122,537 research outputs found
Citation de Doris Lessing : Un homme et deux femmes, Plon
No full textLessing Doris. Citation de Doris Lessing : Un homme et deux femmes, Plon. In: Sorcières : les femmes vivent, n°24, 1982. Mythes et nostalgies. p. 33
Citation de Doris Lessing : Un homme et deux femmes, Plon
No full textLessing Doris. Citation de Doris Lessing : Un homme et deux femmes, Plon. In: Sorcières : les femmes vivent, n°24, 1982. Mythes et nostalgies. p. 33
A sense of place in selected African works by Doris Lessing read in conjunction with novels of education by contemporary white South African women writers
No full textBibliography: leaves 211-217.This study provides a more intensive reading of certain works by Doris Lessing set in Southern Africa than has yet been attempted, and reads them,• for the first time, in conjunction with a particular literary lineage within Southern African letters, the novel of education by white women. The works by Lessing chosen for discussion are: two short stories, "The Old Chief Mshlanga" (1951) and "Sunrise on the Veld" (1951), the first two volumes of the Children of Violence series, Martha Quest (1952) and A Proper Marriage (1954), and Lessing's autobiographical account of a return visit to Rhodesia in 1956, Going Home (1957). Those by the other Southern African women writers--all of which, with the exception of Gordimer's The Lying Days have received virtually no critical attention to date--are: Nadine Gordimer's The Lying Days (1953)', Jillian Becker's The Virgins• (1976), Carolyn Slaughter's Dreams of the Kalahari (1981), Lynn Freed's Home Ground (1986), E.M. / MacPhail's Phoebe and Nio (1987), and Menan du Plessis's A State of Fear (1983)
Protective effect of Chuquiraga spinosa lessing associated with simvastatin on N-Nitroso-N-methylurea (NMU)-induced prostate cancer in rats
No full textChuquiraga spinosa Lessing (ChS) has shown protective effect on N-Nitroso-N-methylurea (NMU)-induced prostate cancer in rats. Currently, statins are being studied for their pro-apoptotic and antimetastatic effects. The main objective of this research was to determine the protective effect associated with the oral administration of simvastatin and ethanolic extract of the aerial parts of ChS in the prevention of prostate cancer
Food and eating in fiction since 1950 with particular reference to the writing of Angela Carter, Doris Lessing, Michele Roberts and Alice Thomas Ellis.
No full textPhDEating is a fundamental activity. What people eat, how and with whom, what
they feel about food, what they do or do not want to eat and why - even who
they eat - are of crucial significance in any reading of human behaviour.
In this thesis, I consider the diverse and complex uses of food and eating
in fiction since 1950, especially that written by women. I argue both that food
and eating carry much of the meaning of a novel or story and that the acts of
cooking, feeding and eating depicted are inseparable from issues of power and
control: individually, interpersonally, culturally, politically.
My discussion centres on the writing of Angela Carter, Doris Lessing,
Michele Roberts and Alice Thomas Ellis. Drawing on psychoanalytic theory,
sociology, anthropology, Foucault, Bakhtin and others, the thesis aims to
construct an interdisciplinary perspective which both resists reductive
interpretations and emphasises the centrality, complexity and diversity of food
and eating in literature in our culture.
I begin with an examination of the ambiguities of maternal feeding and
nurturing, moving on to explore the links between appetite, eating and sexuality.
I explore cannibalism and vampirism as manifestations of oppression, but also as
indicating insatiable emptiness and transgressive appetite. The body itself is
crucial, and my argument considers the paradox of not eating as
control/enslavement, also tracing self-starvation as a positive route towards
wholeness and connection. The last part of my argument focuses on social
eating, examining conventions, rituals and food itself in connection with power
relations, and finally considers how we might truly speak of food and eating in
the context of society as a whole
le «Laocoon» de Lessing
No full textLamblin B. le «Laocoon» de Lessing. In: Bulletin de psychologie, tome 20 n°259, 1967. pp. 1054-1060
Lessing et Marivaux
No full textLaçant J. Lessing et Marivaux. In: Cahiers de l'Association internationale des études francaises, 1973, n°25. pp. 161-175
Aesthetic pity: Lessing - Bernays Nietzsche
No full textTitel und Inhaltsverzeichnis
Vorwort 5
1.
