Alchemical imagery and ideology is present in many Romantic works of literature, but it has largely been overlooked by literary historians in their contextualization of the time period. The same can be said for mysticism in general, of which alchemy is a subset. This project accounts for alchemy in the works of transcendental philosophers and writers as it contributes to some of the most important conversations of the Romantic time period, particularly the reaction against empirical philosophy and the articulation of creative processes. The transcendental conversation is a transnational one, encompassing Germany, Britain, and America, with its use of alchemy also following this transnational progression. The German idealists developed an epistemology that took from alchemical precepts that in turn informed their spiritual models of genius and the creative process. German idealism largely influenced Romantic conceptions of art and creativity, which then contributed to the Romantic ideal of a poet-prophet. Samuel Taylor Coleridge and Nathaniel Hawthorne further developed their own models of the creative process by incorporating alchemy as an image of the transformation from vision into art. I examine Coleridge's "Kubla Khan" and Hawthorne's "The Artist of the Beautiful" for their alchemical imagery that articulates such a genius ideal. I also found, however, that these two Romantic works express an awareness of artistic limitations and frustration in the face of this ideal, which illustrates the ambiguity these two writers are known for. But alchemy, as a discourse of contradictions and their negotiation, is a site that accommodates the tension between a posited ideal and the reality of actual experience. As such, alchemy, as an underlying ideology to the poet-prophet, allows for flexibility in an artist's identity. Furthermore, as a deeply personal philosophy of transformation, alchemy's image as a work of art suggests the artist's personal investment in the creative process, which is necessary to art's viability in an increasingly materialistic world.

L’étude d’un centre de soins énergétiques montréalais offrant un rituel de guérison révèle le besoin de composantes symboliques dans l’expérience de guérison. À partir de l’expérience rituelle et de la subjectivité des participants, mes objectifs seront de comprendre les raisons et les besoins d’une telle quête thérapeutique dans le contexte de la société québécoise. Dans cette perspective, je m’interroge sur la production de sens qui émane de représentations symboliques étrangères à la culture québécoise (chamanisme et alchimie) et ses répercussions sur l’expérience de guérison. Ces formes de subjectivités et d’actions thérapeutiques affirment une quête de sens face à la maladie que la communauté médicale ne peut soutenir. Dans cette quête de sens face à la maladie, le rituel du cercle de guérison s’impose comme une activité symbolique où le sujet, individuel ou collectif, met en scène son image, son identité et ses valeurs. Cet espace thérapeutique fournit une forme d’agentivité et un lieu pour remettre en question l’autorité médicale. J’examinerai donc le contexte et les raisons pour lesquels les gens se tournent vers ce type de soins, le symbolisme de la guérison et la place du rituel dans l’imaginaire des participants. En élucidant le contexte culturel et le sens que prend le rituel dans la vie des participants, je pourrai illustrer les opérations symboliques menant à la construction des expériences de guérison. / The study of an energetic cares center who is offering a healing ritual in Montreal reveals the need of symbolic components in the healing experience. Starting with ritual experiences as well as subjectivities of individuals, the aim of this presentation is to understand the needs and the meanings of such therapeutic itineraries in the context of contemporary Quebec. The growing popularity of alternative medicine such as neo-shamanic healing circle reveals the needs of symbolic components in the experience of healing. From this perspective, I’m questioning how these individuals can make sense of symbolic representations coming from different cultures (shamanism, alchemy). What are the meanings of the symbolic dialogue and his repercussion in the healing experiences? These forms of subjectivities and transformative actions affirm a meaning quest of illness that the biomedical community cannot provide. The ritual of healing circle is imposing himself has a symbolic activity allowing the subject to affirm his image, his identity and his values within an embodied transformative experience. This type of cares also provides a form of agentivity and a space to question the biomedical authority. I am going to examine the context in which people are turning to such care, the mechanism of transformation at work, as well as the role of the ritual in the imaginary of the participants. By shedding light on the cultural context and the meanings of the ritual for the participants, I will illustrate the symbolic operations leading to healing experiences.

