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Skilnick, Randall. "Nietzsche's view of Socrates in The birth of tragedy." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26759.
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This thesis outlines Nietzsche's view of Socrates in The Birth of Tragedy. Socrates is first argued to be the father of science and then, after having explained the artistic nature of the world and ourselves according to Nietzsche, Socrates' degenerative, nihilistic influence upon the world is detailed. Science is then explained to have originated in a moral perspective on the world, the latter growing out of self-denial, and ultimately illness. The "dying Socrates" is Nietzsche's symbol of science as a negative positing of the artistic forces one is, from whence Nietzsche concludes the impossibility of escaping from oneself by such means.
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Skilnick, Randall. "Nietzsche's view of Socrates in The Birth of Tragedy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29569.pdf.
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Banham, Gary. "A critical commentary on Nietzsche's 'The Birth of Tragedy'." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321628.
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Kirby, Kenneth A. "Fractured vision : myth and discernment in Nietzsche's Birth of tragedy /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055695.
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Thesis (Ph. D.)--University of Oregon, 2002.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 251-256). Also available for download via the World Wide Web; free to University of Oregon users.
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Hoyt, Maggie Sharon. "Giving Birth to Empowerment: Motherhood and Autonomy in Greek Tragedy." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3613.
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The Greek tragedies of Classical Athens frequently portray mothers in central roles, but despite this significance, the relationship between mother and child has long been overshadowed in secondary scholarship by the relationship between husband and wife. This study demonstrates the direct relationship between a female character's active possession of her children and her autonomy, or her ability to act in her own interests, in three plays of Euripides: Electra, Medea, and Ion. In general, women who internalize their ownership of their children, expressed on stage both in word and action, have greater influence over the men around them and the power to enact the revenge they desire. Once their ends have been achieved, however, these tragic mothers often devalue their relationship with their children, leading to a decrease in power that restores the supremacy of the patriarchal order. Within this broad framework, Euripides achieves different results by adjusting aspects of this cycle of maternal empowerment. The Electra follows this outline just as its predecessor the Oresteia does; however, Euripides invents a fictional child for Electra, extending the concept of maternal empowerment to Electra and defining Clytemnestra as both mother and grandmother. In Medea, Euripides demonstrates the significance of Medea's children to her power, and Medea does devalue her children enough to destroy them, the source of her influence, but she is not punished and cannot be reabsorbed into the patriarchal structure, which leaves an audience with a heightened sense of anxiety at the threat of maternal empowerment. Finally, the Ion initially demonstrates a cycle similar to Medea: empowered by her ownership of the child she believes she has lost, Creusa attempts revenge against the young man who threatens her but is in fact her lost son. In the end, however, Creusa uses her empowerment to achieve recognition between mother and son and voluntarily relinquishes her ownership, resulting in a peaceful reabsorption into patriarchal society and a happy ending. Despite the variations on this cycle presented by Euripides, one theme persists: motherhood was both empowering and threatening, and it required strict male control to avoid tragic results. Thus as scholars of tragedy, we cannot ignore the mother-child relationship, not only for its power to illuminate the feminine, but also for its capacity to reveal the vulnerabilities of the masculine.
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Berger-Di, Donato Andrea. "THE RE-BIRTH OF DANCE THROUGH THE SOUL OF TRAGEDY: ON NIETZSCHE'S BIRTH OF TRAGEDY BECOMING BODY IN THE TEXT AND DANCE OF ISADORA DUNCAN." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/48671.
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Dance<br>Ph.D.<br>In her autobiography, Isadora Duncan recalled an assertion made by Karl Federn: "Only by Nietzsche, he said, will you come to the full revelation of dancing expression as you seek it" (Duncan 1995, 104). Duncan also told her students to read Nietzsche's The Birth of Tragedy, as if it was their "Bible" (Duncan 1928, 108). These statements justify an examination of Nietzsche's The Birth of Tragedy as an imperative source for understanding the depth of her dance philosophy. This dissertation asks what it means to see Duncan's philosophy of dance and its practice in the context of this nineteenth-century German philosopher. It examines Nietzsche's words and ideas about the birth of tragedy and how they become body in the writings and dance of Isadora Duncan.
This dissertation focuses on the philosophical idea of the "tragic idea" according to Nietzsche's and Duncan's interpretations and applications of philosophy bodied forth in dance. This tragic idea comes from an emerging idea in intellectual history initiated by followers of Kant. The idea of drawing from Greek tragedy a philosophy that could be used in philosophical thought to debate the meaning and function of art and even life was particular to German thinkers, philosophers and literati. While it drew from Greek tragic plays a philosophy, German thought on tragedy differed from the ancients in that it was applied as a philosophy for life. The ideas on Greek tragedy that Nietzsche situates his own within were developed within and against the Romantic aesthetic.
The characteristics of Romantics provide context for understanding the use of tragedy as a source for thought and art. Although Nietzsche came to oppose aspects of Romanticism, his first book was in part a dialogue with German Romantic thought and aesthetics. Nietzsche's idea of tragic philosophy in his The Birth of Tragedy is examined in precedence to Duncan's use of his book. This dissertation provides an historical contextualization of the idea of a tragic philosophy to show that Duncan's choice to base her dance philosophy on Nietzsche's tragic philosophy follows this historical philosophical thread. As Nietzsche both dedicated The Birth of Tragedy to Wagner and based the book on Wagner's interpretation of Greek tragedy (Williamson 2004, 238), and Duncan wrote on and danced to Wagner, Wagner is relevant within the specific context of understanding Duncan's dance as a philosophical practice of The Birth of Tragedy. This dissertation, then, looks into Duncan's writings as a way to read Nietzsche's The Birth of Tragedy, and through these texts to interpret some aspects alive within the Romantic mood.
In addition, this dissertation incorporates as part of both the literature and the analysis of Duncan's moving image, an embodied voice of personal experience from its writer, who has practiced this dance intimately. I weave my personal experience into the dissertation, using my experience in dancing within this dance form to reflect on the ideas presented here. The tragic idea as I see it within this movement drives the dancer's ideas about dance as an expressive art form. A tragic philosophy/wisdom motivates the imagination, the range of emotional expression and the physical body as it shapes and moves itself in, through and around space. A tragic sensibility represents a quality of investigation about the range of human experience that happens in and from out of the body. It comes from deep within the body's inner space and emotional and physical aliveness. It is an idea that the dancer is conscious of and actively engaged in as a process of dancing (for oneself) and making dance (as performative).<br>Temple University--Theses
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Shade, Scott Bennett. "An architecture of the birth of a tragedy, a search for neo-modern architecture." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/21478.
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Levine, Sarah. "The Birth of Tragedy out of the Spirit of Dance: Nietzschean Transitions in Nijinsky's Ballets." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/rs_theses/37.
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This project compares the career of the early 20th century ballet dancer, Vaslav Nijinsky, to Friedrich Nietzsche’s theory of the tragic arts. In The Birth of Tragedy (1872) and elsewhere, Nietzsche argues that artists play the central role in communal mythmaking and religious renewal; he prescribes the healing work of the “tragic artist” to save modernity from the decadence and nihilism he identifies in scientism, historicism, and Christianity. As a dancer, and especially as a choreographer for the Ballets Russes (1912-1913), Nijinsky staged a kinetic response to modern culture that not only displayed shared concerns with Nietzsche, but also, as I argue, allow him to be interpreted as Nietzsche’s archetypical tragic artist. By juxtaposing the philologist-philosopher and dancer-choreographer as artists, I situate the emergence of Modern Art as a nascent movement still bound to Romanticism even while rebelling against it, and as an attempt to reinterpret art in a mythic (and thoroughly modern) context.
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LAW, Wing Sum. "尼采早期著作中本原和共同體之思". Digital Commons @ Lingnan University, 2013. https://commons.ln.edu.hk/philo_etd/9.
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本篇論文由朱利安．揚恩對於尼采的詮釋來展開討論，以重新思考尼采思想中本原與共同體的問題。
一般認為尼采哲學是一種反宗教思想，其更明確地宣稱自己為反基督。揚恩則提出尼采的思想是宗教的，此正與一般的理解背道而馳。揚恩理解宗教的其中一重要面向是共同體的建立，其對於共同體的概念有一預設，於統一意義下思考共同體。並論述此種共同體思考亦見於尼采的思想中，從而論證其是一宗教思想家。
本文主要規範於尼采的早期著作《悲劇的誕生》來進行論述，以考察揚恩的論述能否成立。揚恩理解共同體作為統一整體，統一的整體得以建立有賴於一個基礎，此基礎亦即本原之意。因而本文所針對的問題正是尼采所理解的本原。揚恩論述尼采酒神精神正是此種本原，此亦如同叔本華的原一之意，由此可見其仍於一種形而上學的結構下詮釋尼采，亦顯示出其並沒有對共同體的概念作出反思。筆者認為尼采的思想正有著超出形而上學的面向，酒神作為本原已是自身區分著的。而共同體亦非一整體，而是作為分延。此與揚恩的理解不同，由此得出其所斷定尼采是一宗教思想家是難以成立的。本文以本原和共同體的問題作為切入點，從而開展出一種對於尼采早期著作的重新思考。
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Moreno, Filho José William Moreira. "A Transvaloração dos valores em O nascimento da tragédia." reponame:Repositório Institucional da UFC, 2008. http://www.repositorio.ufc.br/handle/riufc/26325.
