals in the story reflects thepractices and ways of thinking of the Hellenistic society towards the animal. The last part of this study presents the attempts to objectify the behaviours and qualities of the animal. In that sense, it shows the rise of philosophical schools and sciences of the period by the philosophical and didactic approach to animal nature. In texts, Hellenistic thought reveals the continual tension between belief and knowledge, between cultural representations and "scientific data" of the animal. If the authors conceive man as belonging to the animal biological continuum, they stand out by the assertion of their superiority in an intellective perspective
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But, Ekaterina. "Eutrapelia: Humorous texts in Hellenistic poetry." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619032780255174.
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Ellis, Nicholas J. "Jewish hermeneutics of divine testing with special reference to the epistle of James." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:0046deb6-8d05-4b36-aa1c-0b61b464f253.
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The nature of trials, tests, and temptation in the Epistle of James has been extensively debated in New Testament scholarship. However, scholarship has underexamined the tension between the author’s mitigation of divine agency in testing ( Jas 1:13–14) and the author’s appeal to well-known biblical testing narratives such as the creation account (1:15– 18), the Binding of Isaac ( Jas 2:21–24), and the Trials of Job ( Jas 5:9–11). is juxtaposition between the author’s theological apologetic and his biblical hermeneutic has the potential to reveal either the author’s theological incoherence or his rhetorical and hermeneutical creativity. With these tensions of divine agency and biblical interpretation in mind, this dissertation compares the Epistle of James against other examples of ancient Jewish interpretation, interrogating two points of contact in each Jewish work: their portrayals of the cosmic drama of testing, and their resulting biblical hermeneutic. The dissertation assembles a spectrum of positions on how the divine, satanic, and human roles of testing vary from author to author. These variations of the dramatis personae of the cosmic drama exercise a direct influence on the reception and interpretation of the biblical testing narratives. When the Epistle of James is examined in a similar light, it reveals a cosmic drama especially dependent on the metaphor of the divine law court. Within this cosmic drama, God stands as righteous judge, and in the place of divine prosecutor stand the cosmic forces indicting both divine integrity and human religious loyalty. These cosmic and human roles have a direct impact on James’ reading of biblical testing narratives. Utilising an intra-canonical hermeneutic similar to that found in Rewritten Bible literature, the Epistle appeals to a constructed ‘Jobraham’ narrative in which the Job stories mitigate divine agency in biblical trials such as those of Abraham, and Abraham’s celebrated patience rehabilitates Job’s rebellious response to trial. In conclusion, by closely examining the broader exegetical discourses of ancient Judaism, this project sheds new light on how the Epistle of James responds to theological tensions within its religious community through a hermeneutical application of the dominant biblical narratives of Job’s cosmic framework and Abraham’s human perfection.
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Vieilleville, Claire. "Aspects de la représentation de l'autre dans les romans grecs et les Métamorphoses d'Apulée." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1059.
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Les romans grecs et les Métamorphoses d’Apulée – même si les modalités sont différentes pour ce dernier – sont des fictions en prose qui fonctionnent autour de topoi auxquels la figure de l’Autre n’échappe pas. Bien que le monde grec soit alors radicalement différent de ce qu’il était au Ve siècle avant J.-C., période à laquelle l’identité grecque est construite par opposition à la figure du barbare, les romanciers qui prennent la plume à partir du Ier siècle avant notre ère utilisent un certain nombre de stéréotypes hérités de l’époque classique, alors mise à l’honneur par le mouvement de la Seconde Sophistique. Il s’agit d’étudier dans le détail certains éléments de la représentation de l’Autre pour déterminer qui il est, comment il se comporte, ce qui le constitue en Autre. Puis, à partir de cette esquisse, nécessairement incomplète, d’évaluer ce que cette représentation peut induire sur l’image de l’identité grecque à l’époque impériale, par le jeu de miroir que F. Hartog a décelé dans l’œuvre d’Hérodote. Une première partie est consacrée aux rapports entre l’homme et l’animal ainsi qu’à l’image de la sauvagerie, ce qui permet d’explorer les bornes romanesques de l’humanité. La seconde partie s’attache à des éléments que l’époque