L’œuvre de Michel Butor se caractérise par la diversité formelle de ses textes. A y regarder de plus près, les thèmes abordés se recoupent malgré la prolixité de l’œuvre. Depuis Portrait de l’artiste en jeune-singe (1969) les références à la tradition alchimique foisonnent. Elles sont ici exhibées à la manière du nouveau-roman tout en participant du roman d’apprentissage. Déjà, dans le texte critique "L'Alchimie et son langage" (1960) l’alchimie est référencée comme un langage, un genre. Il nous a donc fallu tenter de répondre à la question de savoir ce qu’est l’alchimie et quelles images elle met en œuvre, depuis ses origines supposées jusqu’à sa redécouverte par les scientifiques de la Renaissance, les Romantiques et les Surréalistes. Cela nous a permis de clarifier certains liens de l’œuvre avec son intertexte. L’iconologie alchimique est par la suite mise en scène dans La Rose des Vents (1970), texte à la frontière du roman d’apprentissage, de la poésie et de la critique. Cette œuvre y met en scène la véritable essence de l’alchimie, à savoir la philosophie hermétique, dont nous retrouvons les images dans de nombreux textes poétiques depuis 1960 jusqu’en 2009.Relativement au nombre d’œuvres publiées par l’auteur, le corpus de cette étude a été défini par une étude succincte des titres. Auteur thotien, Butor dispose des signes pour présenter une géocritique a fragmentation analogique des notions. Notre démarche historique a donc porté principalement sur une étude d’ordre sémiotique. / Michel Butor’s work is marked by the formal diversity of his texts. From a closer point of view, the different themes. Looking from a closer point of view, all the different themes all find an echo in each other. Since Portrait de l’artiste en jeune singe (1969) (Novel-capriccio), the alchemical references are abundant. They are presented in the same way as the nouveau roman and are also a kind of roman d’apprentissage.The writing-morphing process is the main topic of this novel and constitutes an analogy with the transmutation of his writing substance. This tradition appears firstly in "L'Alchimie et son langage" as a language. We also needed to draw up a brief study of alchemy from its origins to the numerous rediscoveries made by the renaissance scientists, romantic and surrealist writers. The aim of this approach was to make clear the hints between the works of Michel Butor and his intertextuality. Alchemy pictures can be found in La Rose des vents, which clearly illustrates the hermetical philosophy. These alchemical pictures can also be found in many texts of poetry written between 1960 and 2009. In order to constitute our corpus, we picked up the different books because of their titles.To Conclude, we can say that Butor is a concerned author, a thotian writer, and that geocriticism applies to the human space. In his works the form creates the sense and the sense helps the form. Our historical approach focuses mainly on a semiotic study. The alchemical impulse of the Butor’s verve rests on the exhibition of the links and the analogical fragmentation.

Le mythe de la Toison d'or est le récit d'une aventure maritime jusqu'au bout du monde pour y rapporter un emblème de royauté. Chassé par un oncle usurpateur, Jason triomphe des épreuves qui lui sont imposées grâce à l'amour de la magicienne Médée. Tamis des orpailleurs, trésor caché, parchemin sacré, constellation ou Saint-Graal, le bélier volant qui sauva Hellé et Phryxos de la noyade a été l’objet de nombreuses interprétations.En 1430, le duc de Bourgogne, Philippe le Bon, fonde l'ordre de la Toison d'or pour fédérer les princes de la chrétienté. À l'issue de la cérémonie d'intronisation, un collier est remis au nouveau chevalier. Pourtant, l'évêque de Chalon se récrie face au choix de ce héros parjure, et l'on décide de lui adjoindre Gédéon, dont les brebis s'étaient couvertes de rosée mariale, en signe de la victoire prochaine sur les mécréants.Par le jeu des alliances matrimoniales, le titre de Souverain de l'ordre échoit à Charles Quint qui ajoute à ses armoiries le « Plus Oultre ». Lors de la bataille de Lépante, en 1571, la Galera Real Argo proclame, à coups de décorations, fresques, statues et devises, le projet de la monarchie catholique de terrasser le dragon qui s'est emparé des territoires chrétiens, assimilés au mouton doré du mythe.Quand la saga des Argonautes arrive sur les planches du théâtre auriséculaire, elle jouit d'un immense avantage. Le héros est connu dans son aspect le plus lumineux et le traitement bourguignon alimente la résistance face aux hérétiques de toutes sortes.Si le mythe se prête aux innovations les plus spectaculaires et relaie les valeurs de la monarchie, il