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MORENO FILHO, José William Moreira. A Transvaloração dos valores em O nascimento da tragédia. 2008. 116f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2008.<br>Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-10-02T13:47:10Z
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Previous issue date: 2008<br>The major purpose of the present study is to make explicit the possible presence of a revaluative approach in Nietzsche’s first published work, The birth of tragedy. That book brings, according to the philosopher, the first signs of his mature central conception: the revaluation of all values, that is, the birth of a new consciousness and new values. In the late period of his philosophical works, such as Ecce homo, Twilight of idols and Attempt of self-critique, Nietzsche points out to that intention of a reformulation of his initial conceptions. That is to say, he declares that The birth of tragedy was his first revaluation of all values. If we mainly focus on his early (1872 – 1875) as well as his late (1886 – 1888) philosophical works, we can find throughout the relation between art and knowledge in what sense the revaluation of all values is to be conceived. It is on art, more specifically on the art of tragedy that Nietzsche sees a positive way for human existence, since art makes life become positive. If mankind adopted a way of life guided by its own artistical powers, it could recognize its proper skills either to create or to destroy moral values, becoming able of promoting a radical change of predominant moral values, that is, a revaluation of all values. Nevertheless, the belief of an unlimited knowledge, which the unartistic tendency inherited from the aesthetic socratism opposes the offspring of a new tragic (artistic) approach. That belief erroneously over-estimates rationality as it were able to solve all enigmas of life. Therefore, The birth of tragedy brings the very foundations of Nietzsche’s late philosophy, since one can find in that work the most important issues of his thought: the critique of an exaggerated rationality initiated by an unartistic tendency named aesthetical socratism; the apology of a tragic wisdom (dionisiac), which will only be apprehended by art. Nietzsche’s struggle, therefore, aimed to call modern mankind’s attention, witch inherited aesthetic socratism, to realize the decadence of a lifestyle guided by unartistic tendencies; he also pointed out that only throughout an artistic existence mankind would be able to overcome decadent values. In that sense, art is Nietzsche’s affirmative proposal in The birth of tragedy which will be maintained in his latest philosophy. That is because it is only by that first work that the philosopher would be able to propose a revaluation of all values in his final work, by means of which life would be toned up in order to become positive.<br>A proposta deste trabalho tem como objetivo central explicitar a presença de um caráter transvalorativo na primeira obra publicada por Nietzsche: O nascimento da tragédia. Esta traz embrionariamente, segundo o próprio filósofo, o que seria mais tarde o objetivo central de toda sua filosofia: a transvaloração de todos os valores, isto é, o nascimento de um novo parâmetro de avaliação, de novos valores. Nietzsche, em textos de seu último período filosófico como Tentativa de autocrítica, Crepúsculo dos ídolos e Ecce Homo, [aponta para essa intenção de redimensionamento de suas teses iniciais; ou seja,] alega que O nascimento da tragédia foi a sua primeira Transvaloração de todos os valores. Focando exclusivamente em textos escritos na sua juventude (1872 – 1875) e maturidade (1886 – 1888) filosófica, a relação entre arte e conhecimento, nos períodos apontados, indicará em que sentido a transvaloração deve seguir. É na arte, mais precisamente na arte trágica, que Nietzsche vislumbra uma existência positiva, no sentido de que a arte afirma a vida. O homem, assumindo uma vida artística, ou seja, reconhecendo-se como criador e destruidor de valores, torna-se capaz de promover uma mudança radical nos valores vigentes, uma transvaloração dos valores. Entretanto, a crença no conhecimento ilimitado, que a tendência inartística do socratismo engendrou em nossa sociedade moderna, obsta a vinda de uma nova era trágica (artística). Essa crença supervaloriza a razão dotando-a, segundo Nietzsche, erroneamente da capacidade de desvendar os enigmas da vida. Assim, O nascimento da tragédia traz em si as bases da filosofia tardia nietzschiana, pois nela já se encontram temas de extrema importância do seu filosofar, são eles: crítica à razão exacerbada iniciada por uma tendência inartística denominada de socratismo (estético e teórico) e a apologia a uma sabedoria trágica (dionisíaca), a qual só pode ser aprendida através da arte. A luta de Nietzsche é, portanto, alertar o homem moderno, herdeiro do socratismo, o quanto a vida guiada por essa tendência inartística é decadente; é mostrar que só através de uma existência artística o homem seria capaz de superar valores decadentes. A valorização da arte é a proposta afirmativa de Nietzsche em O nascimento da tragédia que será retomada em sua filosofia derradeira, pois é somente por meio dela que uma transvaloração de todos os valores se tornará possível e, consequentemente, a vida será tonificada e afirmada.
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Libeg, Nicholas R. "Thus Spoke Billy Pilgrim: Kurt Vonnegut's Nietzschean Thought." Youngstown State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1391773726.
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Simutis, Paulius. "Apoloniškumas ir dionisiškumas F. Nirtzsche's filosofijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140602_092922-76390.
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Darbo objektas – apoloniškumo ir dionisiškumo tragiškumas. Darbo tikslas: analizuoti tragedijos gimimą ir mirtį F. Nietzsche‘s filosofiniame veikale „Tragedijos gimimas ir mirtis“. Darbo uždaviniai: 1. Pristatyti apoloniškumo sampratą metafizine prasme; 2. Pateikti apoloniškumo sampratą estetine prasme; 3. Supažindinti su dionisiškojo prado samprata; 4. Priešpastatyti dionisiškumą sokratiškumui ir platoniškumui. Darbo problema. Savo veikale Tragedijos gimimas tragediją F. Nietzsche atskleidžia remdamasis dionisiškuoju ir apoloniškuoju pradais, išskirdamas jų skirtumus ir priešpriešas bei tuo pačiu pateikdamas jų sintezę. F. Nietzsche‘s suvokimas, kuris atsiskleidžia jo kūrinyje yra stipriai įtakotas A. Schopenhauerio, valios kaip vaizdinio supratimo, kuriuo yra pagrįstas apoloniškasis pradas ir R. Wagnerio muzikos suvokimo, kuris pasireiškia kaip dionisiškasis pradas. Apoloniškąjį pradą F. Nietzsche remdamasis Šopenhaueriu pateikia kaip plastinį vaizdinį, kurį prilygina sapnui. Apoloniškumą filosofas skirsto į dvi dalis: metafiziką ir estetiką. Pirmuoju atveju apoloniškumas suvokiamas, kaip tam tikros ribos, apibrėžiančios tai, kas yra gera ir teisinga, neperžengia saiko ribų. Antruoju atveju apoloniškumas suvokiamas, kaip grynas estetinis grožis.<br>The object – tragedy of Apolonas and Dionisius origins. Aim: To analyze the tragedy of the birth amd death of Nietzsche’s philosophical work The Birth of Tragedy. Tasks: Introduction to the concept of Apolonas origin metaphysical sense; The aesthetic concept of Apolonas origin; Introduction to the concept of Dionisius origin; Show opposition between origin of Dionisius and Socrates Work problem: In his work Birth of Tragedy, Nietzsche reveals the basis of Apolonas and Dionisius origins, realeasing their differences and contradictions, and at the same time giving treir synthesis. Nietzsche’s perception, which revealed the piece is heavily influenced by A. Schopenhauer, the will of the visual understanding, which is based of Apolonas origin and Wagner’s music perception, which affects how origin of Dionisius is originated. Nietzsche based on Schopenhauer compares primal element of Apolonas origin presents as plastic visual, which he equates to the dream. The philosopher divides origin of Apolonas into two parts: the methaphysics and aesthetics. In the firs case origin of Apolonas is perceived as a certain threshold, which define what is good and right, as well as it doesn’t excess moderation limits. In the latter case, origin of Apolonas is perceived as pure aesthetic beauty.
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D'Aniello, Charles Perseus. ""A Morbid Longing for the Picturesque" : The Pursuit of Beauty in Donna Tartt's The Secret History." Thesis, Södertörns högskola, Engelska, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-45579.