classique a plus particulièrement mis en avant pour distinguer les Grecs des non-Grecs : le critère de la langue, l’art de faire la guerre et le discours politique qui est tenu sur les institutions barbares. La troisième partie étudie la place des dieux et des pratiques religieuses dans la définition de l’Autre. J’espère ainsi contribuer à la compréhension du genre romanesque et des représentations culturelles de l’empire « gréco-romain »The Greek novels and The Metamorphoses of Apuleius, even if it is in different terms for the last, are prose fictions which are based on topoi, and the figure of the Other is one of them. Although the Greek world was radically different of what it was in the fifth century BC, time during which Greek identity is contructed as opposed to the figure of the barbaros, the authors of novels, who wrote from the first century BC onward, used some stereotypes inherited from classical period, which was celebrated by the Second Sophistic movement. The aim of this thesis is to study in detail some elements of the representation of the Other to determine who it is, how he behaves, what makes him other. Then, from this sketch, necessarily incomplete, to evaluate what this representation says about the image of Greek identity in the imperial age, according to the play of the mirror detected by F. Hartog in the text of Herodotus. The first part of the thesis is dedicated to the relationship between man and animal and to the image of savagery, in order to explore the novelistic limits of humanity. The second part concentrates on elements that classical period had particularly insisted on to promote the distinction between Greeks and non-Greeks : the linguistic criterion, the way to make war, and the politic discourse on the barbaric institutions. The third part study the place of the gods and of religious practices in the definition of the Other. I hope to contribute to the understanding of novel genre and of cultural representations of the « greco-roman- empire »
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Pastore, Jassanan Amoroso Dias. "O trágico: Schopenhauer e Freud." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/1855.
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Previous issue date: 2012-05-23The study of Freud s writings, from the perspective laid down by the convergences and divergences promoted by Freud between psychoanalysis and Schopenhauer s philosophy, enables to investigate on the possible points that put nearer or farther the ways in which Freud and Schopenhauer face the tragic. Halfway in the transition from the XIXth century, which was marked by the theoretical optimism of rationalism and the primacy of conscience, to the XXth century, which main characteristic was the crisis of the reason, psychoanalysis has emerged as a new science about the human soul, having as foundations the unconscious and the drives. Similarly, Schopenhauer had, one hundred years before, in the transition from the XVIIIth to the XIXth century, put in doubt not only the attempts at metaphysically interpreting the world optimistically, but also the notions of the German romantic idealists who, as a rule, in following the tradition, postulated an absolute rational principle of the world. Schopenhauer, in his philosophy, elaborates his thinking by situating the essence of man not in conscience and reason, but in the Will, which he considered to be an irrational impulse. We will depart from the notion of the tragic among the Ancient Greeks, crossing the path of modern philosophy, and finally arriving at psychoanalysis
O estudo dos textos freudianos, a partir da perspectiva estabelecida pelos encontros e desencontros que Freud promove entre a psicanálise e a filosofia schopenhaueriana, permite investigar as possíveis aproximações e distanciamentos entre a concepção e o modo de enfrentamento do trágico em Freud e em Schopenhauer. Em meio à transição do século XIX, marcado pelo otimismo teórico do racionalismo e do primado da consciência, para o século XX, caracterizado pela crise da razão, Freud funda a psicanálise, uma nova ciência sobre a alma humana que postula como fundamentos o inconsciente e as pulsões. Da mesma maneira, cem anos antes, na transição do século XVIII para o XIX, Schopenhauer já havia problematizado as tentativas de interpretar metafisicamente o mundo de maneira otimista e também as concepções dos idealistas românticos alemães, que, de modo geral, ao seguirem a tradição, postulavam um princípio racional absoluto do mundo. Em sua filosofia, Schopenhauer elabora um pensamento que situa a essência do homem não na consciência e na razão, mas na Vontade, considerada por ele um impulso irracional. Partiremos do estudo da concepção de trágico desde a Antiguidade grega, passando pela filosofia moderna, até chegarmos à psicanálise
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Glénisson, Marine. "La construction des personnages de philosophes dans la littérature grecque du Haut-Empire." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL115.
