DOCSLIB.ORG

Erotics of Empire Falkiner Final-2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Erotics of Empire Falkiner Final-2 The London School of Economics and Political Science The Erotics of Empire: Love, Power, and Tragedy in Thucydides and Hans Morgenthau Daniel Thomas Rothwell Falkiner A thesis submitted to the Department of International Relations of the London School of Economics and Political Science for the Degree of Doctor of Philosophy, London. January 2015. !1 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third parties. I declare that my thesis consists of 99,683 words. !2 Abstract A number of influential early International Relations (IR) theorists explicitly theorised politics in terms of ‘tragedy’ and their discourse was revived at the be- ginning of the 21st century. This thesis engages with this ‘tragic’ tradition of in- ternational political theory and pushes the debate in directions that have previ- ously been hinted at but which have nonetheless remained largely unexplored. It is argued here that from the late archaic to the end of the classical period in an- cient Athens, eros (‘sexual love’, ‘passionate yearning’) and its cognates came to form the conceptual basis of a political discourse that fused elements of sex, power, and gender into what we might call a kind of ‘erotic politics’. This dis- course is clearly reflected in tragedy; many dramas take eros as a central theme and explore the role that the emotion could (and should) play in the community. Although it is usually transgressive and destructive, tragic eros is nevertheless redeemable in terms of the benefits it can bestow on the city when handled wisely. Using this contextualised reading of tragedy as a reference point, the dis- sertation critically analyses the texts of two influential commentators on interna- tional politics, namely, Thucydides and Hans Morgenthau. It is argued that both of these authors were heavily influenced by the Athenian discourse of erotic politics, especially as it appears in tragedy; love, power, and tragedy were cent- ral to both men’s understanding of international politics. This analysis will provide an original perspective on Thucydides’ and Morgenthau’s political philosophies and will open up new ways at looking at some of the ‘tragic’ situ- ations that recent scholars have identified in contemporary politics. !3 Acknowledgements Completing this dissertation would not have been possible without the support and encouragement of a large number of people. I am extremely grateful to my friends, mentors and family members who in their different ways have given me so much over the course of this project. In particular, I wish to thank: * Eddie Arghand, Rupert Brodersen, Ribale Haidar, Mark Kersten, Katia Klenina, Philipp Lamprecht, Curtis Ohlers, Philip Schleifer, and Youyou Zhang, whose warm friendship during these last few years in soggy old London have helped to lift my spirits when they were low and point me in the right direction when I was lost. There are many other people whose company brightened my days but this list is too long to recite here; suffice it to say that I will always treasure the memories I have made during this wonderful time at the LSE; * Professor Christopher Coker, whose great generosity towards, faith in and encouragement of my project helped keep alive in me the will to keep going when times were particularly tough; * Professor Kim Hutchings, whose supervision was characterised by ex- traordinary temperance, patience and wisdom. What is good in this thesis is there because of her; without her direction and guidance, there would be a great deal more to criticise. The faults that remain are mine alone; * My family, the gang: Hanne, Marc, Sarah, Laura. I have been blessed to have grown up in a group of individuals whose small flaws only testify to the humanity of these truly heroic figures. I cannot say enough how rich each of them has made my life. I must, however, make a special mention of my sister, Sarah, whose creativity and insight often helped unlock the key thoughts I was looking for on our walks together. I must also add that the term ‘thanks’ cannot adequately express what I have for the love and support of my mother, Hanne. But I will say it anyway: thank you so much, Mum. I couldn’t have done any of this without you; * My late father, Chris. Unfortunately, he can never read this but his wish that I should receive an excellent education has now been fulfilled. I am etern- ally grateful for this fact. This is for you, Dad. Finally, I must thank the old poet who inspired me to choose this path. It’s been a difficult journey, and I’ve learned many lessons. The most important of these is reflected in this thesis, insofar as here the poets have been treated as they al- ways should be – with care, respect, and abiding admiration. !4 Table of Contents Glossary of Ancient Greek Terms and Persons............................................. 