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This essay analyzes the theme of the pursuit of beauty in The Secret History. It analyzes the main characters’ concept of beauty, their manner of seeking beauty, as well as the result of this search. For this analysis, I use Friedrich Nietzsche’s theories of the Apollonian and the Dionysian as outlined in The Birth of Tragedy and in scholarly texts that analyze TBT— which describe the Apollonian/Dionysian dichotomy as the opposed worlds of order and madness— to define the main characters’ concept of beauty. The narrator of the novel once says that “beauty is terror” (Tartt 45), a statement which paints beauty as harsh and shocking, and potentially destructive. Likewise, in this essay I argue that for these characters beauty is created through the interplay between the Apollonian and the Dionysian, and that its pursuit leads to destruction. I analyze this through the characters of Richard Papen, Henry Winter, and Bunny Corcoran. Richard and Henry pursue beauty in that the actions they take are aimed at embodying an aesthetic ideal. In Richard’s case, it is his longing for beauty which leads him to imitate and join the classicists— particularly by mimicking their socio-economic class— and which eventually places him in a disordered Dionysian world of madness and murder. Henry, on the other hand, is the embodiment of Apollonian order, and it is his search for beauty through a bacchanal which leads him to commit murder twice and, eventually, to take his own life. Lastly, Bunny is different in that he is neither beautiful nor interested in beauty as his peers define it. It is because of this that he is excluded from the others’ pursuit of beauty, that he is murdered, and that his murder is justifiable in the eyes of his murderers. This study finds that, in The Secret History, where beauty is defined as the dance between Apollonian order and Dionysian madness, the Dionysian ends up as the victorious half of the dichotomy, causing the loss of reason and the triumph of destruction and disaster. This portrayal of beauty as destruction and vice versa, rather than serving as the vehicle for a moral indictment, is instead the very purpose of the novel.
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Ocenas, Marek. "Recherche de l’effet tragique à l’époque de la Régence : naissance de la tragédie philosophique." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20066.
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Dans le cadre général d’une interrogation sur le renouvellement de la tragédie classique française à l’époque de la Régence (1715-1723), le travail étudie plus spécifiquement la manière dont la recherche de l’effet tragique conduit à la naissance de la tragédie philosophique. Ce travail prend appui sur l’analyse des pièces représentées à la Comédie-Française au cours de cette période et accorde une attention particulière à leur réception contemporaine dans la presse périodique et dans les brochures. Il envisage d’abord les recherches de renouvellement de la tragédie à partir de deux polémiques, la Querelle des Anciens et des Modernes et la querelle sur la moralité du théâtre, en montrant comment la réflexion sur le théâtre conduit les auteurs à chercher des effets dramatiques mieux adaptés aux attentes d’un public dont la sensibilité évolue au début du XVIIIe siècle. Il établit ensuite que la production d’un plus grand effet est liée, d’une part, à l’intensification de l’effet de terreur à travers la mise en scène du personnage odieux et, d’autre part, à la recherche d’une plus grande action grâce à l’exploitation des éléments du sacré (oracles, prêtres et chœur). Il démontre enfin que, si les impiétés relevées dans un certain nombre de tragédies ne visent qu’à la production d’un plus grand effet, l’Œdipe de Voltaire peut être considéré comme la première tragédie philosophique dans la mesure où le dramaturge met en œuvre une véritable stratégie critique et où les attaques contre la religion sont clairement perçues par le public contemporain. Le travail analyse ainsi de quelle manière les mutations qui affectent le dispositif dramaturgique dans cette quête de l’effet peuvent faire de la tragédie le lieu de la diffusion des idées qui participent de l’émergence des Lumières. Le phénomène est déterminant pour les combats philosophiques à venir ainsi que pour la transformation de la société que les philosophes vont chercher à faire advenir grâce à un support accessible à un large public<br>Within the quest of renewal of the French Classical Tragedy of Regency period (1715-1723); the work closely explores the way how looking for a tragic impact leads to the philosophical tragedy birth. This work is grounded on an analysis of the French Comedy dramas performed during this period, but in the process, it gives a special attention to their contemporaneous acceptance in periodicals and brochures. First of all, the work speculates about the tragedy renewal in terms of two polemics – the dispute between Olds and News, and the dispute about theatre morality, but in this process it demonstrates how the thoughts of a theatre lead authors to the searching of the better adapted dramatic impact in view of spectators’ expectation whose sensibility is under evolution in the low of 18th century. Afterwards, the work specifies how the greater impact generating is related to a rising intensity of a great fear through a baddy on the one hand and to the searching for a greater story through numinous elements (prophecy, priesthood and choir) on the other hand. Finally, the work shows the fact how far the blasphemies found in some tragedies are calculated only to make a greater impact, on the contrary the Voltaire’s Oedipus can be considered as the first philosophical tragedy with respect to the fact when a dramatist creates the real critical strategy and to the fact when the tilts at religion are distinctly perceived by contemporary spectators. Thus, the work analyses a phenomenon how the changes related to the dramaturgical “statement” under the impact seeking can change the tragedy into the instrument for dispensing ideas which are a part of the Enlightenment birth. This phenomenon is prevailing both for future philosophical fights and for society transformation whereof philosophers will strive this via a medium available to a general audience
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Filho, Josà William Moreira Moreno. "A TransvaloraÃÃo dos Valores em O Nascimento da TragÃdia." Universidade Federal do CearÃ, 2008. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19971.
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nÃo hÃ<br>A proposta deste trabalho tem como objetivo central explicitar a presenÃa de um carÃter transvalorativo na primeira obra publicada por Nietzsche: O nascimento da tragÃdia. Esta traz embrionariamente, segundo o prÃprio filÃsofo, o que seria mais tarde o objetivo central de toda sua filosofia: a transvaloraÃÃo de todos os valores, isto Ã, o nascimento de um novo parÃmetro de avaliaÃÃo, de novos valores. Nietzsche, em textos de seu Ãltimo perÃodo filosÃfico como Tentativa de autocrÃtica, CrepÃsculo dos Ãdolos e Ecce Homo, [aponta para essa intenÃÃo de redimensionamento de suas teses iniciais; ou seja,] alega que O nascimento da tragÃdia foi a sua primeira TransvaloraÃÃo de todos os valores. Focando exclusivamente em textos escritos na sua juventude (1872 â 1875) e maturidade (1886 â 1888) filosÃfica, a relaÃÃo entre arte e conhecimento, nos perÃodos apontados, indicarà em que sentido a transvaloraÃÃo deve seguir. à na arte, mais precisamente na arte trÃgica, que Nietzsche vislumbra uma existÃncia positiva, no sentido de que a arte afirma a vida. O homem, assumindo uma vida artÃstica, ou seja, reconhecendo-se como criador e destruidor de valores, torna-se capaz de promover uma mudanÃa radical nos valores vigentes, uma transvaloraÃÃo dos valores. Entretanto, a crenÃa no conhecimento ilimitado, que a tendÃncia inartÃstica do socratismo engendrou em nossa sociedade moderna, obsta a vinda de uma nova era trÃgica (artÃstica). Essa crenÃa supervaloriza a razÃo dotando-a, segundo Nietzsche, erroneamente da capacidade de desvendar os enigmas da vida. Assim, O nascimento da tragÃdia traz em si as bases da filosofia tardia nietzschiana, pois nela jà se encontram temas de extrema importÃncia do seu filosofar, sÃo eles: crÃtica à razÃo exacerbada iniciada por uma tendÃncia inartÃstica denominada de socratismo (estÃtico e teÃrico) e a apologia a uma sabedoria trÃgica (dionisÃaca), a qual sà pode ser aprendida atravÃs da arte. A luta de Nietzsche Ã, portanto, alertar o homem moderno, herdeiro do socratismo, o quanto a vida guiada por essa tendÃncia inartÃstica à decadente; à mostrar que sà atravÃs de uma existÃncia artÃstica o homem seria capaz de superar valores decadentes. A valorizaÃÃo da arte à a proposta afirmativa de Nietzsche em O nascimento da tragÃdia que serà retomada em sua filosofia derradeira, pois à somente por meio dela que uma transvaloraÃÃo de todos os valores se tornarà possÃvel e, consequentemente, a vida serà tonificada e afirmada.<br>The major purpose of the present study is to make explicit the possible presence of a revaluative approach in Nietzscheâs first published work, The birth of tragedy. That book brings, according to the philosopher, the first signs of his mature central conception: the revaluation of all values, that is, the birth of a new consciousness and new values. In the late period of his philosophical works, such as Ecce homo, Twilight of idols and Attempt of self-critique, Nietzsche points out to that intention of a reformulation of his initial conceptions. That is to say, he declares that The birth of tragedy was his first revaluation of all values. If we mainly focus on his early (1872 â 1875) as well as his late (1886 â 1888) philosophical works, we can find throughout the relation between art and knowledge in what sense the revaluation of all values is to be conceived. It is on art, more specifically on the art of tragedy that Nietzsche sees a positive way for human existence, since art makes life become positive. If mankind adopted a way of life guided by its own artistical powers, it could recognize its proper skills either to create or to destroy moral values, becoming able of promoting a radical change of predominant moral values, that is, a revaluation of all values. Nevertheless, the belief of an unlimited knowledge, which the unartistic tendency inherited from the aesthetic socratism opposes the offspring of a new tragic (artistic) approach. That belief erroneously over-estimates rationality as it were able to solve all enigmas of life. Therefore, The birth of tragedy brings the very foundations of Nietzscheâs late philosophy, since one can find in that work the most important issues of his thought: the critique of an exaggerated rationality initiated by an unartistic tendency named aesthetical socratism; the apology of a tragic wisdom (dionisiac), which will only be apprehended by art. Nietzscheâs struggle, therefore, aimed to call modern mankindâs attention, witch inherited aesthetic socratism, to realize the decadence of a lifestyle guided by unartistic tendencies; he also pointed out that only throughout an artistic existence mankind would be able to overcome decadent values. In that sense, art is Nietzscheâs affirmative proposal in The birth of tragedy which will be maintained in his latest philosophy. That is because it is only by that first work that the philosopher would be able to propose a revaluation of all values in his final work, by means of which life would be toned up in order to become positive.