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Les personnages de philosophes sont nombreux dans les textes à l’époque impériale, et donnent lieu à des représentations variées chez les écrivains. L’importance des philosophes à l’époque impériale n’est plus à démontrer : ils sont au carrefour de toutes les connaissances, terrestres et célestes, sont liés au pouvoir et font partie de la vie quotidienne des habitants des cités de langue grecque. Ils sont emblématiques de l’hellénisme, une identité fondée sur l’éducation. Le présent travail étudie la position nodale de ces personnages à travers leur récurrence et les modalités de leur représentation dans les textes, afin de comprendre comment une même figure, au-delà de l’effet de répétition qui émane de la multiplicité des occurrences, propose moins une définition du philosophe que ne le pose comme un problème permettant de penser le monde dans lequel vivent les écrivains. Les personnages de philosophes se révèlent un outil fécond pour nourrir une réflexion, illustrer un point de vue, revendiquer une identité ethnique ou culturelle, une supériorité dans le champ de la connaissance. La mise en scène des personnages, jamais exempte d’ambiguïté, dévoile que chaque philosophe potentiel pourrait bien n’être que l’usurpateur d’un titre prestigieux, un sophiste, figure vide qui, comme chez Platon, prend l’apparence du philosophe. Ce travail a ainsi permis de mettre en avant toutes les facettes d’une représentation porteuse de sens dans des textes d’origine et de portée diverses, mais aussi les moyens par lesquels, par le biais de représentations quasi standardisées, la notion de philosophe est posée comme un outil pour penser le monde contemporain et les débats qui l’animentThe philosopher figures are numerous in the literature of the Imperial Period, and they are variously depicted by the Antic writers. The importance of philosophers under the Empire has been shown. They seat at the crossroad of both terrestrial and celestial knowledge; they are often related to powerful people and take part in the everyday life of the Greek-speaking citizens. They are emblematic for the Hellenism, which is a kind of identity based on education. This work focuses on the nodal position they occupy in the texts and on the modalities of their representation, in order to understand how the same kind of figure, apart from the repetitive impression that emanates from the multiplicity of their appearances, constitutes less of a definition of what exactly is a philosopher than a problem allowing to shed some light on the world in which the writers are living. Philosopher figures reveal themselves a useful tool in order to grow a reflexion, illustrate a point of view, claim his ethnical or cultural identity, or assert his superiority in the field of knowledge. The setting of philosophers is never deprived from ambiguity and shows that every character could actually be a sophist under the guise of the philosopher. In this study, we have shown the various faces the philosophers can take depending on the writer and the context, and the different ways they gain meaning in texts of every genres and every source. The philosopher figures appear as a fruitful tool when it comes to make sense of the contemporary world and the debates pervading it
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Randall, Jennifer M. "Early Medieval Rhetoric: Epideictic Underpinnings in Old English Homilies." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_diss/61.
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Medieval rhetoric, as a field and as a subject, has largely been under-developed and under-emphasized within medieval and rhetorical studies for several reasons: the disconnect between Germanic, Anglo-Saxon society and the Greco-Roman tradition that defined rhetoric as an art; the problems associated with translating the Old and Middle English vernacular in light of rhetorical and, thereby, Greco-Latin precepts; and the complexities of the medieval period itself with the lack of surviving manuscripts, often indistinct and inconsistent political and legal structure, and widespread interspersion and interpolation of Christian doctrine. However, it was Christianity and its governance of medieval culture that preserved classical rhetoric within the medieval period through reliance upon a classic epideictic platform, which, in turn, became the foundation for early medieval rhetoric. The role of epideictic rhetoric itself is often undervalued within the rhetorical tradition because it appears too basic or less essential than the judicial or deliberative branches for in-depth study and analysis. Closer inspection of this branch reveals that epideictic rhetoric contains fundamental elements of human communication with the focus upon praise and blame and upon appropriate thought and behavior. In analyzing the medieval world’s heritage and knowledge of the Greco-Roman tradition, epideictic rhetoric’s role within the writings and lives of Greek and Roman philosophers, and the popular Christian writings of the medieval period – such as Alfred’s translation of Boethius’ Consolation of Philosophy, Alfred’s translation of Gregory the Great’s Pastoral Care, Ælfric’s Lives of Saints, Ælfric’s Catholic Homilies, Wulfstan’s Sermo Lupi ad Anglos, and the anonymously written Vercelli and Blickling homiles – an early medieval rhetoric begins to be revealed. This Old English rhetoric rests upon a blended epideictic structure based largely upon the encomium and vituperation formats of the ancient progymnasmata, with some additions from the chreia and commonplace exercises, to form a unique rhetoric of the soul that aimed to convert words into moral thought and action within the lives of every individual. Unlike its classical predecessors, medieval rhetoric did not argue, refute, or prove; it did not rely solely on either praise or blame; and it did not cultivate words merely for intellectual, educative, or political purposes. Instead, early medieval rhetoric placed the power of words in the hands of all humanity, inspiring every individual to greater discernment of character and reality, greater spirituality, greater morality, and greater pragmatism in daily life.
