Ce travail herméneutique interdisciplinaire où littérature et philosophie intimement s’entremêlent et dialoguent avec les sciences dites dures, s’est tout d’abord employé à définir la notion de mythe comme type de récit littéraire illustrant une prise de position quant à une question métaphysique et a révélé le récit ovidien de Pygmalion comme un mythe génésiaque au cœur duquel se trouve l’homme. Cheminant du XVIIIe au XXe siècle au fil de l’histoire des idées européennes, il s’est ensuite arrêté sur les différentes productions littéraires allemandes, françaises et italiennes réinvestissant le mythe à la lumière de la problématique dégagée du texte mère : celle de l’ampleur du pouvoir créateur de l’homme, afin d’en extraire les caractéristiques communes. Dans leur traitement de l’eros et de l’art, ces dernières posent un rapport à autrui et au monde orienté vers une dynamique de création se réalisant à travers un processus analogue, reposant sur les représentations ainsi que l’implication et les dispositions mentales et personnelles du sujet, l’extase, la volonté et la foi. Forts de leurs enseignements et de ce constat, il s’est à son tour emparé de cette question à travers l’élaboration d’un mythologisme anthroposophique convoquant des découvertes ayant eu lieu au XXIe siècle dans le domaine des neurosciences, de la physiologie, de la sémiostylistique, de l’éthique et de l’esthétique. Ce système de pensée, dans une quête de compréhension de ce processus créatif, a mené à la redéfinition d’un Homme alors compris comme essentiellement mû par un instinct représentationnel, un mouvement plasmateur, évoluant entre Créativité, Plaisir et Beauté, à travers l’exercice duquel il réalise sa Liberté. / This hermeneutic interdisciplinary work, where literature and philosophy are tightly intertwined and converse with the so-called hard sciences, first proceeds to define the notion of myth as a literary type of story that illustrates a stance on a metaphysical question. It reveals Ovid’s story of Pygmalion as a genesiac myth in which mankind is at the heart. Progressing from the XVIIIe to the XXe century along the history of European ideas, it then halts at the French, German and Italian literary works that revisit the myth, in light of the question drawn from the source text – that of the extent of Man’s creative power – in order to extract the common characteristics. In their study of Art and Eros, they present a relationship to the world and to the others that is directed toward a dynamic of creation that is realized through a similar process based on the representations along with the mental and personal implication and dispositions of the subject, ecstasy, will and faith. In turn, drawing on their lessons and this observation, this work eventually answers this question by elaborating an anthroposophical mythologism that call upon XXIe century discoveries in neurosciences, physiology, semiostylistic, esthetic and ethic. This system, in its quest of understanding this creative process, has led to the redefinition of a Man essentially led by a representational instinct, a creative gesture, moving from Creativity, to Pleasure and Beauty, by which he achieves his Freedom.

Made available in DSpace on 2016-04-25T20:21:00Z (GMT). No. of bitstreams: 1 Lindines Gomes de Barros.pdf: 1639739 bytes, checksum: abb8e1a179cc0baeb81d0e0a8e966ae8 (MD5) Previous issue date: 2013-06-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis provides a reading through the fields of social sciences, of the philosophical concepts that compose the subject erotic and orgiastic in the thought and the narrative work - out with the paradigm of civilization of Georges Bataille: eroticism, ecstasy, inner experience, excess, transgression, and solar anus. This thinker, whose works deal with an erotic intention stigmatized as both pornographic and disconcerting because it subverts the concepts of reality and normality, constituted our main theoretical and literary "corpus". Bataille proposes a decomposition of the paradigm of civilizing rationality thanks to the idiosyncratic and obscure rhythms that form his erotic subject, with impure and imperfect subjectivities. In this discussion, we address his vision that consists in eroticism recognized as an inner experience, not subdued to regulation or discipline. This type of experience causes a kind of not-knowing, which reproduces the configuration of wild singularities proposed by Foucault and related to what cannot be assimilated by institutions and cultures. The characters in his literary narrative allow us to observe and define the erotic subject at the intersection between ecstasy and inner experience. They are convulsive bodies emerging from vertigo. Impregnated