9 Part One All’s Fair in Love and War? Tragedy, Eros, Politics Chapter One Introduction………………………………………………………………… 12 Section One: Reviewing the Literature (i) The Structural Approach…………………………………. 15 (ii) The Agentic Approach…………………………………… 18 Section Two: Critiquing the Literature (i) The Structural Approach…………………………………. 27 (ii) The Agentic Approach…………………………………… 33 Section Three: Overview and Method……………………………………… 41 Chapter Two Introduction…………………………………………………………………. 51 Section One: Love and Society in Ancient Greece (i) Sexuality in Ancient Greece…………………………….. 51 (ii) Eros, Sexuality and Society…………………………….... 59 Section Two: Tyranny and Democracy in Athens (i) Tyranny and the Birth of Democracy…………………...... 70 (ii) The Demos and the Death of Tyranny…………………..... 76 (iii)The Tyrant in the Democratic Imagination……………….. 81 Conclusion....................................................................................................... 89 Chapter Three Introduction…………………………………………………………………. 91 Section One: Tragedy in Context (i) The Politics of Tragedy………………………………….. 92 (ii) Something to Do with Dionysus (and Eros)……………… 96 Section Two: Eros in Tragedy !5 (i) Tragic Responses to Eros…………………………….. 108 Conclusion………………………………………………………………... 117 Part Two The Erotics of Empire Chapter Four Introduction………………………………………………………………. 120 Section One: Eros and the Athenian Ideal (i) Pericles and ‘the Lover of the City’………………..… 121 (ii) Imperialism and the Athenian Ideal………………...... 133 Section Two: Erotic Citizenship and Tragedy (i) Euripides and the Suppliants…………………………... 139 (ii) Tragedy and Patriotism……………………………….. 145 Conclusion……………………………………………………………… 150 Chapter Five Introduction……………………………………………………………….. 151 Section One: The Destruction of the Sicilian Expedition (i) The Roles of Alcibiades and Nicias………………….. 152 (ii) The Problem of Stasis and Erotic Citizenship……….. 162 Section Two: The Tragedy of Athens (i) Alcibiades and Dionysus……………………………... 172 Conclusion……………………………………………………………… 180 Chapter Six Introduction……………………………………………………………….. 181 The Mytilene Debate (i) ‘A Massive Moral Hangover’………………………… 181 (ii) Diodotus and/as Thucydides………………………….. 188 (iii)Tragedy and the Erotic Theory of Politics……………. 201 Conclusion……………………………………………………………… 205 !6 Part Three Love, Power, Tragedy: From the Ancients to the Modern World Chapter Seven Introduction……………………………………………………………….. 208 Eros and Dionysus in the Symposium (i) In Praise of Love: The Speeches of the Symposium…. 209 (ii) Thucydides and Aristophanes on Political Eros……... 222 Conclusion………………………………………………………………... 225 Chapter Eight Introduction……………………………………………………………….. 227 Section One: Morgenthau in Context (i) The Influence of Freud and Nietzsche……………….. 228 (ii) Morgenthau, Tyranny and Total War………………... 236 Section Two: Morgenthau on Love and Power (i) Loneliness, Love and Power……………………….... 237 (ii) Morgenthau’s Debts to the Ancients……………….... 246 (iii)Tyranny and Democracy, Power and Love………….. 250 Conclusion……………………………………………………………….. 257 Chapter Nine Introduction………………………………………………………………. 259 Section One: Eros and the Tragedy of Man (i) From the Domestic to the International……………… 259 Section Two: Morgenthau and Thucydides (i) Morgenthau’s Engagement with the History………... 268 (ii) Morgenthau and Thucydides on Erotic Politics……... 274 Conclusion……………………………………………………………….. 278 Chapter Ten Introduction…………………………………………………………........ 280 Summary of Findings (i) Overview…………………………………………..... 280 !7 (ii) Relevance to the Discipline……………………….... 285 Directions for Further Research……………………………………….... 306 Bibliography………………………………………………………….... 310 !8 Glossary of Ancient Greek Terms and Persons Aeschines = politician and orator, born in Athens 389 B.C. Agon = duel, competition Alcaius = lyric poet, born in Mytilene c. 620 B.C. Alcibiades = politician and general, born in Athens c. 450 B.C. Anacreon = lyric poet, born in Teos c. 582 B.C. Andreia = manliness, courage Arche = rule, empire, power Archilochus = lyric poet, born in Paros c. 680 B.C. Aristogeiton = middle class Athenian tyrannicide, lover of Harmodius Catharsis = release, purgation
Load more

Recommended publications
  • Man and Machine in Thoreau. Joseph Lawrence Basile Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1972 Man and Machine in Thoreau. Joseph Lawrence Basile Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Basile, Joseph Lawrence, "Man and Machine in Thoreau." (1972). LSU Historical Dissertations and Theses. 2194. https://digitalcommons.lsu.edu/gradschool_disstheses/2194 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.
