Les mythologies - gréco-romaine, irlandaise, perse, indienne, japonaise, chinoise -sont omniprésentes dans la poésie de Bunting, Eliot, Pound et Yeats. Les prédilections desauteurs pour certaines mythologies, véritables choix identitaires et politiques, montrenttoutefois une péroccupation commune pour les mythes violents, aux niveaux martial et sexuel.Ce premier niveau thématique se combine avec une réflexion plus distanciée sur le mythe,outil critique qui permet la reformulation de croyances rituelles et spirituelles, et de nouvellesthéories poétiques qui visent à ordonner et donner un sens au monde chaotique du XXe siècle.Le mythe, subversif, permet donc l'articulation de nouvelles spiritualités et denouvelles expériences poétiques. Enfin, matériau vivant et modelable, dont la mention est à lafois un raccourci de récits anciens et un horizon élargi vers d'autres références et réécritures,le mythe est objet linguistique. En traduction, le mythe transfert les contenus thématiques,déplace les rythmes et fait circuler et s'entremêler les arts. En effet, retour fantasmé à uneorigine du langage artistique, le mythe est parfois fiction d'un art total où les figuresmythiques seraient à la fois objet linguistique, représentation imaginaire picturale etmanifestation musicale. De cette vision du mythe émane une poésie polyphonique et hybride,à l'image du centaure et des autres créatures monstrueuses présents dans l'oeuvre poétique deBunting, Eliot, Pound et Yeats.

No description available.

Dans Offices, Mallarmé érige en modèle esthétique la figuration liturgique, dont les gestes stylisés indiquent l'invisible, ce "soi" qui est dieu et qui, se tenant en retrait au tréfonds de l'intimité humaine, ne peut être saisi dans les formes courantes de la rationalité et de la vie sociale, d'où la triple métaphore symboliste de la séparation : hermétisme, aristocratie, élection. Le geste liturgie du poème opère une soustraction : il retranche du réel un temps et un espace sacrés, cercle magique que sont l'ile de prose, la vitre des fenêtres ou chez Yeats une étreinte rêvée, métaphore d'un éden fictif où les choses sont restituées à leur virginité, ou se produit une idéalisation du monde qui permette sa superposition avec le ciel intérieur de l'âme. Dans cette fête qu'est le poème, le geste réactualise le jaillissement premier du monde, fait surgir une enfance fictive de la terre, annule les conséquences de la chute réinterprétée comme la distance qui sépare la réalité du rêve, ressaisit le soi originaire dans le mythe pour raviver symboliquement la banalité, il sacre et glorifie. l'idéalisation liturgie et poétique exige une double forme d'abstraction, dématérialisant et schématisant, éclairée à la lumière de la théorie kantienne du schème comme instrument de passage et de participation, dans les deux sens, du matériel au spirituel, du concret à l'abstrait, du visible, comme instrument de suggestion indirecte et de figuration mythique. Le geste poétique volatilise les êtres pour libérer une forme schématique, idéale, susceptible de coïncider avec les "rythmes essentiels" du soi, de sorte qu'advienne une correspondance symbolique entre le réel et ce que rêve en l'homme sa part métaphoriquement divine en tant que créative et récréative. Sont étudies chez les trois auteurs, dans cette perspective de l'abstraction mythique et liturgie suggérée par Mallarmé, plusieurs figures ainsi que deux schèmes essentiels de leur poésie : le schème baptismal et celui du néant irradiant, qui visent à produire une restauration de l'être sans sa splendeur originelle.

Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 229-240).