with this problem, they bring Eros sovereignty with elements of tragic eroticism and of horror that plunge the subject into the unknowable and the rationalizing inapprehensible. What we question in his mind is the challenge of thinking the abject and the excremental, that escape deterministic reasoning and release the vision of contemplative ecstasy by dispelling the significant determinants and the pedagogization that intertwine the social fabric.. The thesis will present his position deliberately at the fringe, which aimed to upset the established order in theology and science. It will reveal the orgiastic itinerary created by Bataille and characterized by economy of outlay, excess, anguish, ecstasy, eroticism, inner experience and concerns. Such a philosophical intent proposes a thought of waste, consumption and reasoning that release from the human condition / Esta tese estabelece uma leitura, no campo das ciências sociais, dos conceitos filosóficos: erotismo, êxtase, experiência interior, excesso, transgressão e ânus solar, que compõem o orgiástico sujeito erótico no pensamento e na narrativa romanescas do pensador Georges Bataille, que rompe com o paradigma civilizatório. O autor constitui nosso principal corpus teórico e literário, cujas obras, estão envolvidas numa concepção erótica estigmatizada como pornográfica e desconcertante, por subverter os conceitos de normalidade e realidade. Ele propõe uma decomposição do paradigma da racionalidade civilizatória, aos ritmos idiossincráticos e obscuros que compõem o sujeito erótico batailliano, com subjetividades impuras e imperfeitas . Nessa discussão conferimos o seu olhar constituinte de uma eroticidade, reconhecida enquanto experiência interior, não submetida à normatização e ao disciplinamento. Tal natureza de experiência, provoca uma espécie de não-saber, refletindo a configuração das singularidades selvagens, propostas em Foucault, relacionadas com aquilo ainda inassimilável pelas instituições e pelas culturas. Em sua narrativa literária, os personagens nos permitem observar e margear o sujeito erótico constituído no cruzamento entre o êxtase com a experiência interior. São corpos convulsivos que emergem da vertigem. Impregnados nessa problematicidade, trazem a soberania de Eros com elementos de um erotismo trágico e de horror, que mergulham o sujeito batailliano no incognoscível e no desentendimento racionalizante. O que interrogamos em seu pensamento é o desafio de pensar o que é abjeto e excremental, que escapa da razão determinista e liberta a visão da estaticidade contemplativa, dissipando significados determinantes e a pedagogização dos sentidos que entretece os tecidos sociais. A tese apresentará a sua posição nas margens, de modo a provocar desacomodações teológicas e cientifizantes. Revelará o itinerário orgiástico concebido por Bataille, tomado pela economia do dispêndio, excesso, angústias, êxtases, erotismos, experiência interior e inquietações. Tal concepção filosófica propõe um pensar do desperdício, da consumação e do raciocínio obsessivo que instaura uma libertação da condição humana

Orientadora: Elizabete Campos de Lima / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Ciência e Tecnologia/ Química

Made available in DSpace on 2016-04-26T14:54:18Z (GMT). No. of bitstreams: 1 Lindines Gomes de Barros.pdf: 1639739 bytes, checksum: abb8e1a179cc0baeb81d0e0a8e966ae8 (MD5) Previous issue date: 2013-06-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis provides a reading through the fields of social sciences, of the philosophical concepts that compose the subject erotic and orgiastic in the thought and the narrative work - out with the paradigm of civilization of Georges Bataille: eroticism, ecstasy, inner experience, excess, transgression, and solar anus. This thinker, whose works deal with an erotic intention stigmatized as both pornographic and disconcerting because it subverts the concepts of reality and normality, constituted our main theoretical and literary "corpus". Bataille proposes a decomposition of the paradigm of civilizing rationality thanks to the idiosyncratic and obscure rhythms that form his erotic subject, with impure and imperfect subjectivities. In this discussion, we address his vision that consists in eroticism recognized as an inner experience, not subdued to regulation or discipline. This type of experience causes a kind of not-knowing, which reproduces the configuration of wild singularities proposed by Foucault and related to what cannot be assimilated by institutions and cultures. The characters in his literary narrative allow us to observe and define the erotic subject at the intersection between ecstasy and inner experience. They are convulsive bodies