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Malafaia, Daniel Silva de. "Sob a máscara de Dioniso: a filosofia de Camus em O Estrangeiro e A Morte feliz." Universidade do Estado do Rio de Janeiro, 2009. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=830.
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Assim como Sócrates representa a filosofia de Platão em seus diálogos e Zaratustra encarna os conceitos da filosofia nietzschiana, também o Meursault de Albert Camus é um avatar para sua filosofia. No eterno presente de Meursault, na terna indiferença de seu amor e abertura ao mundo e ao destino, estão encarnados os principais conceitos da filosofia camusiana. Na obra de Camus, a tragédia do protagonista de O Estrangeiro e sua postura diante do tempo, do mundo e do destino têm sua raiz na tragédia do Mersault de A Morte Feliz e, em última análise, na tragédia do inválido Zagreus: na morte do inválido Zagreus de A Morte Feliz está a tragédia original do Mersault de A Morte Feliz e do Meursault de O Estrangeiro. E Camus não deu o nome de Zagreus a esta personagem por acaso. Na tragédia do inválido Zagreus de A Morte Feliz e na tragédia dos protagonistas de A Morte Feliz e O Estrangeiro, Camus fez referência ao mito de Dioniso Zagreus. Nesta dissertação, mostraremos que a origem da filosofia de Camus em O Estrangeiro e A Morte Feliz está no mito de Dioniso Zagreus e, mais precisamente, no mito de Dioniso Zagreus segundo o interpretou Nietzsche. No conceito de dionisíaco em O Nascimento da Tragédia e nos correlatos conceitos nietzschianos de amor fati e eterno retorno, encontramos o lugar de gênese dos conceitos camusianos de eterno presente, terna indiferença, amor ao destino, amor ao mundo e abertura ao mundo na Tradição Filosófica, encarnados na figura dos protagonistas de O Estrangeiro e A Morte Feliz. Na filosofia de Nietzsche, encontramos a principal influência de Camus para a criação de sua filosofia em O Estrangeiro e A Morte Feliz.<br>Just as Socrates represents the philosophy of Plato in his dialogues and Zarathustra embodies the concepts of the nietzschian philosophy, the Meursault of Albert Camus is an avatar for his philosophy. In the eternal present of Meursault, in the tendre indifférence of his love and opening towards the world and towards his destiny, the main concepts of the camusian philosophy are depicted. In the works of Camus, the tragedy of Meursault in LÉtranger is originally in the tragedy of the Mersault in La Mort Heureuse, and moreover, in the tragedy of the crippled Zagreus: in the death of the crippled Zagreus in La Mort Heureuse and in the final tragedies of La Mort Heureuse and LÉtranger, Camus referred to the myth of Dionysos Zagreus. In this dissertation, we shall indicate the origin of the philosophy of Camus in LÉtranger and La Mort Heureuse; we shall indicate its origin in the myth of Dionysos Zagreus and, more precisely, in Nietzsches interpretation of that myth. In the nietzschian concept of dionysian and in the related nietzschian concepts of amor fati and eternal recurrence, we have found the main influence in the genesis of the camusian concepts of eternal present, tendre indifférence, love of destiny, love of the world and opening towards the world, all embodied in the Meursault of LÉtranger and in the Mersault of La Mort Heureuse. In the philosophy of Nietzsche, we have found Camus main influence for the creation of his philosophy in LÉtranger and La Mort Heureuse.
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Lyons, James Charles. "Image of tragedy /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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De, Vos Christiaan Frederick Beyers. "Talion: A tragedy." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/25009.
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Talion is a work of fiction which follows four characters - Freya, whose brother Ben has recently been killed; Slick, a young drug dealer; Abraham, a school teacher; and Nolwazi, a Pretoria police detective - as they deal with the aftermath of a shooting in which they are all involved. Told is short, punchy chapters, the novel follows Freya as she begins to stalk Abraham, who she identifies as her brother's killer, Nolwazi as she tries to solve Ben's murder, a case she cannot give her full attention to, Slick as he tries to maintain his criminality in an increasingly uncontrollable world and Abraham, who must deal with the trauma of his lost family and the desire to protect his only daughter, Sophie. Not a crime novel - Nolwazi will never know the full truth of the case she's been working - but a novel about those who commit crimes and solve them, Talion attempts to capture the dark and messy consequences of grief and revenge, while examining the isolating nature of anger. It is a novel about connections and disconnections, justice and injustice. The novel uses the city as its narrator, hopefully rendering a version of Pretoria not often seen in South African fiction. Written within the spirit of classic tragedy, the tightly controlled plot and heightened tension, as well as the brutal violence, strives to create something more than your average detective novel. A literary and genre hybrid that is both entertaining and unusual, suspenseful and complex.
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Badue, Alexandre. "Comedy Tomorrow, Tragedy Tonight: Defining the Aesthetics of Tragedy on Broadway." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342103090.
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Padoongmatvoragool, Arthitaya. "The Tell of Tragedy." Thesis, Konstfack, Ädellab/Metallformgivning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-179.
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The curiosity of different beliefs to “tragedy” between the two worlds, Eastern where tragedy is unpleasant and Western where tragedy is praised as high art form since Ancient Greek. The reason that they are very different as two ends from one point and how to present them directly to understandable stage in art forms itself are questioned. This essay is a research into philosophical living and belief relates to tragedy in Eastern and Western views toward tragedy in art forms. The way tragedy has been put differently and the way people treat this feeling. There is a border which is deep-seated into each cultures. The relation of time is used to explain tragedy in Ancient Greek. Western tragedy is big enough to play a main role while Eastern tragedy play a part of the whole in one legend or story. The study of Andy Warhol’s method “Traumatic Realism” which is relevant to starting question explains the direction of using repetition as presentation in order to bring viewers get into trauma at its surface. Picasso’s painting “Tragedy”, Edward Gorey’s storytelling illustration “The Hapless Child”, and Marina Abramovic’s performance “Balkan Baroque”, are used to discuss their techniques and statements based on tragedy from different forms. There is a touching point from Warhol’s and Abramovic’s works. Conclusion talks about the method to present tragedy right there in the work. Selections of pictures are used to tell direction of tragedy in the work. Hierarchy of perception and changing of time in works are explained by Ancient Greek tragedy philosophy and Warhol’s repetition. Feeling is gradually changed. Traces can be found. Time is taking it away.
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Miles, Sarah N. "Strattis, tragedy, and comedy." Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/10887/.
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This study comprises a translation, textual commentary, and discussion of the fragments of the Old comic dramatist Strattis which engage with tragedy. It forms the centre of a wider examination of the art of paratragedy and tragic parody in Old Comedy because paratragedy represents the earliest reception of tragedy and one that is contemporary with the initial live performances of tragic plays. Ancient and modern scholarship alike has viewed Aristophanes as the dominant figure in the art of paratragedy and tragic parody. Strattis, a contemporary of Aristophanes, was active in the late fifth and early fourth centuries BC and the fragments of his comedies indicate a sustained and wide ranging interaction with contemporary tragedy which is rivalled only by Aristophanic comedy. This is particularly remarkable since the extant corpus of Strattis numbers less than ninety fragments. This work explores the phenomenon of paratragedy beyond Aristophanic paratragedy and raises awareness of the importance of Strattis in this respect. It begins with a survey of paratragedy in other non-Aristophanic fragments of Old Comedy and it examines the various ways that comedy engages with tragedy, indicating the depth and breadth of paratragedy in comic fragments. This provides the foundations on which to examine the fragments of Strattis through a text, translation and commentary on those fragments that engage with tragedy. It leads to a discussion of the works of Strattis overall for their use of tragedy and myth, which allows us to note characteristics of Strattis’ work. This enables a comparison of the paratragedy in the comedies of Strattis and Aristophanes which allows us to reassess the uniqueness of Aristophanic paratragedy and to consider reasons for the popularity of paratragedy in the late fifth century BC.