    [Show full text]
  • Szcenárium Art Journal of the National Theatre MITEM English, April 2019
    szcenárium Art Journal of the National Theatre MITEM English, April 2019 Zsolt Szász: In the Workshop of Director Attila Vidnyánszky Madách Redivivus – Articles on The Tragedy of Man by Géza Balogh, Ildikó Sirató, Nina Király, Miklós Hubay, Ágnes Pálfi Eszter Katona: Federico García Lorca’s Reception in Hungary Márton P. Gulyás: New Mediality in Woyzeck at the National Theatre in Budapest Valdas Vasiliauskas about Eimuntas Nekrošius and Lithuania’s Youth Theatre “We Understand Our Culture Better Through the Other’s” – Interview with Nina Király AUTHORS Aurylaitė, Kristina (1970) translator, Vytautas Magnus University Balogh, Géza (1936) stage director, theatre historian, board member of UNIMA Durkóné Varga, Nóra (1965) translator, English teacher Hubay, Miklós (1918–2011) playwright, translator, dramaturg Katona, Eszter (1976) reader at Department of Hispanic Studies, University of Szeged Király, Nina (1940–2018) theatre historian, co-worker at the National Theatre in Budapest P. Gulyás, Márton (1980) film aesthete Pálfi, Ágnes (1952) poet, editor of Szcenárium Pinczés, István (1953) stage director, translator Sirató, Ildikó (1966) head of Theatre History Collection at National Széchényi Library, reader at Pannon University Szász, Zsolt (1959) puppeteer, dramaturg, stage director, managing editor of Szcenárium Vasiliauskas, Valdas (1951) theatre critic, editor, politician Vértes, László (1966) translator, interpreter Vidnyánszky, Attila (1964) stage director, general manager of the National Theatre in Budapest Támogatók PUBLISHER
    [Show full text]
  • Trends in Present Day Theology. Ll
    Trends in Present Day Theology. ll. BY THE REV. D. w. CLEVERLEY FORD, B.D., M.Th. N our first article we were considering modem trends of thought I with regard to God and His work in the world ; in this article we shall consider modem trends of thought with regard to man. As last time we tried to show that the recent outlook in theology could be styled " dogmatic ", so here we hope to show that the recent out­ look in this doctrine of man can in short be styled " realistic ". The development of the Doctrine of Man towards a realistic view is then the subject of this article. As we take up this study of man, we must take up that which is distinctive of man among the creatures, namely, his sin. No doctrine of man can be presented apart from Hamartology. The course we shall follow will be precisely that followed previously. First we shall remind ourselves of the Traditional doctrine of man,; secondly, we shall indicate what is the modem doctrine of man; thirdly, we shall examine the present day outlook which we have already described as Realistic. We begin then with the Traditional doctrine of man. Some one once asked the question, What is a theologian? The answer was given­ " A man whose Greek Testament automatically falls open at Romans v." There is truth here for the doctrine of man begins at Rom. v. 12. and no anthropology is complete which does not take it into account. The significant verse is-" Therefore as through one man sin entered into the world and death through sin, and so death passed into all men for that all sinned".
    [Show full text]
  • Human and Divine Knowledge in the Oedipus Tyrannus
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1968 Human and Divine Knowledge in the Oedipus Tyrannus James Carroll Arimond Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Philosophy Commons Recommended Citation Arimond, James Carroll, "Human and Divine Knowledge in the Oedipus Tyrannus" (1968). Master's Theses. 2102. https://ecommons.luc.edu/luc_theses/2102 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1968 James Carroll Arimond HUMAN AND DIVINE lCNOWLEOOE IN THE OEDIPUS TYRANNUS by James C. L. Arlmond, S.J. A Thesis submitted to the Faculty of the Graduate School of Loyola Unlverslty in Partial Fulfillment of the Requirements for the Degree of Master of Arts February 1968 LIFE James Carroll Leo Arimond was born in Evanston, Illinois, April 12, 1939. He attended SSe Faith, Hope, and Charity Grammar School, Winnetka, Illinois, from 1944 to 1953 and Loyola Academy, Chicago, from 1953 to 1957. On August 17, 1957, he entered the Society of Jesus at Florissant, Missouri. From 1957 to 1958 he studied the humanities at St. Stanislaus College, st. Louis University. From 1958 to 1960 he studied the humanities at Milford College, Xavier University. From 1961 to 1964 he studied philos. ophy at West Baden College, Loyola Uni,verslty.