emerging from vertigo. Impregnated with this problem, they bring Eros sovereignty with elements of tragic eroticism and of horror that plunge the subject into the unknowable and the rationalizing inapprehensible. What we question in his mind is the challenge of thinking the abject and the excremental, that escape deterministic reasoning and release the vision of contemplative ecstasy by dispelling the significant determinants and the pedagogization that intertwine the social fabric.. The thesis will present his position deliberately at the fringe, which aimed to upset the established order in theology and science. It will reveal the orgiastic itinerary created by Bataille and characterized by economy of outlay, excess, anguish, ecstasy, eroticism, inner experience and concerns. Such a philosophical intent proposes a thought of waste, consumption and reasoning that release from the human condition / Esta tese estabelece uma leitura, no campo das ciências sociais, dos conceitos filosóficos: erotismo, êxtase, experiência interior, excesso, transgressão e ânus solar, que compõem o orgiástico sujeito erótico no pensamento e na narrativa romanescas do pensador Georges Bataille, que rompe com o paradigma civilizatório. O autor constitui nosso principal corpus teórico e literário, cujas obras, estão envolvidas numa concepção erótica estigmatizada como pornográfica e desconcertante, por subverter os conceitos de normalidade e realidade. Ele propõe uma decomposição do paradigma da racionalidade civilizatória, aos ritmos idiossincráticos e obscuros que compõem o sujeito erótico batailliano, com subjetividades impuras e imperfeitas . Nessa discussão conferimos o seu olhar constituinte de uma eroticidade, reconhecida enquanto experiência interior, não submetida à normatização e ao disciplinamento. Tal natureza de experiência, provoca uma espécie de não-saber, refletindo a configuração das singularidades selvagens, propostas em Foucault, relacionadas com aquilo ainda inassimilável pelas instituições e pelas culturas. Em sua narrativa literária, os personagens nos permitem observar e margear o sujeito erótico constituído no cruzamento entre o êxtase com a experiência interior. São corpos convulsivos que emergem da vertigem. Impregnados nessa problematicidade, trazem a soberania de Eros com elementos de um erotismo trágico e de horror, que mergulham o sujeito batailliano no incognoscível e no desentendimento racionalizante. O que interrogamos em seu pensamento é o desafio de pensar o que é abjeto e excremental, que escapa da razão determinista e liberta a visão da estaticidade contemplativa, dissipando significados determinantes e a pedagogização dos sentidos que entretece os tecidos sociais. A tese apresentará a sua posição nas margens, de modo a provocar desacomodações teológicas e cientifizantes. Revelará o itinerário orgiástico concebido por Bataille, tomado pela economia do dispêndio, excesso, angústias, êxtases, erotismos, experiência interior e inquietações. Tal concepção filosófica propõe um pensar do desperdício, da consumação e do raciocínio obsessivo que instaura uma libertação da condição humana

This report presents findings of a community survey of 3,021 adolescents and young adults aged 14–24 years in Munich, Germany, carried out to determine the prevalence of use and abuse of and dependence on ecstasy, amphetamines and hallucinogens. The response rate was 71%. Results: (1) In 1995, 4% of the male and 2.3% of the female respondents aged 14–24 reported the use of ecstasy. Ecstasy-related substances (amphetamines and chemically related substances) were reported by 3.6% of men and 1.6% of women. Hallucinogens were reported slightly less frequently by 3% of men and about 2% of women (LSD combined with others). (2) Compared to findings from a 1990 survey this constitutes a substantial, at least twofold, increase in consumption rate of both types of substances. (3) Among lifetime users of both ecstasy and related substances as well as hallucinogens about two thirds could be regarded as regular users. (4) The prevalence of DSM-IV abuse and dependence on ecstasy and related substances is about 1%, identical to rates of hallucinogen abuse and dependence. Findings also point to a significant dependence potential for both substances. (5) Furthermore, considerable overlap between the two substances was found. Conclusion: Our study suggests a substantial increase in both the use of ecstasy and related substances as well as hallucinogens. The data further suggest that the increase is strongest in younger age groups, but the risk of first use of these substances continues to be present up to the age of 24 years. The higher proportion of women contributing to this increase is noteworthy.

