[pt] Este trabalho propõe investigar as marcas que compõem a poesia experimental de Waly Salomão. As experimentações representam uma essencial marca em sua arte. A poesia é vista como permanente produção de um axial ético e mí­tico que busca fundir as diversas linguagens, assim como a fusão entre a vida e a arte. / [en] This work proposes to investigate the signals of the experimental poetrys of Waly Salomão. The experimentations represent an essential milestone in his art. His poetry is exposed just as ethical and mythical axis creations that finds to melt the various esthetical languages, like a fusion between his living experience and his oeuvre.

Cette thèse entend reconsidérer la notion de purgatoire telle qu’elle a été établie et utilisée par les historiens de la fin du XXe siècle ; démontrer que le purgatoire ainsi redéfini peut être identifié dans certains écrits du christianisme ancien, qui n’ont toutefois pas tous été reconnus par l’Église majoritaire ; documenter ce purgatoire et le situer dans son contexte historique, littéraire et religieux.Le corpus considéré comprend les sources bibliques à l’origine de l’imaginaire du purgatoire mises en regard d’écrits contemporains, ainsi que des textes rédigés en Afrique du Nord et en Égypte entre les IIe et IVe siècles, en latin, grec ou copte. Les écrits retenus permettent d’apprécier les différences de doctrines entre le christianisme de l’église majoritaire et une religiosité plus marginale, mais cultivant des références communes. / This thesis intends to reconsider the concept of purgatory as it was established and used by the historians of the late twentieth century; show that this redefined purgatory can be identified in some of the writings of Early Christianity, not always recognized by the mainstream Church; document that purgatory and place it in its historical, literary and religious context.The corpus includes the biblical sources considered to ground the representation of purgatory set against contemporary writings and texts from North Africa and Egypt, written between the second and fourth centuries AD, in Latin, Greek and Coptic. The selected writings allow us to appreciate the differences between the Christian doctrine of ecclesiastical authors and a more marginal spirituality, even though both share the same references.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-02-18T11:28:31Z No. of bitstreams: 1 arquivototal.pdf: 1054373 bytes, checksum: a62df192c8341ee7354c8006663a8efe (MD5) / Made available in DSpace on 2016-02-18T11:28:31Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1054373 bytes, checksum: a62df192c8341ee7354c8006663a8efe (MD5) Previous issue date: 2015-08-23 / This paper presents a study about the relationship between the arcane traditions, alchemy, astrology, Hermeticism, Kabbalah, and the construction of the system of the Newtonian world. The discovery and subsequent publication of Newton‟s scholia drew a man to whom the mythical language and scientific language were converging. Their belief in Prisca Sapientia [pristine wisdom, primeval], led him to an attitude of reverence to the ancients‟ knowledge, hence their immersion in the mystical philosophy whose tenets have exerted a substantial influence in the development of their work. Indeed, we show that to Newton, science and mysticism was a unison reality. His natural philosophy cannot be dissociated from their metaphysical speculations. We also point out the fact that religion and mysticism are instances that do not overlap, and signaled in the text that the historical separation between religion and science was the product of political circumstances rather than philosophical. Comprising mainly literature, this work was constructed from a historical analysis of primary and secondary sources. We based the study of key works by Newton on an exhaustive reading of the leading biographers and commentators of his work, such as Richard S. Westfall, James Gleick, David Berlinski, Richard Brennan, Michael White, Philip Ashley Fanning, Bernard Cohen, John Henry, Betty Jo Teeter Dobbs, Edwin Burtt, among other classic authors. In light of this hermeneutic, we point out the nature, the scope and the implications of mysticism influence in Newtonian work. Isaac Newton‟s life and work emerge as platforms to revisit the ambivalent nature of the modern experimental science origins and foundations. This is the configuration of a new way to make history, producing knowledge under an integral historiographical perspective. / Este trabalho apresenta um estudo a propósito da relação entre as tradições arcanas, alquimia, astrologia, hermetismo, cabala, e a construção do sistema de mundo newtoniano. A descoberta e posterior publicação dos escólios de Newton desenharam um homem para o qual a linguagem mítica e a linguagem científica eram convergentes. A sua crença numa Prisca Sapientia [sabedoria primeira, prístina, primeva], conduziram-no a uma atitude de reverência para com o conhecimento dos antigos, daí a sua imersão na filosofia mística, cujos postulados exerceram uma influência substancial na elaboração dos seus trabalhos. Com efeito, procuramos demonstrar que em Newton ciência e mística eram uma realidade uníssona. A sua filosofia natural não pode ser dissociada de suas especulações metafísicas. Apontamos também o fato de que religião e mística são instâncias que não se confundem, bem como sinalizamos neste texto que a separação histórica entre religião e ciência foi produto de circunstâncias políticas mais do que filosóficas. De natureza essencialmente bibliográfica, este trabalho foi construído a partir de uma análise historiográfica de fontes primárias e secundárias. Fundamentamos o estudo das obras-chave de Newton em uma leitura exaustiva dos principais biógrafos e comentadores do seu trabalho, a exemplo de Richard S. Westfall, James Gleick, David Berlinski, Richard Brennan, Michael White, Philip Ashley Fanning, Bernard Cohen, John Henry, Betty Jo Teeter Dobbs, Edwin Burtt, entre outros autores clássicos. À luz dessa hermenêutica, apontamos a natureza, bem como o alcance e implicações da influência da mística na obra newtoniana. A idéia que subjaz a essa dissertação é trazer Newton em sua completude, desconstruindo o retrato tradicional, mutilado, ideologicamente estabelecido pela tradição. A vida e a obra de Isaac Newton emergem como plataformas para revisitarmos a natureza ambivalente das origens e fundamentos da moderna ciência experimental. Trata-se da configuração de uma nova maneira de fazer história, produzindo conhecimento numa perspectiva historiográfica integralizante.