entretient une singulière relation avec la politique menée par ses princes, tandis que les guerres laissent attendre l'âge d'or tant espéré, que la dette se creuse, que la cour mène un train de vie dispendieux et que la corruption gagne progressivement toute la société.Avec l'Art Nouveau de faire des comédies, Lope de Vega ouvre une brèche qui permet de voir derrière les ors et les fastes de la cour la lente désagrégation de la monarchie. / The story of Jason is a most ancient myth and survives in various forms. A more widespread interpretation relates the myth of the fleece to a method of washing gold from streams. More often, the Golden Fleece represents royal power, the spring-hero or a book on alchemy. According to Apollonius of Rhodes, a flying golden ram rescued Phrixus and Helle as their stepmother wantedto kill them. Phrixus safely reached Colchis where he sacrificed the ram and gave its skin to Aetes. Meanwhile, Pelias had usurped the throne of Eson and as his son reclaimed it, sent him to fetch the Golden Fleece. Jason assembled a remarkable group of heroes on board the Argo. At Colchis, the witch Medea helped Jason to complete the mortal tasks. Upon returning, she plotted the death of Jason's uncle, so both took refuge with their children in Corinth. There, the hero betrayed her as he fell in love with Creusa. The witch got rid of this rival, burnt the palace and slaughtered their chidren.In 1430, the Duke of Burgundy founded the Order of the Golden Fleece. As a shield, a sheepskin was suspended from a jeweled collar of firesteel linked by flints. But the choice of Jason caused controversy, so Bishop of Chalon linked it to the fleece of Gideon. As part of the Burgundian inheritance, the Order was a welcomed instrument to the ambitious Habsburgs to strengthen the bonds and Charles V added as a motto « Plus Oultre ».Performances of the Spanish Golden Age Theater were used to develop the ideology of the Catholic Monarchy. When Lope de Vega published el “Arte nuevo”, he introduced the tradition of the « Mirror for Prince » giving opportunity to express one's point of view, despite the censure.

Toute cette recherche se concentre sur le portrait en peinture comme possibilité de la rencontre, de moments d’amitié. Il s’agit d’en analyser les enjeux en utilisant la philosophie et la psychanalyse comme outils théoriques. Comprendre combien cette pratique de corps-à-corps, de présence à présence s’inscrit dans le temps, le déploie, le relate. La rencontre, tout comme ma pratique, a pour origine le désir de l’Autre. Chacune de mes peintures est une réponse à cette demande : «Comment désires-tu être peint ?». Mes pinceaux, guidés par les paroles livrées dans mon atelier, tentent de s’approcher au plus près de ce qui est dit : quête impossible !... tant le langage implique une perte, nous divise. Nous nous percevons comme uniques car nous sommes séparés de l’autre, nous sommes entourés de vide. L’autre et le vide ne sont pas seulement extériorités, ils sont en nous, et pour la psychanalyse c’est par l’imaginaire que nous trouvons notre unité. La psychanalyse, la méditation, l’alchimie et la peinture ont ceci de commun qu’elles sont toutes des disciplines construites à partir de la pratique et chacune d’entre elles aborde l’introspection à sa manière, qui peuvent s’enrichir les unes les autres. / The present research work focuses on the painted portrait and the opportunity it offers to meet people and exchange moments of friendship. It aims at analyzing what is at stakes in this process by means of theoretical tools such as psychology and psychoanalysis. It is also concerned with the understanding of how this «hand to hand» and «presence to presence» practice gets its anchorage in time and how it unfolds it and refers to it. The get together process, as well as my own practice, are the expression of desire – desire of the Other. Each of my paintings is an attempt to answer this single question: «How would the person posing for me like to be painted?». Then, as if guided by his or her wish, my brushes enter into action in order to fulfill it to the best of my abilities – the task is of course impossible, because language implies a loss and gets us apart from one another. Each of us sees oneself as unique, for we are separated from each other: we are indeed surrounded by emptiness. The Other and emptiness don’t belong to the outside, they are part of ourselves. In the field of psychoanalysis, we manage to find our unity through imagination. Psychoanalysis, meditation, alchemy and painting have all in common to be based on practice. Each of these disciplines deals with insight in its own way: in the end they all benefit from each other.