Practically since its celebrated premiere in 1967, George Ryga's drama about urban Native Canadians, The Ecstasy of Rita Joe, has enjoyed canonical status in Canada. Yet the same three decades that have seen over 200 productions of Rita Joe have also witnessed radical transformations in the ways First Nations' peoples are represented, heard and perceived in Canada. How has a play written about Natives by a non-Native man in 1967 managed such a long production history on such contentious and unstable ground? How do identity politics influence this piece of theatre, and how does the theatre shape identity politics? As popular notions about Native identities have changed and as Native people continue to represent themselves in and put of court, and on and off the stage, this play about Native people in Canada has been performed and re-performed. But the directors, the venues, the actors, the costumes and sets, the language itself and (most significantly) the resulting characterizations have changed over the years — in subtle and rather dramatic ways. While the words and the fundamental plot of Rita Joe have remained the same, its messages about Native identity has evolved since 1967, in relation to social, political, economic, and cultural changes. Indeed, historical developments impact the particular ways an "Indian" is represented in a particular time; what makes a "real Indian" tends to shift with the political and social needs of the moment. This paper examines the way Native identity is represented in eight productions of Rita Joe mounted between 1967 and 1992, creating a production history that focuses on the relationship between representations of identity and particular moments in time and space and, ultimately, discerns a complex and symbiotic relationship between the aesthetic, creative world and the historio-political world. Perhaps most remarkably, the play stretches to accommodate diverse cultural narratives, gathering meaning from the identity politics of its particular performance place and time.

Introduction : Selon diverses enquêtes, il y aurait une recrudescence de la consommation de drogues depuis la dernière décennie. De plus, il y a une augmentation considérable de la consommation de plusieurs drogues récréatives telles que l'ecstasy, le speed (Adlaf et al., 2005; Otis et al., 2006) et le GHB (Otis et al., 2006). Les femmes seraient plus affectées physiquement et psychologiquement par la consommation de drogues récréatives que les hommes (Liechti, Gamma et Vollenweider (2001); Verheyden et al. (2002)). La consommation de drogues récréatives a des effets sur les inhibitions, la sensualité, le désir sexuel, la libido, la fonction sexuelle (Garceau-Brodeur, 2006; Peterson, 1996; Centre québécois de lutte aux dépendances. 2006; Degenhardt et Topp, 2003; Schilder et al. 2005; Colfax et al. 2005; Peugh et Belenko, 2001; Lévy et Garnier, 2006). Objectifs : Cette recherche qualitative veut comprendre et décrire le portrait de consommation des participantes, décrire les motivations qui amènent les participantes à consommer des drogues récréatives et situer celles d'ordre sexuel et examiner la modulation des scénarios sexuels selon le portrait de consommation chez les utilisatrices de drogues récréatives. Méthodologie : Dans le cadre de cette recherche, 12 femmes francophones âgées de plus de 18 ans, ayant eu des relations sexuelles sous influence d'au moins une drogue récréative, ont été recrutées par la méthode boule de neige. Elles ont participé à une entrevue semi-dirigée individuelle. Le matériel recueilli a été analysé selon la théorisation ancrée. Résultat : La polyconsommation et le co-usage sont des phénomènes beaucoup plus répandus que le mono-usage chez les consommatrices de drogues récréatives de cette étude. Les cocktails sont choisis en fonction des préférences personnelles, des effets secondaires à éviter, de la disponibilité de la drogue, des contextes et des motivations. Les motivations évoquées par les participantes sont : la recherche de sensations, la