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Kampourelli, Vassiliki. "Space in Greek tragedy." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/space-in-greek-tragedy(bd3d0365-0a17-47b5-a2b0-e7739f9c0255).html.
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Kornarou, Eleni. "Kommoi in Greek tragedy." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/kommoi-in-greek-tragedy(92dc04a2-5c8a-4fad-85b0-52423cd328bc).html.
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Lambley, Dorrian Elizabeth. "The necessity for tragedy." Thesis, University of Exeter, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282674.
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Gingrich, Valerie (Valerie J. ). "Balance : Lancaster County's tragedy." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39849.
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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2007.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Includes bibliographical references (p. 65-67).<br>Lancaster County, Pennsylvania residents are proud of their agricultural heritage. They do not want to see their farmland disappear. But the County continues to be developed into residential subdivisions. This thesis explores the inconsistency in the perspectives and actions of residents regarding farmland preservation and development. Contrary to what you might expect, those in the County who want to preserve farmland and those who are developing the land are often the same people. Individuals talk about the importance of saving farmland, even though they just bought a home that was built on what was an active farm. Farmers, who have a deep connection with the County's land and know its importance, choose to develop their farms. It's not a complete mystery as to why this is happening, but it is a wonder how these individuals deal with their personal inconsistencies. How do such individuals confront the inconsistencies that they face? Furthermore, how do they justify their actions regarding the development of farmland? How do these groups of people as individuals see themselves in relation to the conflict between farmland preservation and development? Are they simply ambivalent?<br>(cont.) In an attempt to find out, I interviewed Lancaster County residents in two locations in the County where a farm had been developed into their single family homes. The farmer owners/developers were interviewed as well. The interviewees respond in numerous ways, but they all expressed a desire for balance. They support farmland preservation efforts, but they also believe that growth is necessary. This "balance" is how they expressed their ambivalence towards the subject. The interviews showed specific ways that information can enlighten the balance between development and farmland preservation. The County government is encouraged to take on the provision of information as a tool of intervention in this area. An informed public can then make better choices as to what the "balance" will look like. Local governments are responsible for implementing this balance by using zoning to control and direct development away from the County's agricultural land. Coordinated action in the County is required to avoid the County's farming character tragically disappearing.<br>by Valerie Gingrich.<br>M.C.P.
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Martin, Zora. "Choose to Avoid Tragedy." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1135.
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Shakespeare's ideas about free will and moral choice, as illustrated in his play Macbeth, may have been influenced by Dante's Inferno. Dante was known to Shakespeare's contemporaries, and therefore most likely to the Bard himself. Current literature has not conclusively addressed this topic, and a focused examination is important, because it offers both an additional perspective on free will in Inferno, and adds to the understanding of free will in Macbeth.
Read at face value, Macbeth seems to bear no responsibility for his actions because they were preordained by the fates. Dante believed in free will, and Macbeth bears more than one similarity to his Commedia. Read through a Dantean lens, Macbeth has free will - even if choosing not to exercise it. Through the mere contemplation of the four reasons for not killing Duncan, Macbeth recognizes that he has the choice whether to become a traitor, with the consequences of suffering contrapasso damnation. But Macbeth elects to disregard the wisdom passed down in Dante's Commedia, and knowingly commits a heinously immoral act.
Shakespeare uses his predecessor Dante as a tool to advocate for human agency and moral choices in a text that would otherwise be fatalistic. Both then and now, Shakespeare sought to influence his audiences' understanding of their own free will. One first has to believe in possessing free will, in order to use it to make the best possible choices. Dante and Shakespeare reaffirm our possession of free will to help us avoid individual and societal tragedies.
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Chapman, Helen Christine. "The philosophy of tragedy : the tragedy of philosophy : the mimetic interrelationship of tragedy and philosophy in the theoretical writings of Friedrich Hölderlin." Thesis, University of Warwick, 1992. http://wrap.warwick.ac.uk/34636/.
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This study investigates Phillipe Lacoue-Labarthe's claim in "The Caesura of the Speculative" that Hölderlin is a "modern" writer. Its aim is to establish what is at stake in this claim and to evaluate whether it can be substantiated. In Chapter One I discuss the relationship between tragedy and philosophy. I show that the uneasy relationship between philosophy and the arts is premised upon Plato's understanding and judgement of mimesis. I contrast Plato and Aristotle's treatment of poetry by examining how they understand the mimetic process. In Chapter Two I focus on Hölderlin's understanding of the relationship between Ancient Greece and 18th Century Germany. After discussing the background to Hölderlin's work I provide detailed readings of two texts, The Perspective from which We Have to Look at Antiquity, (1799) and the first letter to Böhlendorff, dating from 1801. I argue that in these texts Hölderlin, through his acknowledgement of the divided nature of Greek culture, offers a unique understanding of the relationship between Greece and Germany which isolates him from his contemporaries. In Chapters Three and Four, I examine Hölderlin's understanding of tragedy. After establishing the centrality of the aesthetic presentation for Hölderlin's project I examine the "poetological" writings which date from 1798-1800. I give a close analysis of the implications of Hölderlin's statement that the tragic "is the metaphor of an intellectual intuition" which occurs in the text On the Difference of the Poetic Modes, (1800), showing why the tragic form is central to Hölderlin's poetological project. To illustrate the problems inherent in this project, in Chapter Four I examine Hölderlin's attempts to write a tragic drama which corresponds to his theoretical beliefs. I discuss the two theoretical texts - The Ground to Empedocles and Becoming in Dissolution - which accompany Hölderlin's drama Empedocles. In analysing these texts I argue that there is an inherent tension between the presuppositions of the theory and the way they can be realised in the drama. In Chapter Five, I turn to Hölderlin's final work, his project to translate Sophocles' tragedies. Through close analysis of the theoretical Remarks which accompany the translations, I show how Hölderlin's theoretical and poetological interests in Greece and Tragedy are brought together through this project. I argue that these texts give an insight into the problems which confront Hölderlin's poetological project. However, simultaneously, these texts provide an alternative way of understanding the function of the tragic form. In this discussion I show how the questions concerning the status of dramatic mimesis and the "mimetic" relation between Greece and Germany coincide in the analysis of Sophocles' dramas. In conclusion I return briefly to the questions that I raised in the introduction concerning the status of tragedy in the present time, and assess the accuracy of the claim that Hölderlin is a "modern" thinker.
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Gurd, Sean Alexander. "Aeschylus' Oresteia, silence, criticism, tragedy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ63608.pdf.
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Toppo, Dante R. "The Tragedy of American Supremacy." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1141.
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Why has the United States, given its status as the sole remaining superpower following its Cold War victory, been unable to translate its preponderance of power into the outcomes it desires? The system established by the United States over the course of the Cold War does not effectively translate its power into influence in the post-Cold War world. In fact, the way US-Soviet competition shaped global affairs created systemic problems, weak and failing states, terrorism, autocracy and human rights abuse, that cannot be solved by the mechanisms of influence the US relied upon to win the Cold War. However, precisely these issues now dominate the American foreign policy agenda as its strategic objective shifted from defeating communism to maintaining the stability of the liberal world order that resulted from communism’s defeat. The United States, reliant on Cold War era mechanisms of influence, lacks the tools to accomplish these new objectives because these mechanisms were designed to exploit or accept the problems of statehood that now plague the liberal world order. Therefore, for the United States to make effective use of its abundance of power, it must either change its tools or its objectives.
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Papadi, D. "Tragedy and theatricality in Plutarch." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1444999/.
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The present thesis focuses on the role of tragedy and on the multiple versions of theatricality in selected Essays and Lives of Plutarch. Most interestingly the 'tragic' does not emerge exclusively from the many quotations from the tragedians which are dispersed in the whole of the Plutarchan corpus, especially in his Essays it also emerges from distinctive suggestions of tragedy, tragic imagery, tragic parallels and texturing. Plutarch acknowledges the importance of tragedy in literary education, but is still very ready to criticise what the poets say. Even so, he does not treat tragedy negatively in itself, but figures it as a possibly bad and corrupting thing when it is wrongly transferred to real-life contexts. In this way he requires from his readers thoughtfulness and reflection on that relation between tragedy and real life, while he also makes them reflect on whether there is a distinctive 'tragic stance of life', and if so whether a philosophical viewpoint would cope with real life more constructively. In the Lives there may be less explicit thematic hints of tragedy, yet there is a strong theatricality and dramatisation, including self-dramatisation, in the description of characters, such as Pompey and Caesar, particularly at crucial points of their career and life. By developing the idea that the 'tragic' aspects may relate to the ways in which characters are morally or philosophically deficient or cause them to falter - but if so, in a way that is itself familiar from tragedy - they also relate extremely closely to the characteristics which make the people great. The tragic mindset (this idea will be illustrated from Plutarch's direct references to tragedy as well as his allusions to the theatrical world) offers a fresh angle in reading Plutarch's work and makes the reader engage more in thinking how both 'tragic' and theatre can be used as a tool to explore a hero's distinctiveness in addressing the issues of his world.