Orientador: Ernesto Giovanni Boccara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T20:55:00Z (GMT). No. of bitstreams: 1 Ferreira_AdrianadeSousa_M.pdf: 5464574 bytes, checksum: 1741e3b4ffbc7f0f081bf2c606ee666d (MD5) Previous issue date: 2005 / Resumo: A misteriosa, fascinante e multiforme realidade anímica do processo de criação artística oferece incontáveis trilhas para peregrinação, reflexão e busca. A arte visual me incita ao ato de OLHAR, de Ver, de Ouvir e me induz ao risco de sugerir possíveis formas de contato e aproximação da Imagem como Linguagem. As motivações para esta redação remontam a indagações levantadas pelo interesse pessoal, pela prática terapêutica clínica e pela docência ministrada a arteterapeutas. O objetivo é investigar os meandros e as implicações do fazer artístico, desde as suas raízes na interioridade do artista - a terra incógnita da alma onde forças informes se movimentam em busca de tomar forma; passando pela emergência ou o cultivo de imagens - tais como sonhos, visões ou narrativas - com sua dimensão simbólica; até o esforço, ora disciplinado, ora improvisado, de moldar os materiais que enfim expressam no mundo das formas o impulso criativo. As referências básicas são o testemunho de alguns artistas sobre sua experiência e sobre o significado da criatividade, e a análise de algumas imagens, todos selecionados por simpatia pessoal e pertinência ao assunto. Um espaço maior é dado a contemplação de uma das obras do pintor espanhol Juan Miró, cujos escritos e cujas obras corporificam os princípios aqui elucidados. Os fundamentos teóricos acham-se na obra de Carl Gustav Jung, que usa o conceito de arquétipos para compreender os movimentos da força criativa humana, e na obra de Joseph Campbell, que estuda as relações entre os mitos e a arte. A metodologia inspira-se na crítica genética, buscando compreender as fontes anímicas e os momentos cruciais da geração e da construção de imagens e obras de arte, e também tece conexões interdisciplinares entre os campos da Psicologia, da Arte (especialmente Pintura e Poesia) da Filosofia e da Espiritualidade / Abstract: The fascinating animistic reality of the artistic creative process offers many possibilities for reflections, search and pilgrimage. Visual Art invites me to look and to listen leading me to the risk of suggesting possible ways of contact and approach to Image as Language. The main course of the work is to investigate the implications of the artistic making trom its roots in the deep inside of the artist-the unknown land of the soul-where forces yet unshaped move towards a definition given by shape as as outcome of images as such in dreams and visions, ali of it in the symbolic dimension. Shape attained throughout the effort and discipline practiced by the artist as a mean of translating its imagination in the work of art. The guiding references are the testimony of some artists about their experiences conceming the meaning of creativity, and the analysis of a few images in works of art selected by personal empathy. A wider space is given to the contemplation of Juan Miro's painting: Personagens e Passaros na Noite 1973. Theoretical foundations are based on Carl Gustav Jung 's work on the archetypal views of the creative forces that nourishes and instigate human imagination. Methodology is inspired by genetic critic, aiming to understand the crucial moments of the creative processo Multidiciplinary connections are traced with the fields of Psychology,Arts (Iiterature as well), Philosophy and Spirituality / Mestrado / Mestre em Artes