modulation du niveau d'énergie et la fluidité sociale. Les motivations sexuelles sont fréquemment invoquées, à divers degrés et de façon transversale à travers tous les types de motivations. Les effets expérimentés au moment de la consommation sont majoritairement positifs. La diminution des inhibitions, les nouvelles sensations apportées par les DR, la plus grande facilité à se rapprocher de l'autre et à explorer sexuellement sont des éléments particulièrement appréciés par les participantes. Par contre, il y a tout de même des aspects négatifs nommés par les femmes interrogées : ils sont principalement liés au lendemain de la consommation comme l'anxiété, les sentiments dépressifs, le manque de sommeil, etc. Les relations sexuelles non protégées et la consommation à l'intérieur du couple ont aussi été identifiées comme pouvant être des aspects négatifs. La chorégraphie des scénarios sexuels est plus courte et/ou plus génitale chez les consommatrices de cocaïne, tandis que les consommatrices d'ecstasy expérimentent davantage sur des scénarios plus longs, plus élaborés ainsi que plus sensuels. En général, la consommation de drogues récréatives favorise un sentiment d'épanouissement sexuel surtout s'il y a atteinte des objectifs fixés par la consommatrice. Conclusion : Les motivations sexuelles à consommer des drogues récréatives sont toujours présentes chez les utilisatrices, mais celles-ci n'influencent pas directement les scénarios sexuels. C'est plutôt le choix des drogues consommées qui module la chorégraphie sexuelle. Chez les consommatrices de drogues récréatives rencontrées, l'épanouissement sexuel semble plutôt être la règle que l'exception. Pourrait-on parler de santé sexuelle? ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Femmes, Drogues récréatives, Sexualité, Motivations, Scénarios sexuels

Cette thèse étudie le développement du concept de volonté dans l’œuvre de F.W.J.Schelling et la place que ce concept occupe dans son "système" philosophique. Elle aborde également la réception de cette question par Martin Heidegger. Dans cette recherche, nous poursuivons de manière systématique un double objectif. D’une part, nous nous attachons à montrer que le paradigme de la volonté occupe un rôle tout à fait central dans la philosophie de Schelling, dans la mesure où il s’inscrit, de manière décisive, contre la tradition kantienne et fichtéenne, tradition qu’il prolonge en la modifiant. Mais d’autre part, il s’agit également de mettre en évidence le fait que, tout comme Heidegger, Schelling donne aussi à voir l’ambivalence du paradigme de la volonté en valorisant les motifs qui à la fois le fondent et le relativisent – tels que l’amour, le ‘non-vouloir’ ou encore la "Gelassenheit". Alors que ce qui le rapproche systématiquement de Heidegger et de sa critique de la modernité fait ressortir l’actualité de Schelling, nous pouvons cependant aller au-delà de ce parallèle et prendre acte d’une "valeur ajoutée" de la réflexion schellingienne sur la volonté. / The dissertation examines the development of the concept of will in the work of F.W.J.Schelling and its systematic significance in his philosophical thinking. In addition, it treats the reception of Schelling’s thinking of will by Martin Heidegger. In this investigation, I pursue two objectives: on the one hand, I strive to show that the paradigm of will plays a central role in Schelling’s philosophy in that he further develops and differentiates it in a decisive way with respect to the tradition of Kant and Fichte. On the other hand, I emphasize that Schelling, much like Heidegger, reflects on the critical potential of the paradigm of will and asserts, as its corrective, motifs that found and relativize it – such as love, "unwillingness" and "Gelassenheit". Thus, while Schelling’s systematic proximity to Heidegger and his critique of modernity makes it possible to emphasize Schelling’s on going relevance, one can also recognize, beyond the similarities with Heidegger, the ‘added value’ of Schelling’s thinking of will.