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<p>This assignment is a venture into the use of the concept alchemy in the texts on analytical psychology written by Carl G. Jung. Originally the idea was to compare the blending of colours in art painting with the Jungian understanding of alchemy. In order to understand the many and it seems differentiated correlations to alchemy in the texts on analytical psychology written by C.G. Jung, I have found it necessary to investigate the history of alchemy in modern Europe and the Egyptian figure of Hermes Trismegistos. This helps shedding light on Jung’s manner of writing in his texts on analytical psychology.</p><p>The assignment includes an understanding of colours as understood by Goethe as well as the aspect of alchemy in the Rosicrucian movement and the kabbalah. The Jungian aspects of world religions are in this context emphasized as well as the use of symbols and symbolic speech.</p>

This assignment is a venture into the use of the concept alchemy in the texts on analytical psychology written by Carl G. Jung. Originally the idea was to compare the blending of colours in art painting with the Jungian understanding of alchemy. In order to understand the many and it seems differentiated correlations to alchemy in the texts on analytical psychology written by C.G. Jung, I have found it necessary to investigate the history of alchemy in modern Europe and the Egyptian figure of Hermes Trismegistos. This helps shedding light on Jung’s manner of writing in his texts on analytical psychology. The assignment includes an understanding of colours as understood by Goethe as well as the aspect of alchemy in the Rosicrucian movement and the kabbalah. The Jungian aspects of world religions are in this context emphasized as well as the use of symbols and symbolic speech.

But : comparer le processus de transformation intérieure au cours de la psychothérapie par le Jeu de Sable avec la transformation du néophyte au cours des rites d’initiation chez les Chamans, dans l’Alchimie et dans les cultes à mystères en Egypte et en Grèce. Méthodologie : Analyse de 856 photos des jeux de sable construits par 28 enfants de 4 à 12 ans. Conclusion : Il existe une similitude entre le processus de transformation vécu en psychothérapie et la première des trois étapes de l'initiation vécue par le néophyte. On retrouve dans les jeux de sable des scénarios archétypiques qui peuvent être classés dans des catégories spécifiques associées aux différentes étapes de la transformation intérieure décrites dans les mythes initiatiques. / Aim : comparison between the stages of inner transformation in Sandplay therapy with children and the stages of initiation in the Mystery cults of the ancient Egyptians and Greeks, in Alchemy and in Shamanism. Sample : 28 children from 4 to 12 years old. Instrument of analysis : 856 photos made during the therapy. Results : We report on a similarity between the process of transformation in Sandplay therapy and the first stage of initiation in the different cultures. We found out that in Sandplay therapy the archetypes appeared according to the own internal logic of the transformation process described in the great myths. The archetypes can be classified in categories, which are specific to different stages of the inner transformation.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study investigates the imaginary in Metal rosicler by Cecilia Meireles, one of her last books which was published in 1960. The aim is to analyze the relation of this book and the structures of alchemy imaginary. As well as the spiritual alchemists searched for the transmutation of insignificant metal in order to make it possible for men to reach the enlightenment, in Metal rosicler there is the attempt to go through an ontological search by linking the poetic to the alchemy symbolism, then as it happens in the alchemy process, it reveals itself in the rosicler (the color of a rose). Started by poetry, the search indicates the transmutation of the black stone- the raw rosicler metal- revealing from the depth a hidden and sublime essence in alchemy rosicler. Such essence is the meaningful reason for the search