Orientador: Milton Jose de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-11T17:46:07Z (GMT). No. of bitstreams: 1 Scarassatti_MarcoAntonioFarias_D.pdf: 34515032 bytes, checksum: 86455cc8e7e97526bc993b5b961b8d3c (MD5) Previous issue date: 2008 / Resumo : Esta pesquisa propôs a construção de emblemas sonoros a partir do estudo das imagens do jesuíta alemão do século XVII, Athanasius Kircher. Neste trabalho essas imagens são vistas como aglutinações simbólicas. Os emblemas foram trabalhados e recriados nas formas: literária, de imagem e musical, na construção de um campo sonoro/espacial relacionado ao pensamento do padre alemão, bem como nos arredores simbólicos da sua época e nas ressonâncias artísticas de outros períodos / Abstract : This research proposed the construction of musical emblems from the study of the images of the German Jesuit of the century XVII, Athanasius Kircher. In this work these images are seen as symbolic agglutinations. The emblems were worked and recreated in the forms: literary, of image and musical, in the construction of a resonant / space field relative to the thought of the German priest, as well as in the symbolic surroundings of his time and in the artistic resonance of other periods / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

Orientador: Lygia Arcuri Eluf / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T14:54:37Z (GMT). No. of bitstreams: 1 Casari_Fernanda_M.pdf: 7744105 bytes, checksum: 3fc3dc2db4a51a52e20b9fd49e7717dd (MD5) Previous issue date: 2011 / Resumo: A relação entre materiais, procedimentos e poéticas desenvolvidas durante o processo de criação artística são questões que me acompanham desde a graduação em Artes Plásticas. Este trabalho tem como objetivo unir estas questões e apresentar o caminho percorrido para a realização de objetos em vidro. Abordo a Alquimia em alguns aspectos históricos, sua relação com o vidro e em como esta temática é inspiradora para o meu processo de criação. Aponto características materiais e poéticas do vidro e a partir da técnica de vitrofusão (fusing), demonstro resultados de experimentações e o procedimento construtivo utilizado na realização dos objetos. Finalizo com a apresentação de duas séries de objetos realizados a partir de temáticas alquímicas / Abstract: The relationship between materials, procedures and the poetics developed during the creative artistic process are all issues that have been a constant for me, ever since I got my degree in Fine Art. The purpose of this work is to unify all these issues and to present the path followed towards the creation of glass objects. I approach Alchemy on some historical levels, its relation to glass and in which manner this thematic is inspirational to my creative process. I highlight the characteristics pertaining to the material and poetics of glass and, through the technique of fusing, I demonstrate the results of my experiments as well as the constructive procedure employed in the creation of the objects. I conclude with a presentation of two series of objects created from the alchemical thematic / Mestrado / Artes Visuais / Mestre em Artes