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Paul, Salomé. "Avatars contemporains du tragique grec : le Mythe dans la dramaturgie de Sartre, Anouilh, Camus, Paulin, Kennelly et Heaney." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL029.
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Cette étude a pour objectif de démontrer le changement paradigmatique qui s’est opéré dans l’approche du phénomène tragique et du genre de la tragédie à l’époque contemporaine. La tragédie, telle qu’elle est pratiquée par les Grecs durant le Ve siècle avant J.-C., se construit autour du concept de dikè, c’est-à-dire de justice. Toutefois, au XXe siècle, la pensée tragique se porte sur la question de la liberté humaine. Cette transformation quant à l’appréhension philosophique et dramatique du phéno-mène résulte des événements socio-politiques qui secouent le monde occidental, et plus particulière-ment européen, durant cette période. Notre étude repose ainsi sur la comparaison de plusieurs tragédie grecques — Les Perses, L’Orestie, et Prométhée enchaîné d’Eschyle ; Antigone et Philoctète de So-phocle ; Médée et Les Troyennes d’Euripide — avec des transpositions contemporaines, qui ont été créées en France et en Irlande en réponse à des événements socio-politiques menaçant la liberté des individus, ou du moins d’une partie d’entre eux. De ce fait, notre corpus se compose de trois pièces mises en scène durant ou après l’Occupation : Les Mouches de Sartre (1943), Antigone d’Anouilh (1944), et Caligula (1945) de Camus ; d’une pièce écrite lors de la période de la décolonisation dans les années 1960 : Les Troyennes de Sartre (1965) ; de trois pièces créées pendant la période des Troubles (1968-1998) : The Riot Act (1984) et Seize the Fire (1989) de Paulin, et The Cure at Troy de Heaney (1990) ; et de trois pièces composées durant le débat portant sur les droits des femmes dans les années 1980 en République d’Irlande : Antigone (1986), Medea (1989), et The Trojan Women (1993) de KennellyThis research intends to underline the paradigmatic change that has occurred reguarding the approach to the tragic phenomenon and the genre of tragedy in the contemporary period. Tragedy, such as dramatized by the Greeks in the 5th century B.-C., was built on the concept of dikè, meaning justice. However, in the twentieth century, the idea of tragic is apprehended through the perspective of human freedom. This transformation of the philosophical and dramatic approaches to the tragic phenomemon arises from the social and political events occuring in the Western world, and more specifically in Eu-rope, during that period. Thus, our research relies on the comparison of several Greek tragedies — Aeschylus’s The Persians, The Oresteia, and Prometheus Bound; Sophocles’s Antigone and Philocte-tes; Euripides’s Medea and The Trojan Women — with some contemporary transpositions that have been produced in France and in Ireland to adress events threatening individual freedom of, at least, a part of the population living in France or in Ireland. Therefore, our research considers three plays creat-ed during or shortly after the Nazi Occupation of France: Sartre’s The Flies (1943), Anouilh’s Antigone (1944), Camus’s Caligula (1945); one play performed during the decolonial period of 1960: Sartre’s The Trojan Women (1965); three plays produced during the period of the Troubles (1968-1998): Paulin’s The Riot Act (1984) and Seize the Fire (1989), and Heaney’s The Cure at Troy (1990) ; and three plays performed to deal with the issue of women’s rights in the Republic of Ireland: Kennelly’s Antigone (1986), Medea (1989), and The Trojan Women (1993)
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"Tragedy and philosophy: the problem of tuchê in Aristotle and Greek tragedy." 2001. http://library.cuhk.edu.hk/record=b5895861.
Full textAbstract:
Yeung Ka-chung, Lorraine.Thesis (M.Phil.)--Chinese University of Hong Kong, 2001.