    [Show full text]
  • The Idea of Progress Why Is the Modern View of Progress So Impoverished?
    The idea of progress Why is the modern view of progress so impoverished? Dec 17th 2009 -- From The Economist print edition THE best modern parable of progress was, aptly, ahead of its time. In 1861 Imre Madach published “The Tragedy of Man”, a “Paradise Lost” for the industrial age. The verse drama, still a cornerstone of Hungarian literature, describes how Adam is cast out of the Garden with Eve, renounces God and determines to recreate Eden through his own efforts. “My God is me,” he boasts, “whatever I regain is mine by right. This is the source of all my strength and pride.” Adam gets the chance to see how much of Eden he will “regain”. He starts in Ancient Egypt and travels in time through 11 tableaux, ending in the icebound twilight of humanity. It is a cautionary tale. Adam glories in the Egyptian pyramids, but he discovers that they are built on the misery of slaves. So he rejects slavery and instead advances to Greek democracy. But when the Athenians condemn a hero, much as they condemned Socrates, Adam forsakes democracy and moves on to harmless, worldly pleasure. Sated and miserable in hedonistic Rome, he looks to the chivalry of the knights crusader. Yet each new reforming principle crumbles before him. Adam replaces 17th-century Prague’s courtly hypocrisy with the rights of man. When equality curdles into Terror under Robespierre, he embraces individual liberty—which is in turn corrupted on the money-grabbing streets of Georgian London. In the future a scientific Utopia has Michelangelo making chair-legs and Plato herding cows, because art and philosophy have no utility.
    [Show full text]
  • Continuing the Deviating Tradition of Hungarian Experimental Film Art: András Jeles’S Joseph and His Brothers—Scenes from a Peasant Bible
    1 Continuing the Deviating Tradition of Hungarian Experimental Film Art: András Jeles’s Joseph and His Brothers—Scenes from a Peasant Bible Gábor Gelencsér, Eötvös Loránd University, Budapest Abstract: This article places Joseph and His Brothers—Scenes from a Peasant Bible (József és testvérei— Jelenetek egy parasztbibliából, 2003) by Hungarian experimental filmmaker András Jeles within the social, institutional and cultural context of Hungarian film production. It surveys the sociopolitical conditions that gave rise to the formal and political radicalism of Hungarian experimental cinema; it provides an insight into the workshop of the Béla Balázs Studio, which played a determining role in shaping the various alternative discourses of Hungarian filmmaking, and suggests that András Jeles’s work is a particular manifestation of form-breaking radicalism. Two different narrative and stylistic modes of expression in the film are examined: shadow play and infrared camera use, as is the deployment of these two kinds of visuality in the parallel structure of the film. Cultural memory and the technical conditions of the filmic medium are considered from the perspective of aesthetic experience. Introduction: The Analysis of the World Miklós Erdély, filmmaker and a prominent figure in the post-1945 Hungarian neo- avant-garde art scene, defines the task of experimental―or, as he calls it, cognitive―film as follows: “[E]xperimental or cognitive film analyses itself as a reproduction of reality that is rearrangeable, unbiasedly permutable, thus it can perform the analysis of the world” (184; author’s translation). The notion of self-exploring film is inherent in this definition; experimental film is in a continuous search for the essence of the medium, thus its subject matter is the nature of the medium itself.