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Kavoulaki, Athena. "Pompai : processions in Athenian tragedy." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:94049c7e-b93b-4d8a-a7e4-5e7d82adc7d1.
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This thesis investigates the significance of ritual movements in theatre and society of fifth-century Athens. The focus falls on processional movement, the definitive characteristics of which are drawn from the ancient Greek concept of pompe, i.e. a movement towards a defined destination, involving the conveyance of a ritual symbol (or an object or a person) between specific points of departure and arrival. The social contexts of divine and heroic cult, funerals and weddings prove to be the main occasions for the performance of such processional movements. In the world outside the theatre, processions are shown to be crucial in defining transitions, shaping social relations, and manifesting the action and inviting the attention of the divine. The socio-religious significance of processions is fully appropriated and explored by tragedy. Processional action, recurrently evoked in the tragic plays, proves to be crucial for the articulation of the tragic δρώμενα. This is argued in the collection and analysis of a number of scenes from extant fifth-century tragedy in which processional resonances permeate the action. The interpretation of the scenes in the light of the ritual background which shapes them considerably enhances the understanding and appreciation of the plays as theatrical experience - experience which explores the potential of spatial configurations and visual symbolism, in a context of symbolic communication which is largely defined by participation in the rituals of the community. The thesis argues that the importance of processions in the theatre is inextricably connected with their power - as manifested in the ritual life of the polis - to gather the community and to initiate the process of θεάσασθαι, implicating both active participants and θεαταί in the performed action. Greek tragic theatre builds upon this basic function of processions and activates their power. Thus it also combines their potential to define transitions with the significance of tragic μετάβασις; and with the importance of demarcation of space and transformation of time in the theatre. Ritual experience is activated, reshaped and enlarged, enabling the re-creation and transformation of the experience of the audience. Processions can illuminate the nature of tragedy itself.
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Mohatlane, Edwin Joseph. "Tragedy in selected Sesotho novels." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/15495.
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Thesis (DLitt)--University of Stellenbosch, 2002.<br>207 leaves printed single pages, preliminary pages i-xiii and numbered pages 1-195. Includes bibliography.<br>Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner.<br>ENGLISH ABSTRACT: The object of this study is to examine the expression of tragedy in randomly selected Sesotho
novels in two major periods, namely the early period (1925 to 1970s) and the later period (1970s
to 1990s). Five Sesotho novels will be discussed in each period and give an indication of tragic
expression in that period. It is however not the main emphasis in this work to compare and
contrast between the two periods but mainly to observe patterns of tragedy and tragic expressions
in Sesotho novels.
Chapter One orientates the reader by indicating aspects such as the problem identification, aim
of the research, the approach or modus operandi, the scope as well as the organisation of the
study, that is, a brief arrangement of chapters and presentation of what would be contained in
subsequent chapters.
Chapter Two presents the theoretical framework within which the research will be based. As
the theoretical framework in this work, aspects of tragedy, namely, character, plot and theme will
be discussed.
Chapter Three focuses on the early Sesotho tragedies within the literary period 1925 to 1970s.
As already indicated, five novels, namely, Chaka, Mphatlalatsane, Moiketsi, Mosali a nkhola,
and Leshala Ie tswala molora will be discussed in terms of the theoretical principles suggested in
Chapter Two. At the end of the chapter, an analysis of the findings and conclusions will be
drawn on tragic expressions in these novels. These novels distinguish themselves as largely
classical tragedies (there are modern ones also) in terms of the nature of tragic characters
available.
Chapter Four examines the later Sesotho tragedies ranging between the period 1970s to 1990s.
As in early Sesotho novels, five novels will be discussed with a view to highlight tragic
expressions in this period. Peo ena ejetswe ke wena, Mehaladitwe ha e eketheha, Nna ke mang,
Ke lesheleshele leo a iphehletseng lona and Lehlaba la lephako will be the novels we analyse.
Analysis of the findings will be made and conclusions drawn at the end of the chapter in how tragedy is expressed in all these novels. These novels distinguish themselves as largely modern
tragedies in terms of the tragic characters portrayed in them.
Chapter Five presents the general conclusions on all the novels discussed in the two periods. A
comparison will be made as to how tragic expression differs from one period to another
particularly in terms of the three aspects of tragedy. Each novel will be given the individual
attention and focussed exclusively as to how it presents tragedy and how perhaps it differs from
others.<br>SESOTHO ABSTRACT: Ka mosebetsi ona wa diphuputso re hlahloba ka moo mahlomola a totobatswang ka teng
dingolweng tse kgethilweng dinakong tsena tsa bongodi, e leng ho tloha selemong sa
1925 ho isa selemong sa 1970 le tse hlahlamang esita le nako ya morao e qalang
selemong sa 1970 ho isa dilemong tsa 1990 le tse hlahlamang. Re tla hlahloba dipale tse
hlano mokgahlelong 0 mong le 0 mong wa nako e le ho totobatsa ka moo mahlomola a
hlahiswang ka teng dipaleng tsa Sesotho. Ha se sepheo se seholo sa mosebetsi ona ho
bapisa totobatso ya mahlomola mekgahlelong ena ya nako empa sepheo se seholo ke ho
bontsha ka moo mahlomola a hlahiswang ka teng dipaleng tsa Sesotho.
Kgaolong ya Pele re tla nyenyeletsa mrnadi diphuputsong tsena ka ho mo tsebisa dintlha
tsa bohlokwa malebana Ie mosebetsi ona tse kang totobatso ya qaka, sepheo sa phuputso
ena, mokgwa oo phuputso e tla etswa ka ona, dintlha tse tla fuputswa esita le tlhophiso ya
mosebetsi ona. Ka tlhophiso ya mosebetsi ona re bolela tatelano ya dikgaolo esita le
tlhahiso ya kgaolo ka nngwe, ho tse tla latela.
Kgaolong ya Bobedi re hlahisa teori kapa moralo wa tsebo 0 tla sebediswa bakeng sa
phuputso ena. Tse ding tsa dikarolwana tsa moralo ona wa tsebo e tla ba dikarolo tsa
bohlokwa tsa pale ya mahlomola, mme ka hona mosebetsi 0 tla totobatsa mophetwa,
moralo wa kgohlano (poloto) le mookotaba. Dintlha tsena tsa moralo wa tsebo di tla
sebediswa dipaleng tsa Sesotho tse tla hlahlojwa dikgaolong tse tla latela.
Kgaolong ya Boraro re hlahloba dipale tsa Sesotho tse ngotsweng mokgahlelong wa
pele wa nako mme e le nako e qalang selemong sa 1925 ho isa selemong sa 1970 le tse
mmalwa tse latelang. Jwalo ka ha re se re hlalositse, re tla hlahloba dipale tse hlano e
leng Chaka, Mphatlalatsane, Moiketsi, Mosali a nkhola le Leshala le tswala rnolora ho
latela dintlha tseo re buileng ka tsona kgaolong ya bobedi. Qetellong ya kgaolo ena re tla
hlahloba diqeto tseo re di etsang ho latela tseo re di lemohileng dipaleng tsena malebana
Ie tlhahiso ya mahlomola. Dipale tsena ke dipale tsa tlelaseki tse tshwanang le tsa.S ekgerike (le hoja ho ntse ho na le dipale tsa sejwalejwale) ho latela semelo sa
mophetwa wa mahlomola.
Kgaolong ya Bone re hlahloba dipale tsa mahlomola tsa mokgahlelo wa sejwalejwale
mme e le dipale tse ngotsweng nakong ya selemo sa 1970 ho tla tihla dilemong tsa 1990
le tse hlahlamang. Jwalo ka ha re ile ra etsa dipaleng tsa kgale, re tla hlahloba dipale tse
hlano e le ho bontsha ka moo mahlomola a totobatswang ka teng paleng tsa Sesotho.
Dipale tseo re tla di hlahloba ke Pea ena ejetswe ke wena, Mehaladitwe ha e eketheha,
Nna ke mang, Ke lesheleshele lea a iphehletseng lana Ie Lehlaba la lephaka. Ha re se re
hlahlobile dipale tsena re tla fana ka diqeto tseo re di tihleletseng mabapi le ka moo
mahlomola a hlahiswang ka teng paleng tsena. Dipale tsena di ka tsejwa e le dipale tsa
sejwalejwale ho latela mofuta wa mophetwa wa mahlomola ya fumanwang ho tsona.