Made available in DSpace on 2016-08-03T12:19:46Z (GMT). No. of bitstreams: 1 MarceloAlvesDntas2.pdf: 1731029 bytes, checksum: ac1853c62368a4a7f5f3ba6d78817d2d (MD5) Previous issue date: 2014-10-20 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation has its purpose on the texts of the book of Revelation chapters 4 and 5. Their source of research belongs to the Jewish Mysticism. This way of examination echoes today in studies of apocalyptic mysticism and the visionary ecstasy relating to the context of Judaism and primitive Christianity, on authors such as Christopher Rowland, Alan Segal, C.R.A. Morray - Jones and John Ashton, John Collins, Adella Collins, Jonas Machado, Paulo A.S. Nogueira, Carol Newsom, David E. Aune, Philip Alexander, Crispin H.T. Fletcher Louis, Florentino Garcia Martinez among others; but these authors align themselves to the Gershom Scholems initial research results on Jewish Mysticism, and also to the latest developments in this subject. Nogueira mentions that Scholem was who actually used this mysticism to produce the key for heavenly ascent stories present on apocalypses of the last two centuries b.C. and also to the first two centuries a.D. In fact, Scholem was who initiated the Jewish mysticism academic discussion in his book Major Trends in Jewish Myticism in 1941. Strengthening the tradition of these studies are the findings of the Qumran manuscript, such as the Songs of the Sabbath Sacrifice, a thirteen songs composition, also called angelic liturgy, that has contributed to the research development as well as supporting the Scholem arguments. Among the Qumran manuscripts a hymn fragment called 4Q405 brought to the acquaintance the terminology Merkaváh, wherein angels praise the Chariot Throne image mentioned in the first chapter of the book of Ezekiel. It was identified on that the Qumran community syncretism regarding the song of angels with other ideas about their duties, being a common characteristic of Maasseh Merkavah traditions - Divine Throne Chariot tasks. Thus, the research follows the presupposed by Rowland that the texts of Revelation 4 and 5 have in their narrative a basic similarity to the liturgy described in the traditions of the first century Judaism apocalyptic mysticism, as well as on Qumran texts, mainly in 4Q405 fragment. According to Nogueira Ezekiel chapter 1 is considered the key to the Judaism mysticism tradition, therefore also being a central element of the Johns Apocalypse, the main visionary of Christianity. The research includes the approach of texts considered the ones that established (Ezekiel 1, Isaiah 6, Daniel 7, I Enoch 14), the analysis of the Qumran texts, as the complex of 13 Sabbatical Songs related to worship in the celestial sanctuary. The apocalyptic is thus understood as a kind of mystical literature, whose images reflect the writings that, by means of the visionary ascent to heaven and the contemplation of Gods Throne pull the curtain certain tradition of the 1st. century. Therefore, it can be also interpret the chapters 4 and 5 of Revelation as a mystical text, with similar content to the Jewish apocalyptic texts, and perhaps with a similar type of religious experience. / Esta dissertação tem por objeto analisar os textos do livro do Apocalipse capítulos 4 e 5. As fontes de pesquisa pertencem às tradições do Misticismo Judaico. Esta linha, hoje ecoa em estudos do misticismo apocalíptico e do êxtase visionário relativo ao contexto do judaísmo e cristianismo primitivos, em autores tais como: Christopher Rowland, Alan Segal, C. R. A. Morray-Jones e John Ashton, John Collins, Adella Collins, Jonas Machado, Paulo A. S. Nogueira, Carol Newsom, David E. Aune, Philip Alexander, Crispin H.T. Fletcher-Louis, Florentino García Martínez dentre outros; sendo que, estes autores se alinham aos resultados das pesquisas iniciais de Gershom Scholem sobre o Misticismo Judaico, e aos desenvolvimentos mais recentes neste âmbito. Nogueira1 menciona que foi Scholem quem realmente usou este misticismo para produzir a chave das histórias de ascensão celestial presentes nos apocalipses dos últimos dois séculos a.C. e dos primeiros dois séculos d.C. Foi Scholem, na verdade, quem iniciou a discussão acadêmica dos místicos judaicos em seu livro