    [Show full text]
  • Knowledge and Falling in Milton's Paradise Lost and Imre Madach's
    Knowledge and Falling in Milton's Paradise Lost and Imre Madach's The Tragedy ofMan A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts by Thesis Only in English in the University of Canterbury by Elisabeth Liebert University of Canterbury 2003 Contents Abstract..................................................................................... 1 Acknowledgements. .. 2 Introduction. .. .. .. .. .. .. .. .... 3 Chapter 1....... ... ...... .... .......................... ......... .. .......... ......... ........ 9 Chapter 2. .. 25 Chapter 3. .. 41 Chapter 4...................... .. .. .. .. .. .. .. ... .... 63 Chapter 5. .. 73 Chapter 6. .. .. .. .. .. .. .. 91 Conclusion....... 109 Works Cited. .. 11 7 1 Abstract Milton's Paradise Lost and Ilnre Madach's Az ember tragediaja [The Tragedy of Man] were written in different centuries, in different languages. Yet as reworkings of the story of the Fall of Man both attempt to explicate the phenomenon of human self­ awareness. A comparison of their treatment of knowledge and its relationship to the Fall discloses this similarity of intent, as well as the fundamental difference that underlies the philosophical position of the two authors. The thesis is divided into chapters that examine prelapsarian knowledge, the Fall itself, and postlapsarian knowledge in Paradise Lost and The Tragedy of Man respectively, with occasional reference to the Biblical story and literary analogues in order to illustrate the development of central themes. As elements of the story
    [Show full text]
  • Images of Strangeness in András Jeles's Films Zoltán Gregus Babe³-Bolyai University, Department of Philosophy (Cluj-Napoca, Romania) Email: [email protected]
    Acta Univ. Sapientiae, Film and Media Studies, 1 (2009) 117135 Images of Strangeness in András Jeles's Films Zoltán Gregus Babe³-Bolyai University, Department of Philosophy (Cluj-Napoca, Romania) email: [email protected] Abstract. The paper discusses the perpetuation of unconventional stylistic features of the modern lm, as well as its possibilities of introducing a new, existential meaning in the Hungarian lm production of the 1970s and 1980s. New-narrative lms experimenting with narrative forms display an ambition of the lmic medium to join other, extraneous formations (such as music, literature, theatre), fullling thus the modernist ideal that the lm as a free indirect discourse will demolish the monolithic unity of lmic narration. In a Hungarian perspective the experiments with narrative forms were similarly approached by three names as representative for the period: Miklós Erdély, Gábor Bódy, and András Jeles. Although lm language experiments result in strongly medium conscious forms with all three directors, they are stylistically very dierent nonetheless. Experimentation in Erdély's lms leads to a minimalist form, in Bódy's to an analytical construction, while in Jeles's to a non-lm-like form. The stylized world of Jeles's lms proves a particular concern with form, which, similarly to literature and theatre, must be able to transmit abstract (symbolic) meanings articulated at the same time in an existential experience. Strangeness, the consistent non-adequacy of expression at a given place (András Jeles) The study highlights three focal points of András Jeles's lms, examining: the collision and confrontation of documentary and ctional narrative forms; the asynchronous relations of image markers not subordinated to the narration, as well as sound markers; and nally the presence of the paradox visual eld 118 Zoltán Gregus occurring with the refraction of the lmic nature.
    [Show full text]
  • LATIN AMERICAN THEATRE REVIEW The
    LATIN AMERICAN THEATRE REVIEW 54 The Buenos Aires Theatre, 1966-67 VIRGINIA RAMOS FOSTER In the past decades in Argentina there has been a remarkable ex­ pansion in the performing arts, especially in the theatre. Observers are immediately impressed by the movement in and enthusiasm for the theatre in Buenos Aires, center of this dramatic renaissance. Unfortu­ nately, the theatre in the provinces remains in a somewhat retarded state: whatever theatre exists tends to be derivative and tributary. The capital city, however, boasts some sixty theatres which offer a broad selection to theatre-goers, plays ranging from all periods of American and European drama as well as works by national playwrights. Such diversity and contact with international currents have helped the contemporary Argentine dramatist to create a vital and more sophisticated national theatre, as witnessed in the recent 1966-67 season. Likewise, the rejection of the commercial theatre with its economic motivations, and the rapid rise of non-profit organizations (los independientes) whose interests are primarily artistic, have radically changed the structure of the theatre in Buenos Aires.1 The trajectory of Argentine drama in the twentieth century from Florencio Sánchez finds roots in many realismos: realismo crítico, realismo fotográfico, realismo psicológico, as well as the cherished realismo costumbrista. But from 1950 up to the present moment, the drama has acquired multiple and rather refreshing dimensions in that it is a more liberated form, embracing technical innovations and exhaus­ tive, intellectual interpretations of frustration, failure, social and political involvement and isolation. The young dramatist creates new moods, as opposed to ultimate declamations, and reflects not only Argentine reality in the immediate, exterior sense but probes the realities of the universal human condition.