Kgaolong ya Bohlano re fana ka diqeto tse akaretsang malebana Ie dipale tsohle tseo re
di hlahlobileng mekgahlelong ena e mmedi ya nako. Re tla bapisa ka moo tlhahiso ya
mahlomola e fapaneng ka teng ka lebaka la tshwaetso ya semelo sa mophetwa,
diketsahalo kapa moralo esita Ie mookotaba kapa molaetsa. Re tla lekola pale ka nngwe
mme re hlahlobe ka moo e hlahisang mahlomola ka teng le ka moo e fapanang le dipale
tse ding ka teng.<br>AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om die voorkoms van die tragedie in geselekteerde Suid-Soetoe
romans gedurende hoofsaaklik twee periodes, naamlik, die vroeere periode (1925
tot die 1970's) en die latere periode (1970 tot die 1990's) te ondersoek. Vyf Suid-Soetoe
romans sal bespreek word rakende elke periode en sal 'n aanduiding gee van die tragedie
gedurende die betrokke periode. Dit is egter nie die hoofdoel van die werk om
vergelykings en onderskeidinge tussen die twee periodes te tref nie, maar eerder om
tragedie en tragiese elemente binne Suid-Soetoe romans te bespreek.
Hoofstuk Een se doel sal wees om die leser te orienteer aangesien dit aspekte soos die
probleem identifikasie, die doel van die studie, die omvang en die voorlopige navorsing
gemaak in terme van ander navorsingswerke rakende die onderwerp bevat, naamlik,
vorige studies rakende die karakter in Suid-Soetoe romans met spesifieke verwysing na
tragiese karakters. Die hoofstuk sal ook die uiteensetting van die studie, soos die uitleg
van die hoofstukke en inhoud van daaropvolgende hoofstukke bevat, bespreek.
Hoofstuk Twee stel die teoretiese raamwerk bekend waarop die navorsing gebasseer is.
As deel van die raamwerk, sal aspekte van die tragedie soos karakter, intrige en tema
bespreek word. Hierdie teoretiese aspekte sal dan toegepas word op Suid-Soetoe romans
in opvolgende hoofstukke.
Hoofstuk Drie fokus op die vroeere Suid-Soetoe tragedies binne die literere periode
1925 tot 1970s. Vyf romans, naamlik Chaka, Mphatlalatsane, Moiketsi, Mosali a nkhola
en Leshala Ie tswala rnolora sal bespreek word in terme van teoretiese beginsels genoem
in Hoofstuk Twee. Aan die einde van die hoofstuk sal 'n analise gemaak word van die
bevindinge en gevolgtrekkings rakende die tragedie se voorkoms in hierdie romans.
Hierdie romans onderskei hulself grootliks as klassieke tragedies in terme van die
tragiese karakters se voorkoms.
Hoofstuk Vier ondersoek die latere Suid-Soetoe tragedies gedurende die tydperk 1970 tot 1990. Soos in die vroeere tydperk, sal vyf romans bespreek word met die doel om die
aspekte van tragedie te aksentueer. Peo ena e jetswe ke wena, Mehaladitwe ha e
eketheha, Nna ke mang, Ke lesheleshele leo a iphehletseng lona en Lehlaba la lephako
sal romans wees waarop gefokus word. 'n Analise van die bevindinge en
gevolgtrekkings sal gemaak word aan die einde van die hoofstuk en sal die voorkoms van
die tragedie in al die romans beskryf. Hierdie romans onderskei hulself hoofsaaklik as
moderne tragedies in terme van die tragiese karakters se voorkoms.
Hoofstuk Vyf verskaf algemene gevolgtrekkings waartoe gekom is in die voorafgaande
bespreking van die genoemde twee periodes. 'n Vergelyking sal gemaak word oor hoe
die voorkoms van die tragedie verskil van een periode na die ander, rakende die tragiese
figuur. Elke roman sal individuele aandag kry en klem sal gele word op hoe dit verskil
van ander romans.
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Pickering, Peter Edward. "Verbal repetition in Greek tragedy." Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/1318016/.
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This thesis examines the ways in which critics, ancient and modem, have looked at verbal repetitions in the texts of Greek tragedy, in particular those repetitions of lexical words which may seem careless or unintentional. It compares surviving plays (taking a sample of those of Euripides). An index of repetitiveness for each play is calculated; it emerges that while Aeschylus' plays have a wide range, there is a statistically significant difference between those of Sophocles and those of Euripides, the latter being more repetitive. The Prometheus, whose authenticity has been doubted, has a much lower index than any other tragedy examined (though that of the Alexandra of Lycophron is much lower still). A comparison of repetitiveness within a small sample of plays has failed to find systematic differences between passages of dialogue and continuous speeches, or according to the category of word. Some verbal repetitions may not have been in the original texts of tragedies, but may appear in manuscripts because of errors made by copyists. A systematic examination has been made of the manuscript tradition of selected plays to identify the instances where some manuscripts have a reading with a repetition, while others do not. The circumstances in which erroneous repetitions are introduced are identified; one conclusion reached is that copyists sometimes remove genuine repetitions. Modem psychological research has thrown light on the processes of language comprehension and production, in particular a process known as 'priming' whereby an earlier stimulus facilitates the naming of an object. The thesis discusses the relevance of this research to the observed phenomena of verbal repetitions by authors and copyists. The thesis concludes with a detailed examination of passages in three plays, and the remarks of commentators on them. Aesthetic and textual matters are discussed.
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Fitzpatrick, David. "Opening strategies in Sophoclean tragedy." Thesis, University of Nottingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246498.
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Mackervoy, Susan Denise. "Schiller and French classical tragedy." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357834.
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Elliott, Pavitra Lakshmanan Carleton University Dissertation English. "A reconsideration of Shakespearean tragedy." Ottawa, 1987.
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Kesi, Dimitri. "Russian vodka a national tragedy." Thesis, Monterey, Calif. : Naval Postgraduate School, 2009. http://edocs.nps.edu/npspubs/scholarly/theses/2009/Mar/09Mar%5FKesi.pdf.
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Thesis (M.A. in Security Studies (Europe and Eurasia))--Naval Postgraduate School, March 2009.<br>Thesis Advisor(s): Tsypkin, Mikhail. "March 2009." Description based on title screen as viewed on April 23, 2009. Author(s) subject terms: Russia, vodka, demographics, alcoholism Includes bibliographical references (p. 61-63). Also available in print.
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Coloma, Cares Estefanía. "Survivors in modern American tragedy." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/130551.
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Tshikovhi, Vhangani Richard. "Tragedy in N.A. Milubi's drama." Thesis, xiii, 198 leaves, 1997. http://hdl.handle.net/10386/2123.
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Green, Charles. "Polaris (a tragedy expansion pack)." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6750.
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O'Neill, Fionnuala Ruth Clara. "Beyond tragedy : genre and the idea of the tragic in Shakespearean tragedy, history and tragicomedy." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7841.
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This thesis explores the intersection between the study of Shakespearean drama and the theory and practice of early modern dramatic genres. It reassesses the significance of tragedy and the idea of the tragic within three separate yet related generic frames: tragedy, history, and tragicomedy. Behind this research lies the fundamental question of how newly emerging dramatic genres allow Shakespeare to explore tragedy within different aesthetic and dramatic contexts, and of how they allow his writing to move beyond tragedy. The thesis begins by looking at Shakespeare’s deployment of the complex trope of “nothing”. “Nothing” as a rhetorical trope and metaphysical idea appears across many of the tragedies, often becoming a focal point for the dramatic representation of scepticism, loss and nihilism. The trope is often associated with the space of the theatre, and sometimes with the dramaturgy of tragedy itself. However, it is also deployed within the histories and tragicomedies at certain moments which might equally be called tragic. “Nothing” therefore provides a starting-point for thinking about how the genres of history and tragicomedy engage with tragedy. Part I focuses on tragedy, including extended readings of Timon of Athens and King Lear. It explores Shakespearean drama as a response to the pressures of the early modern cultural preoccupation with, and anxiety about, scepticism. Stanley Cavell and other critics of early modern dramatic scepticism have tended to locate this engagement with scepticism within tragedy. However, this section shows that the same sceptical problematic is addressed across Shakespearean dramatic genres, with very different results. It then explores why scepticism should display a particular affinity for tragedy as a dramatic genre. Part II focuses on history, with particular reference to Richard II and Henry V. The trope of “nothing” is used as a starting-point to explore the intersection between Shakespearean history and tragedy. Engaging with Walter Benjamin’s theory of baroque tragedy as Trauerspiel (mourning-plays) rooted in history, it argues that Trauerspiel provides a useful generic framework against which to consider the mournful aesthetic of Shakespeare’s histories. Part III focuses on early modern tragicomedy and The Winter’s Tale, asking how Shakespeare achieves the transition from tragedy to tragicomedy in his later writing. It explores tragicomedy’s background on the early modern stage in theory and practice, paying particular attention to Guarini’s theory that pastoral tragicomedy frees its hearers from melancholy, and to the legacy of medieval religious drama and its engagement with faith and belief. Returning to the trope of “nothing”, this section shows that The Winter’s Tale addresses the same sceptical problematic as the earlier tragedies. Arguing that scepticism opens up a space for tragedy and nihilism in the first half of The Winter’s Tale, it demonstrates that Shakespeare finds in the genre of tragicomedy an aesthetic and dramatic form which allows him to move through, and beyond, the claims of tragedy.