Major Trends in Jewish Myticism - Principais Tendências no Misticismo Judaico em 1941. Corroborando com a tradição destes estudos se encontram as descobertas dos manuscritos de Qumran, como a dos Cânticos do Sacrifício Sabático, uma composição de treze cânticos, também chamada de liturgia angélica, e que tem contribuído para o desenvolvimento das pesquisas, bem como sustentado os argumentos de Scholem. Dentre os manuscritos de Qumran há um fragmento de hinos denominado 4Q405, que trouxe ao conhecimento a terminologia Merkaváh, em que anjos louvam a imagem do Trono da Carruagem citado no primeiro capítulo do livro de Ezequiel. Identificou-se nestes o sincretismo da comunidade de Qumran acerca do canto dos anjos com outras ideias sobre os deveres dos mesmos, sendo uma característica comum às tradições da Ma asseh Merkaváh - (Trabalhos do Divino Trono/Carruagem). 1 NOGUEIRA, Sebastiana M. Silva. 2 Coríntios 12 e o Misticismo Judaico (Os Quatro que Entraram no Pardes). Oracula, 2012 p.04. Assim, a pesquisa segue os pressupostos de Rowland2, de que os textos do Apocalipse 4 e 5 possuem em sua narrativa uma semelhança básica com a liturgia descrita nas tradições do misticismo apocalíptico do judaísmo no I século, bem como em textos de Qumran, principalmente no fragmento 4Q405. Conforme Nogueira3 Ezequiel capítulo 1 é considerado chave desta tradição mística do judaísmo, sendo, também um elemento central do Apocalipse de João, o principal visionário do cristianismo. Assim, a pesquisa inclui a aproximação dos textos considerados fundantes, sendo: (Isaías 6; Ezequiel 1; Daniel 7; I Enoque 14), junto aos textos de Qumran, como o complexo dos 13 Cânticos Sábaticos relacionados ao culto no santuário celestial. A apocalíptica pode ser assim compreendida como um tipo de literatura mística, cujas imagens se conjecturam nos escritos que, por meio da ascensão do visionário aos céus e a contemplação do trono de Deus, descortinam uma determinada tradição do judaísmo antigo. Desta forma podemos também interpretar os capítulos 4 e 5 do Apocalipse como texto místico, de conteúdos similares aos dos textos apocalípticos judaicos, e talvez até com um tipo de experiência religiosa análoga.

Made available in DSpace on 2016-08-03T12:19:48Z (GMT). No. of bitstreams: 1 MarceloAlvesDntas2.pdf: 1731029 bytes, checksum: ac1853c62368a4a7f5f3ba6d78817d2d (MD5) Previous issue date: 2014-09-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation has its purpose on the texts of the book of Revelation chapters 4 and 5. Their source of research belongs to the Jewish Mysticism. This way of examination echoes today in studies of apocalyptic mysticism and the visionary ecstasy relating to the context of Judaism and primitive Christianity, on authors such as Christopher Rowland, Alan Segal, C.R.A. Morray - Jones and John Ashton, John Collins, Adella Collins, Jonas Machado, Paulo A.S. Nogueira, Carol Newsom, David E. Aune, Philip Alexander, Crispin H.T. Fletcher - Louis, Florentino García Martínez among others; but these authors align themselves to the Gershom Scholems initial research results on Jewish Mysticism, and also to the latest developments in this subject. Nogueira mentions that Scholem was who actually used this mysticism to produce the key for heavenly ascent stories present on apocalypses of the last two centuries b.C. and also to the first two centuries a.D. In fact, Scholem was who initiated the Jewish mysticism academic discussion in his book Major Trends in Jewish Myticism in 1941. Strengthening the tradition of these studies are the findings of the Qumran manuscript, such as the Songs of the Sabbath Sacrifice, a thirteen songs composition, also called angelic liturgy, that has contributed to the research development as well as supporting the Scholem arguments. Among the Qumran manuscripts a hymn fragment called 4Q405 brought to the acquaintance the terminology Merkaváh, wherein angels praise the Chariot Throne image mentioned in the first chapter of the book of Ezekiel. It was identified on that the Qumran community syncretism regarding the song of angels with other ideas about their duties, being a common characteristic of Maasseh Merkavah traditions - (Divine Throne / Chariot tasks). Thus, the research follows the