because it represents the desirable entirety in coincidentia oppositorum, and also the integration of the opposites of androgeny. Thus, the transformation may only be completed by performing the phases and the steps in the alchemy ritual: mortification in the nigredo, the abstract ideality in the albedo leading to the whole life of red color in the rubedo. All the symbolism untwines itself before the mitocriticism of poems which is based on contributions of critique about imaginary and alchemy, such as: the imaginary anthropology, according to Gilbert Durant`s work; phenomenology of poetic, as stated by Carl Gustav Jung studies. The theoretical instrument purposed by Durand e Bachelard concerns the imagination s dynamic creation and the strength of myths in peoples representative productions throughout the years. Imaginary philosophy of alchemy is based on Jung s deep psychology perspective which considers the relation between the alchemy symbolism and the process of individualization of human being in the search of entirety of himself. Mitocriticism work reveals the constellation of images which is a response for the alchemy poetic of the book, how the symbols imbricate the imperishable into ephemeral; the nocturnal images which join life and death; images of the air, the water, and the land which brings in the transcendence; dissolution in the nigredo and molding the androgynous, besides the mithemes of Hermes-Mercury in the alchemy become, the symbols of mortification of black stone and the sublimination of rosicler in the rubedo. Therefore, such journey reveals, in poems, the poetic melting pot of transmutation where the lyrical itself searches the spiritual entirety in the extraction of rosicler. / Este estudo explora o imaginário de Cecília Meireles em Metal rosicler, sua penúltima publicação em vida, no ano de 1960. O objetivo é investigar o liame da obra com as estruturas do imaginário alquímico. Assim como os alquimistas espirituais buscavam a transmutação dos metais vis para que o homem alcançasse a iluminação, em Metal rosicler, o eu-lírico empreende uma busca ontológica, entrelaçando o poético ao simbolismo alquímico, a fim de obter, tal como no processo da alquimia, o desvelamento do si mesmo, que se daria no rosicler. Encetada pela poesia, essa busca emblematiza a transmutação da pedra negra o metal rosicler bruto desentranhando, ao final, a essência oculta e sublimada do rosicler. Tal essência fundamenta o sentido da busca, pois ela representa a desejada totalidade na coincidentia oppositorum, ou, ainda, a integração dos opostos na androginia. Nesse sentido, para efetivar a transformação cumprem-se as etapas do ritual alquímico: a mortificação na nigredo, a idealidade abstrata na albedo culminando na vida plena do vermelho na rubedo. Todo esse simbolismo desenreda-se mediante a mitocrítica dos poemas que se funda nos aportes da crítica do imaginário e da alquimia, quais sejam: a antropologia do imaginário, segundo os trabalhos de Gilbert Durand; a fenomenologia do poético, consoante as pesquisas de Gaston Bachelard, e a filosofia da alquimia, conforme os apontamentos de Carl Gustav Jung. O instrumental teórico proposto por Durand e Bachelard referenda o dinamismo criador da imaginação e a força diretiva dos mitos nas produções representativas da cultura de todos os tempos. Por sua vez, a filosofia imaginária da alquimia apóia-se na psicologia profunda de Jung que relaciona o simbolismo alquímico ao processo de individuação do ser em busca da totalidade no si mesmo. No pormenor, o trabalho mitocrítico revela uma constelação de imagens que responde pela poética alquímica do livro, como os símbolos que imbricam o imperecível no efêmero; as imagens noturnas que articulam a vida e a morte; as imagens do ar, da água e da terra que instalam a transcendência, a dissolução na nigredo e a modelagem do andrógino; além dos mitemas de Hermes-Mercúrio no devir alquímico, os símbolos da mortificação da pedra negra e da sublimação do rosicler na rubedo. Assim sendo, tal jornada desvela, no espaço dos poemas, o cadinho poético da transmutação onde o eulírico busca sua inteireza de espírito na extração do rosicler. / Mestre em Teoria Literária