Depuis le roman intitulé Les Enchanteurs sous le nom de Romain Gary, acte de naissance de l’écrivain Émile Ajar, jusqu’aux derniers romans signés Émile Ajar, la question de la création littéraire est la ligne conductrice des œuvres de Romain Gary. L’étude de la magie dans l’œuvre romanesque de Romain Gary et Émile Ajar est ainsi dirigée sur le thème de la fidélité en la fiction au sein du roman. Dans la première partie, la foi est examinée sous le modèle du saltimbanque à travers le roman des Enchanteurs. Dans la deuxième partie, l’emprunt d’une identité nouvelle, Ajar, brisant les barrières de la seule identité biologique, implique des changements esthétiques et littéraires. Ces métamorphoses permettent d’analyser les rapports de l’auteur entre être et expression lorsque la création littéraire a une portée ontologique et, de surcroît, les rapports de l’écrivain avec un XXe siècle désenchanté. / From the novel entitled "The Enchanters", written under the name of Romain Gary - the point of origin of the author Emile Ajar - to the last novels signed Emile Ajar, the question of literary creation is the main outline of Romain Gary's works. The study of magic in the romantic works of Romain Gary and Emile Ajar is thus directed towards the theme of fidelity in fiction within the novel. In the first part of the dissertation, faith is scrutinized with the help of a travelling showman through "The Enchanters". In the second, the assumed new identity of Ajar, breaking the barriers of the sole biological identity, implies esthetical and literary changes. These metamorphoses permit the analysis of the author's relation with existence and expression at a moment when literary creation has a metaphysical implication and, in addition, the relation of the writer with a disillusioned 20th century.

Hester Pulter addresses personal and spiritual transformation in a unique way. The elusive nature of alchemical language allows Pulter to express the incomplete, ongoing process of internal transformation, with all its difficulties and inconsistencies. By means of a rich alchemical lexicon, Pulter stresses suffering rather than consolation, conflict rather than reconciliation, and lack of resolution rather than closure in her poetry. She repeatedly tries to see a divine order in earthly suffering, but she insists upon this suffering, and she often argues for a gendered element to this pain, particularly as a mother grieving her dead children. The lack of resolution we see in Pulter's writing pushes against conventional constructions of the ideal female Christian as passively accepting God's plan, and shows the limits of the religious lyric to truly provide consolation. My thesis will extend the discussion of Pulter's use of alchemical imagery and symbols in her poetry, and will argue that she uses alchemical language to reflect how transformation and healing are never, in fact, fully achieved during our physical existence. The promise of literary alchemy as a vehicle for transformation and spiritual regeneration is not always fulfilled in Pulter's work.

The cinematic experience is often an emotional or ‘felt’ experience. In the aftermath of the film, it is challenging to indicate precisely how I was guided to react emotionally to the film. This study presents an investigation of the emotional cinematic experience from a Jungian critical reading. Jungian theory introduces a model of the psyche as consisting of, amongst other constructs, the collective unconscious and the archetypes. These archetypal contents manifest visually as symbols. These symbols guide the reader of the filmic text towards an emotional cinematic experience by activating, in particular, the archetype of the Self. Based on a review of the available scholarship in Jungian theory and film, this dissertation develops a Jungian conceptual framework consisting of notions and concepts that can describe, articulate and examine the psychological dynamics of an emotional cinematic experience. In a demonstration of how a Jungian approach to the text can highlight the dynamics of the emotional cinematic experience, the study presents a critical reading of M. Night Shyamalan’s films The Sixth Sense, Unbreakable and Signs. Using the Jungian practice of amplification, the study focuses on notions of the archetypal (contents and manifestations, particularly the archetype of the Self); individuation motifs; notions of the Apocalypse; and alchemical symbolism, all framed within an approach proposed by Jungian dream analysis. The symbolic aspect of film imagery is constructed by archetypal contents and individuation motifs that emphasise the emotional cinematic experience Based on the critical reading of Shyamalan’s film, this dissertation concludes that the emotional cinematic experience can be examined with specific reference to the emotional cinematic experience as ‘guided’ by the filmic images’ symbolic aspect. The Jungian framework developed by this study can be used to effectively investigate and articulate the emotional cinematic experience. / Dissertation (MA (Drama and Film Studies))--University of Pretoria, 2007. / Drama / MA / Unrestricted

The purpose of this thesis was to explore how alchemy has influenced Carlos Estevez’s work through a study of the symbolic repertoire and the philosophical concepts associated with it in his art, particularly how these are expressed in his artworks and how alchemy has evolved thematically in his oeuvre. The study of alchemy influenced this artist so deeply that even pieces that were not primarily inspired by this philosophical system show traces of it, essentially by representing the concept of transformation, crucial to understanding the alchemical process. This thesis is based on Carl Gustav Jung’s idea of metaphysical transformation as one of the main aspects of alchemy, and on his theory of active imagination as a tool to represent thoughts through artworks. Alchemy transformed Estevez’s art, and by extension the way he approaches life, making him conscious of the importance of transmutation and alchemical concepts.