Includes bibliographical references (leaves viii-xii (3rd gp.)) and index.
Abstracts in English and Chinese.
Chapter Chapter One: --- Introduction --- p.1
Chapter Chapter Two: --- Aristotelian Tragedy or Greek Tragedy? --- p.6
Chapter 1. --- Modern Criticism on Aristotle's Poetics --- p.6
Chapter 2. --- Aristotle's Theory of Greek Tragedy --- p.10
Chapter 2.1 --- Mimesis and Action --- p.11
Chapter 2.2 --- Plot-Structure --- p.12
Chapter 2.3 --- The Principle of Probability and Necessity --- p.13
Chapter 2.4 --- Tragedy and History --- p.13
Chapter 2.5 --- "Pity, Fear and Katharsis" --- p.14
Chapter 2.6 --- Recognition and Reversal --- p.15
Chapter 2.7 --- The Proper Kind of Agent --- p.16
Chapter 2.8 --- The Proper Kind of Circumstances --- p.17
Chapter 3. --- The Exclusion --- p.18
Chapter 3.1 --- Does Aristotle exclude the Divinity? --- p.19
Chapter 3.2 --- Aristotle on Oedipus Tyrannus --- p.21
Chapter 4. --- The Role of Divinity in Greek Tragedy --- p.22
Chapter 5. --- The Problem of Tragic Action in Greek Tragedy --- p.24
Chapter 5.1 --- Aristotle on Tragic Action --- p.24
Chapter 5.2 --- The Duality of Tragic Action in Greek Tragedy --- p.26
Chapter 5.3 --- The Tragic Sense of Responsibility --- p.28
Chapter 6. --- The Different Conception on Happiness --- p.30
Chapter 7. --- The Problem of Pathos in Greek Tragedy --- p.31
Chapter 7.1 --- Pathos and Truth --- p.31
Chapter 7.2 --- The Religious Significance --- p.33
Chapter 7.3 --- Pathos and Pity among Mortals --- p.34
Chapter 8. --- The Problem of Conflicts in Greek Tragedy --- p.37
Chapter 8.1 --- Aristotle and Greek Tragedy on Conflict --- p.38
Chapter 8.2 --- Agamemnon ´ؤ Killing Among Family --- p.40
Chapter 8.3 --- The Nature of Tragic Conflicts --- p.42
Chapter 9. --- Conclusion: Aristotle's Silence --- p.43
Chapter Chapter Three: --- Aristotle on Tuche --- p.45
Chapter 1. --- Aristotle and the Moral Luck Problem --- p.45
Chapter 2. --- Tuche in Aristotle's Physics --- p.48
Chapter 2.1 --- "Tuche and ""What Happens for the Most Part""" --- p.50
Chapter 2.2 --- "Tuche and ""For the Sake of Something""" --- p.51
Chapter 2.3 --- The Implications --- p.52
Chapter 2.4 --- Remarks --- p.56
Chapter 3. --- Tuche in Aristotle's Two Ethics --- p.57
Chapter 3.1 --- Tuche in Eudemian Ethics -- Natural Impulse in the Soul --- p.58
Chapter 3.2 --- Tuche in Nicomachean Ethics: External Goods and Tuche; Happiness and Blessedness --- p.65
Chapter 4. --- Tuche in Aristotle's Poetics --- p.78
Chapter 4.1 --- Hamartia - A Cause in Human Terms --- p.80
Chapter 4.2 --- Errors and Misfortune --- p.82
Chapter 5. --- Conclusion: Aristotle's Silence on Tuche in Greek Tragedy --- p.85
Chapter Chapter Four: --- Tuche in Greek Tragedy --- p.88
Chapter 1. --- A Deeper Sense of Exposition --- p.88
Chapter 2. --- Tuche as a Goddess --- p.90
Chapter 3. --- Tuche and Moira in Greek Tragedy -- The Religious Significance --- p.92
Chapter 3.1 --- Tuche and Moira in Oedipus Tyrannus --- p.94
Chapter 3.2 --- The Problem of Necessary Chance --- p.97
Chapter 4. --- Tuche in Oedipus Tyrannus --- p.99
Chapter 4.1 --- Tuche and Sophoclean Irony --- p.99
Chapter 4.2 --- Tuche abd Oedipus --- p.103
Chapter 5. --- Tuche in Euripides' Tragedies --- p.105
Chapter 5.1 --- Tuche in Heracles --- p.106
Chapter 5.2 --- Ironic Unconcern - The Tragic Response to Tuche --- p.109
Chapter 6. --- The Tragic Views --- p.113
Chapter 6.1 --- The Tragic Views on Man - The Mortal Limitation --- p.114
Chapter 6.2 --- The Role of the Messenger --- p.115
Chapter 6.3 --- The Symbolic Meaning of Nature (Physis) --- p.119
Chapter 7. --- Conclusion: Tuche and Nature --- p.123
Chapter Chapter Five: --- Tragedy and Philosophy --- p.125
Chapter 1. --- From Particular to Universal -- The Significance of the Chorus --- p.125