    [Show full text]
  • Fered, Should Be Given a Bearing. Freud Raises Hackles Because Be Ends up Committing the Chernyshevskian Fallacy
    fered, should be given a bearing. Freud raises hackles because be ends up committing the Chernyshevskian fallacy. He relies on phrases like "I cannot alter facts," or "psychoanalytic experience has put these matters ... beyond the reach of doubt"-when in fact his scenarios themselves, in the opinion of this reviewer, are at best simple metaphors with a poor record of both diagnosis and "cure." No methodology with that track record should hold literature hostage. In short, it is not Freud's imagination that offends- imagination is not supposed to "account for," "simplify," or "cure"-it is the claim to science. Some (but by no means all) of the essays in this volume imitate Freud's error. Drop that, and we would have a book full of scholarly research, provocative speculation and inspired free association that even the uninitiated could learn from and enjoy. Caryl Emerson Princeton University Imre Madach. The Tragedy of Man. Translated by Thomas R. Mark. Boulder, CO: East European Monographs, 1989. ix, 148pp. $14.00. Distributed by Columbia University Press, New York. Az ember trag6didja (The Tragedy of Man) occupies a unique and controversial place in the history of Hungarian literature. Ever since its publication in 1862, critics from JanosArany to Gyorgy Lukacs have engaged in spirited debate concern ingitsmerit, originality, and intended meaning. Is it a work of genius or a pale imitation of Goethe's Faust? Is it optimistic or pessimistic about the human condition? Was its author a Christian or a nihilist? Was he a friend of the people or an agent of the privileged classes? Difficult as it has been for Hungarians to answer these and other questions, it has been impossible for English readers, who have had to rely on unsatis- factory translations.
    [Show full text]
  • Madách Könyvtár – Új Folyam 95
    Madách Könyvtár – Új folyam 95. Zsuzsanna Máté Sorozatszerkesztő: Andor Csaba Transformations of Literary Texts (Comparative and Hermeneutic Studies on the Intertextual and Intermedial Relations in Some Major Works of Dante, Publication of this book was made possible Imre Madách and Béla Balázs) with the support of the Academic Advisory Board of the Szeged Foundation and the Academic Grant of University of Szeged Juhász Gyula Faculty of Education Proofreading by Emőke Varga Zsuzsanna Máté Transformations of Literary Texts (Comparative and Hermeneutic Studies on the © Zsuzsanna Máté Intertextual and Intermedial Relations in Some Major Works of Dante, Imre Madách and Béla Balázs) Published in Budapest, in 2016. Publisher: Bene Zoltán. Technical editor, cover: Csaba Andor Madách Irodalmi Társaság Szeged ISBN 978-615-5462-14-6 2016 ISSN 1219–4042 CONTENTS PREFACE .......................................................................................... 7 PART I ............................................................................................. 13 1 On the Transformation of Imre Madách‘s Dramatic Poem The Tragedy of Man ..................................... 13 2 Modalities of Existence of The Tragedy of Man in Music .... 47 3 The Tragedy of Man and Animated Movies .......................... 62 4 The Tragedy of Man as the Creator of Interartistic Relations ......................................................... 91 PART II On Dante‘ Commedia and Madách‘s The Tragedy of Man – From a Comparative Research Perspective ................................................
    [Show full text]
  • Self, World, and God in the Poetry of Emily Dickinson
    SELF, WORLD, AND GOD IN THE POETRY OF EMILY DICKINSON AND HERMAN MELVILLE by DON GILLILAND A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Don Gilliland 2009 ALL RIGHTS RESERVED ABSTRACT Emily Dickinson and Herman Melville are the major nineteenth-century representatives of a strain of American poetry that may be termed, following Elisa New, “religiocentric.” In support of this proposition, this study explores the following ideas: the meaning of the term “religiocentric;” the vexed issue of the value of Melville’s poetry generally; form, content, and value Melville’s Clarel: A Poem and a Pilgrimage in the Holy Land (1876); the religious views of Melville and Dickinson, and the areas where they overlap; the interrelationships of religion and textuality in Dickinson’s work. In describing “religiocentric” poetry, I begin with R.W.B. Lewis’s ideas of the emergence in the nineteenth century of what he calls the parties of “Hope” (exemplified by Emerson), “Memory” (for example, in sentimentalist literature and piety), and “Irony” (for example, in Nathaniel Hawthorne’s sympathies with both of the other parties but his refusal to embrace either). I locate Dickinson and Melville in the party of Irony. Elisa New’s recent work identifies the dominance of the effects of Emersonianism and the party of Hope in American poetry and describes a different strain which retains an idea of Original Sin and generally has a clear awareness of the problem of suffering.
    [Show full text]