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OLIVEIRA, MARCELA FIGUEIREDO CIBELLA DE. "FROM THE MEANING OF TRAGEDY TO THE TRAGEDY OF MEANING: PHILOSOPHY AND THE RUIN OF DRAMA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34912@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO<br>BOLSA NOTA 10<br>Esta tese investiga a passagem histórica da antiga questão do sentido da tragédia para a contemporânea constatação de uma tragédia do sentido no drama, culminando na discussão filosófica sobre a ruína da forma dramática tradicional em obras do final do século XIX até meados do XX - em especial, no caso de Samuel Beckett.<br>This thesis investigates the historic passage from the old issue of the Meaning of Tragedy to the contemporary finding of a Tragedy of Meaning in drama, culminating in the philosophic discussion about the ruin of traditional dramatic form in the works of the late nineteenth until the mid-twentieth century in particular, in the case of Samuel Beckett.
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Baker, James J. III. "F. Scott Fitzgerald: A Hollywood Tragedy." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/266.
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F. Scott Fitzgerald was a product of the era he was at his zenith: the roaring 1920s. By the time he arrived in Los Angeles, he was short on money and the audience for his novels and writing was waning. This work explores his time in L.A., his attitude toward cinema & the Hollywood system, and how he incorporated what he learned from screenwriting into The Last Tycoon, the unfinished novel that Fitzgerald aimed to revive his own career with.
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Berube, Amelinda. "Tragedy in the Gospel of Mark." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79824.
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Can we read the Gospel of Mark as tragedy? How so? With what limits? With what results? I depart from previous explorations of these questions by rejecting their definition of tragedy as a work faithful to the dramatic conventions described in Aristotle's Poetics. I build instead on Aristotle's essential definition of tragedy as a work that inspires fear and pity in an audience. Using a narrative-critical approach, which allows a focus on the effects generated by Mark's plot and characters, I conclude that Mark, while more tragic than Matthew, is not clearly tragic or comic: the gospel maintains a careful balance of tragic and comic possibilities, challenging the reader to appropriate the story in her own world and tip the scales towards the comic. The effect of the text, however, is dependent on audience; Matthew's rewriting of and Papias' comments on Mark demonstrate that contemporary readers probably did not perceive Mark as tragic.
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Wang, Mimi Cheng-Yin. "The global commons : tragedy or apocalypse? /." Title page, abstract and contents only, 1997. http://web4.library.adelaide.edu.au/theses/09AR/09arw2461.pdf.
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Ray, Nicholas. "Tragedy and otherness : Sophocles, Shakespeare, psychoanalysis." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3052/.
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The thesis is concerned with the relationship between psychoanalysis and tragedy, and the way in which psychoanalysis has structured its theory by reference to models from tragic drama - in particular, those of Sophocles and Shakespeare. It engages with some of the most recent thinking in contemporary French psychoanalysis, most notably the work of Jean Laplanche, so as to interrogate both Freudian metapsychology and the tragic texts in which it claims to identify its prototypes. Laplanche has ventured an ‘other-centred’ re-reading of the Freudian corpus which seeks to go beyond the tendency of Freud himself, and psychoanalysis more generally, to unify and centralise the human subject in a manner which strays from and occults some of the most radical elements of the psychoanalytic enterprise. The (occulted) specificity of the Freudian discovery, Laplanche proposes, lies in the irreducible otherness of the subject to himself and therefore of the messages by which subjects communicate their desires. I argue that Freud’s recourse to literary models is inextricably bound up with the ‘goings-astray’ in his thinking. Laplanche’s work, I suggest, offers an important perspective from which to consider not only the function which psychoanalysis cells upon them to perform, but also that within them for which Freud and psychoanalysis have remained unable to account. Taking three tragic dramas which, more or less explicitly, have borne a formative impact on Freud’s thought, and which have often been understood to articulate the emergence of ‘the subject’, I attempt to set alongside Freud’s own readings of them, the argument that each figures not the unifying or centralising but the radical decentring of its principal protagonists and their communicative acts. By close textual analyses of these three works, and by reference to their historical and cultural contexts, the crucial Freudian motif of parricide (real or symbolic) which structures and connects them is shown ultimately to be an inescapable and inescapably paradoxical gesture: one of liberty and autonomy at the cost of self-division, and of a dependence at the cost of a certain autonomy.
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Hamstead, Susan Dorothy. "Off-stage characters in Greek tragedy." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421357.
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Mills, Sophie. "Theseus, tragedy and the Athenian empire /." Oxford (GB) : Clarendon press, 1997. http://catalogue.bnf.fr/ark:/12148/cb370548774.
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Whitehouse, R. "Toni Morrison, 'Beloved', race and tragedy." Thesis, University of Exeter, 2019. http://hdl.handle.net/10871/35367.
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This thesis investigates Toni Morrison's engagement with tragedy in her novel Beloved. In opposition to late twentieth-century interpretations of Beloved, which see this novel as reordering or revisiting history in order to establish in its characters a sense of self-worth, this thesis understands Beloved as the narrative which calls a halt to the search for a worthy sense of self in a prescribed history. It argues that the form of this novel is designed and arranged in order to present in dramatic time a conception of a consciousness recognisable as already and always existing in African American individuals: that is, before, during and after slavery. This thesis contends that an engagement with tragedy is crucial in the achievement of this end. In an engagement with Morrison's Nobel Lecture (1993), Chapter One argues that the significations of cultural authority are the result of a process in which negotiations of difference take place (Bhabha 2005). In a study of Morrison's engagement with Du Bois's (1897) theory of double consciousness, Chapter Two researches the complex nature of true fulfilment for the marginalized. Du Bois's difficulty in establishing a simple claim to equality is contrasted with Morrison's rejection of the discourses of difference, exclusion and marginalization (Morrison 1993). Chapter Three develops this line of enquiry to include Morrison's adaption of ancient, tragic drama to the demands of African American writing. Morrison's innovatory use of the separate and external configuration of human sensibilities in the form of Beloved is carefully considered in this chapter. Chapter Four engages with theories concerning the imposition of difference and the material conditions of appropriation, and the signifying system it spawns (Guillaumin 1995). It discusses Morrison's aesthetic engagement with the master/slave relationship.
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Payne, Matthew. "Aberration and criminality in Senecan tragedy." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16476.
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This thesis tackles the pervasiveness of aberration in Senecan tragedy. Aberration infects all aspects of the drama, and it is deeply entwined with Senecan criminality. In my introduction, I define my terminology of the aberrant, and I discuss a series of ongoing scholarly debates on the tragedies, showing how understanding the aberrant in Seneca's dramas can shed new light on these questions. In Chapter 1, I examine the relationship between the language of crime in the plays, tracing the Latin words for crime back to their instances in Republican Roman tragedy and other genres and seeing how Seneca uses and develops this language of crime, creating an unstable fuel for his dramas. In Chapter 2, I consider Seneca's paradoxes. I consider not only verbal manifestations but all the different paradoxes that appear in the dramas: visual paradoxes, paradoxes of infinity, thematic paradoxes, intertextual paradoxes and more. Paradox is not merely a formal feature of Seneca's writing but integral to the structure of each play. Paradox becomes Seneca's means of transforming linguistic aberration into thematic aberration. In Chapter 3, I argue that Senecan landscapes are not just verbal artefacts. Seneca describes his anomalous spaces in ways that connect with how space and place was experienced in Roman culture. Seneca's aberrant spaces give us buildings that are bigger on the inside than the outside and bodies that explode with the emotions within them. In Chapter 4, I probe aberrant behaviour, by considering the ambiguous characters of Hercules and Thyestes. I expand our focus to incorporate Roman notions of appropriate behaviour, reading the dramas and De Beneficiis as reflecting wider socio-cultural concerns, and I question common assumptions about the thematization of theatricality in Senecan tragedy. In both Hercules Furens and Thyestes, crime skews and twists the situation, rendering apparently ethical behaviour aberrant.