Chapter 2. --- The Different Way of Formulation Question --- p.129
Chapter 3. --- The Different Conception Truth - Plato's Simile of the Cave and Oedipus Tyrannus --- p.130
Chapter 4. --- Conclusion: Greek Tragedy as Philosophy --- p.132
Chapter Chapter Six: --- Conclusion --- p.133
Appendix: Related Pictures
Chapter 1. --- The Image of Goddess Tuche (of Antioch) on a Coin --- p.i
Chapter 2. --- The Image of Goddess Tuche (of Ephseus) on a Coin --- p.i
Chapter 3. --- Athena Between Two Warriors --- p.ii
Chapter 4. --- Oedipus and Sphinx --- p.ii
Chapter 5. --- The Images of Achilles and Priam in a Vase Painting --- p.iii
Chapter 6. --- The Images of Achilles and Priam in a Vase Painting --- p.iv
Chapter 7. --- The Images of Ajax and Odysseus in a Vase Painting: Side A: argument between Odysseus and Aja over the possession of the arms of Achilles --- p.x v
Chapter 8. --- Side B: the casting of votes to award the arms --- p.vi
Chapter 9. --- Tondo: Tecmessa covers body of Ajax --- p.vii
Bibliography --- p.viii
Index --- p.xii
Acknowledgement --- p.xv
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Douglas, David. "A study in Epicurean poetics: Virgil's eclogues." Thesis, 2020. http://hdl.handle.net/1828/11524.
Full textAbstract:
In this thesis I propose a reading of Virgil’s Eclogues which draws heavily on the author’s background in Epicurean philosophy. My aims are twofold: firstly to illuminate the literary complexities of Virgil’s bucolic poetry, a poetry which is highly allusive and whose meaning rests on knowledge of a wide range of both literary and philosophical sources; and secondly to substantiate a more general theory of Epicurean poetics by observing how such a theory can be seen to unfold in Virgil’s poetic practice. Beginning with the available biographical sources on Virgil’s life, I review the evidence for his adherence to Epicureanism and attempt to provide a rough chronology of his philosophical conversion and early literary output, including the Eclogues. In addition to this historical context I give an overview of Epicurean ethical teachings as they relate to poetry and literature, in order to arrive at a better understanding of the discursive and ideological milieu which would have informed the Eclogues’ composition. The remainder of the thesis traces the interaction between Virgil’s literary and philosophical inheritances across the textual fabric of the Eclogues. I isolate the shared concerns of Epicurean philosophy and bucolic poetics to regulate their engagement with the ancient poetic genres of epic and elegy, compositional modes which are associated with frustration and moral danger. Finally I show how in the Eclogues Virgil engages with a third poetic genre, (cosmological) didactic, and how this engagement reflects both an Epicurean interest in the ethical benefits of natural philosophy (physiologia) and a tendentious literary program which seeks to innovate on the generic conception of bucolic poetry that Virgil takes over from his bucolic predecessor, Theocritus.Graduate
2021-01-15
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"Die aard van die gode in Lucretius se De Rerum Natura 5:146-155." Thesis, 2015. http://hdl.handle.net/10210/14061.
Full text
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Van, der Vyver Louïne Marilize. "Breytenbach by die Afrikaanse kunstefeeste : karnaval en ritueel in sy dramatiese oeuvre." Diss., 2007. http://hdl.handle.net/10500/2151.
Full textAbstract:
This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin.
The study evolves around three critical questions:
1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression?
2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events?
3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals?Afrikaans & Theory of Literature
M.A. (Afrikaans)