presupposed by Rowland that the texts of Revelation 4 and 5 have in their narrative a basic similarity to the liturgy described in the traditions of the first century Judaism apocalyptic mysticism, as well as on Qumran texts, mainly in 4Q405 fragment. According to Nogueira Ezekiel chapter 1 is considered the key to the Judaism mysticism tradition, therefore also being a central element of the Johns Apocalypse, the main visionary of Christianity. The research includes the approach of texts considered the ones that established Ezekiel 1, Isaiah 6, Daniel 7, I Enoch 14, the analysis of the Qumran texts, as the complex of 13 Sabbatical Songs related to worship in the celestial sanctuary. The apocalyptic is thus understood as a kind of mystical literature, whose images reflect the writings that, by means of the visionary ascent to heaven and the contemplation of Gods Throne pull the curtain certain tradition of the 1st. century. Therefore, it can be also interpret the chapters 4 and 5 of Revelation as a mystical text, with similar content to the Jewish apocalyptic texts, and perhaps with a similar type of religious experience. / Esta dissertação tem por objeto analisar os textos do livro do Apocalipse capítulos 4 e 5. As fontes de pesquisa pertencem às tradições do Misticismo Judaico. Esta linha, hoje ecoa em estudos do misticismo apocalíptico e do êxtase visionário relativo ao contexto do judaísmo e cristianismo primitivos, em autores tais como: Christopher Rowland, Alan Segal, C. R. A. Morray-Jones e John Ashton, John Collins, Adella Collins, Jonas Machado, Paulo A. S. Nogueira, Carol Newsom, David E. Aune, Philip Alexander, Crispin H.T. Fletcher-Louis, Florentino García Martínez dentre outros; sendo que, estes autores se alinham aos resultados das pesquisas iniciais de Gershom Scholem sobre o Misticismo Judaico, e aos desenvolvimentos mais recentes neste âmbito. Nogueira1 menciona que foi Scholem quem realmente usou este misticismo para produzir a chave das histórias de ascensão celestial presentes nos apocalipses dos últimos dois séculos a.C. e dos primeiros dois séculos d.C. Foi Scholem, na verdade, quem iniciou a discussão acadêmica dos místicos judaicos em seu livro Major Trends in Jewish Myticism - Principais Tendências no Misticismo Judaico em 1941. Corroborando com a tradição destes estudos se encontram as descobertas dos manuscritos de Qumran, como a dos Cânticos do Sacrifício Sabático, uma composição de treze cânticos, também chamada de liturgia angélica, e que tem contribuído para o desenvolvimento das pesquisas, bem como sustentado os argumentos de Scholem. Dentre os manuscritos de Qumran há um fragmento de hinos denominado 4Q405, que trouxe ao conhecimento a terminologia Merkaváh, em que anjos louvam a imagem do Trono da Carruagem citado no primeiro capítulo do livro de Ezequiel. Identificou-se nestes o sincretismo da comunidade de Qumran acerca do canto dos anjos com outras ideias sobre os deveres dos mesmos, sendo uma característica comum às tradições da Maasseh Merkaváh Trabalhos do Divino Trono/CarruagemAssim, a pesquisa segue os pressupostos de Rowland2, de que os textos do Apocalipse 4 e 5 possuem em sua narrativa uma semelhança básica com a liturgia descrita nas tradições do misticismo apocalíptico do judaísmo no I século, bem como em textos de Qumran, principalmente no fragmento 4Q405. Conforme Nogueira3 Ezequiel capítulo 1 é considerado chave desta tradição mística do judaísmo, sendo, também um elemento central do Apocalipse de João, o principal visionário do cristianismo. Assim, a pesquisa inclui a aproximação dos textos considerados fundantes, sendo: (Isaías 6; Ezequiel 1; Daniel 7; I Enoque 14), junto aos textos de Qumran, como o complexo dos 13 Cânticos Sábaticos relacionados ao culto no santuário celestial. A apocalíptica pode ser assim compreendida como um tipo de literatura mística, cujas imagens se conjecturam nos escritos que, por meio da ascensão do visionário aos céus e a contemplação do trono de Deus, descortinam uma determinada tradição do judaísmo antigo. Desta forma podemos também interpretar os capítulos 4 e 5 do Apocalipse como texto místico, de conteúdos similares aos dos textos apocalípticos judaicos, e talvez até com um tipo de experiência religiosa análoga.