Die Bedeutung des Mitleids für die Entwicklung von
Lessings Trauerspieltheorie
7
1.1
1.2
1.3
Die Konzeption des Lessingschen Mitleidsbegriffs
anlässlich des Briefwechsels mit Mendelssohn und Nicolai (1756/57)
Lessings Mitleidsbegriff als Realisierung einer
anthropologischen Konstruktion Rousseaus
Die Umdeutung des Mitleidskonzepts im Rahmen
der "Hamburgischen Dramaturgie"
7
44
61
2. Jacob Bernays' Deutung des aristotelischen Tragödiensatzes 96
2.1
2.2 Zwischen Lessing und Goethe
Mitleid und Furcht 97
105
3. Ästhetisches Mitleid beim frühen Nietzsche 113
3.1
3.2
3.3
3.4
3.5
3.6 Nietzsches Tragödienschrift
Bernays und "Die Geburt der Tragödie"
Das Dionysische als philosophisches Pathos
Das ästhetische Mitleid
Die dionysisch-apollinische Katharsis
Die Tragödie als ästhetisches Spiel 113
114
120
123
134
137
4. Das ästhetische Mitleid in der Euripides-Kritik 144
4.1
4.2
4.3 Lessings Euripides-Beurteilung in der "Hamburgischen Dramaturgie"
Die Euripides-Beurteilung in Bernays' Aristoteles-Schrift
Die Euripides-Kritik in Nietzsches "Geburt der Tragödie" 144
151
153
Zusammenfassung 171
Bibliographie 176Die Dissertation befasst sich mit dem seit Aristoteles Poetik geläufigen
Phänomen des Tragödienmitleids. Der Begriff des ästhetischen Mitleids ist in
diesem Kontext über die Tragödienrezeption die Betrachtung von Wahrnehmung
und Wirkung der Tragödie definiert. Im Zentrum steht die Frage nach der
Bedeutung des ästhetischen Mitleids und seiner Beschränkung durch die
Tragödienkatharsis. Dazu werden drei Konzeptionen ästhetischen Mitleids
vorgestellt. Der an Aristoteles orientierten Mitleidstheorie Lessings müssen
zwei Ansätze aus verschiedener Zeit zugrunde gelegt werden: Der Briefwechsel
über das Trauerspiel mit Moses Mendelssohn und Friedrich Nicolai aus den
Jahren 1756/57 und die Ausführungen über Furcht und Mitleid im 74.-78. Stück
der Hamburgischen Dramaturgie . Die Arbeit vertritt die These, dass zwischen
beiden Konzeptionen ein Entwicklungszusammenhang besteht, der mit dem Einfluss
Rousseaus verständlich gemacht werden kann. Lessing gibt schließlich eine
Tragödiendeutung, die gerade über ihre moralischen Intentionen das ästhetische
Mitleid auf spezifische Weise charakterisiert. Gegen Lessings Interpretation
der aristotelischen Katharsis wendet sich Jacob Bernays. Seine Grundzüge der
verlorenen Abhandlung des Aristoteles über Wirkung der Tragödie sind erstmals
1858 veröffentlicht worden. Auch mit dieser Schrift liegt eine Poetik-
Interpretation vor. Bernays betrachtet das Tragödienmitleid als pathisches
Phänomen, behauptet aber dennoch die ästhetische Perspektive seiner
Untersuchung. Vor allem Friedrich Nietzsche hat auf diese pathologische
Tragödieninterpretation reagiert. Mit seiner Schrift Die Geburt der Tragödie
aus dem Geiste der Musik (1872) liegt so die These der Arbeit eine
vollendete Theorie des ästhetischen Mitleids vor. Gerade in der Reaktion auf
Bernays formuliert Nietzsche ein ästhetisches Konzept, das neben der
pathischen Wirkung des Mitleids die ästhetische Wahrnehmung des
Theaterzuschauers ins Zentrum stellt. Die abschließende Darstellung der
Beurteilung des Euripides durch Lessing, Bernays und Nietzsche veranschaulicht
noch einmal die Unterschiede ihrer Mitleidskonzeptionen.Susanne Lawrenz s dissertation examines the phenomenon of aesthetic pity
current since Aristotle s Poetics. In the Aristotelian context, the concept of
aesthetic pity is defined in terms of reception: the act of watching
tragedy, on the one hand, and the affect generated by the tragic work, on the
other. The study focuses on the significance of aesthetic pity and its
limitations through tragic catharsis and further delineates its object by
presenting three models of aesthetic pity: those of Lessing, Bernays and
Nietzsche. While Aristotelian influence is evident in Lessing s theory, two
additional contexts further undergird his model: Lessing s correspondence with
Moses Mendelssohn and Friedrich Nicolai concerning the tragedy (1756/1757) and
Lessing s reflections on pity and fear in sections 74 to 78 of Hamburgische
Dramaturgie. As the study argues, the reception of Rousseau links the
development of these concepts. The interpretation of tragedy that Lessing
ultimately offers particularly characterizes aesthetic pity in terms of moral
intentions. It is this concept of Aristotelian catharsis that Jacob Bernays
explicitly opposes. His Grundzüge der verlorenen Abhandlung des Aristoteles
über Wirkung der Tragödie (1858) also offers an interpretation of the
Poetics. Bernays views aesthetic pity as a pathic phenomenon, while at the
same time asserting the aesthetic perspective of his inquiry. It is most
particularly Friedrich Nieztsche who reacted to the pathological
interpretation of tragedy. As the study argues, the theorization of aesthetic
pity finds its culmination in Die Geburt der Tragödie aus dem Geiste der Musik
(1872). Through his reception and critique of Bernays, Nietzsche formulates an
aesthetic concept that in addition to considering the pathic dimension of
pity also places the aesthetic reception of the audience at the center of his
account. The study concludes with Lessing s, Bernays s and Nietzsche s
divergent analyses of Euripides which serve to highlight the differences in
their conceptions of aesthetic pity
Of Textual Bodies and Actual Bodies: the Abjection of Performance in Lessing's Dramaturgy
No full textProceeding from the observation that Gotthold Ephraim Lessing's famous Hamburgische Dramaturgie (Hamburg Dramaturgy) soon abandons the analysis of actual performances in favour of a discussion of character, the article explores Lessing's problematic relationship with the performing body, situating it in the context of an increasingly textual culture. It shows the implications of this move in terms of gender prescriptions before discussing Lessing's ‘disgust’ with a particular performance of his Emilia Galotti. Reading this example with Lessing's treatise Laokoon and drawing on Julia Kristeva's theory of abjection, it argues that Lessing's struggle with the performers reveals a profound crisis in subject formation in the sense that the disturbing corporality of the performing body is always threatening sympathetic identification. The article concludes that the Dramaturgie itself constitutes an ‘abjection’ of performance. A postscript opens up the view onto the contemporary relevance and refiguration of Lessing's Laokoon in the Laokoon Festival in Hamburg
Doris Kuhles : Lessing-Bibliographie, 1971-1985, 1988
No full textBourel Dominique. Doris Kuhles : Lessing-Bibliographie, 1971-1985, 1988. In: Dix-huitième Siècle, n°21, 1989. Montesquieu et la Révolution. p. 478
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