A paracoccidioidomicose (PCM) é uma doença granulomatosa sistêmica, causada por Paracoccidioides spp., (P. brasiliensis e P. lutzii), geograficamente, limita-se a América Latina com as áreas endêmicas estendendo-se desde o México até a Argentina, constituindo uma das micoses sistêmicas de maior incidência na região, afetando principalmente trabalhadores rurais. O maior número de pacientes com PCM tem sido reportado principalmente no Brasil, Colômbia e Venezuela. A incidência real desta micose encontra-se subestimada no Brasil e pouco se conhece em relação a nova espécie descrita - P. lutzii. A maioria dos estudos em P. lutzii foram focados em genética, especiação e na geração de novos antígenos para melhorar a especificidade e sensibilidade dos testes sorológicos. Atualmente, as preparações antigênicas tradicionais, preparadas a partir de isolados de P. brasiliensis, são ineficientes. Raros são os trabalhos focados na biologia de P. lutzii e nos fatores de virulência que podem ser comparados com P. brasiliensis nos modelos experimentais. A nossa proposta de estudo foi avaliar alguns aspectos in vitro e in vivo relacionados com a patogenicidade e destacamos: a fagocitose e a morte intracelular de P. lutzii por macrófagos, peritoneais, de camundongos Knockouts (KO) e selvagens para PRRs (TLR2, TLR4 e Dectina) e ativadores intracelulares (MyD88 e NALP3). Paralelamente a este estudo, animais foram infectados com leveduras de P. lutzii e comparados com os modelos de infecção já estabelecidos com leveduras (Pb18) e conídios (ATCCPb60855) de P. brasiliensis. Nossos dados indicam que similar ao que ocorre com P. brasiliensis a fagocitose de P. lutzii depende de TLR2, TLR4 e Dectina- 1, resultados semelhantes também foram observadas na expressão de moléculas envolvidas na co-estimulação e a apresentação de antígenos (MHC II, CD80 e CD86). Contudo, a morte intracelular de leveduras de P. lutzii é claramente dependente de TLR4, e a produção de citocinas IL-6, MIP-2, IFN- e IL-12p40 são importantes para o controle das leveduras pelos macrófagos. No modelo experimental de P. lutzii, camundongos machos C57BL/6 (6-7 semanas) foram infectados intratraquealmente como 1x106 leveduras viáveis do isolado de P. lutzii Pb01. Encontramos duas fases da doença, a primeira de 0 hora até 2 a 4 semanas pós-infecção, e a segunda de 4 até 12 semanas. As leveduras parecem ser contidas na primeira semana de infecção e posteriormente não encontramos leveduras nos macerados de pulmão, diferente do modelo de BALB/c infetado com conídios de ATCC-Pb60855 no qual as UFC são recuperadas até a semana 16 pós-infeção. Como relação aos níveis de citocinas, encontramos que na lavagem broncoalveolar e macerado de pulmão um perfil misto Th1/Th2 porém, marcado por citocinas próinflamatórias no primeiro período e citocinas regulatórias tipo Th2 no segundo período (IL-12p70, IL-23, IL-10); similar ao descrito nos modelos de P. brasiliensis infectados tanto com conídios como com leveduras. No entanto, no primeiro período da doença, em camundongos C57BL/6, parece ter uma carga inflamatória maior que reflete nas citocinas que mantém seus níveis até o período crônico: TNF-alfa, MIP-2 e GM-CSF está última, regulada positivamente tanto em experimentos in vitro como in vivo. Também observamos que a partir das 48horas pós-infecção encontramos níveis aumentados de IL-12p70 até o período crônico onde junto com a IL-23 parecem ser as responsáveis pela diminuição da infecção no período tárdio. Esta é a primeira vez que se descreve um modelo experimental com P. lutzii (isolado Pb01) indicando o perfil imunopatológico com pequenas diferenças comparados ao P. brasiliensis porém, de importância na patogenicidade da doença auxiliando a compreender as diferentes formas da doença no modelo experimental / Paracoccidioidomycosis (PCM) is a systemic granulomatous disease caused by Paracoccidioides spp. (P. brasiliensis and P. lutzii), geographically, is limited to Latin America with endemic areas from Mexico to Argentina, as one of the systemic mycoses with the highest incidence in the region, mainly affecting rural workers. The largest number of patients with PCM has been mainly reported in Brazil, Colombia and Venezuela. The true incidence of this mycosis is underestimated in Brazil and little is known about the new species described - P. lutzii. Most studies in P. lutzii were focused on genetics, speciation and the generation of new antigens to improve the specificity and sensitivity of serological tests. Currently, traditional antigenic preparations, prepared with isolates of P. brasiliensis, are inefficient. There are few studies focused on P. lutzii biology and virulence factors that can be compared with P. brasiliensis in experimental models. Our study aimed to evaluate some in vitro and in vivo aspects related to pathogenicity: phagocytosis and intracellular killing of P. lutzii by peritoneal macrophages from knockouts (KO) for PRRs (TLR2, TLR4 and Dectin) and intracellular activators (MyD88 and NALP3). In addition, animals were infected with P. lutzii yeast and compared with the well-established models of infection with yeast cells (Pb18) and conidia (ATCC Pb60855) from P. brasiliensis. Our data indicate that similarly to what happens with the phagocytosis of P. brasiliensis, P. lutzii phagocytosis is dependent on TLR2, TLR4 and Dectin-1. Other molecules, involved in co-stimulation and presentation of antigens such as MHC II, CD80 and CD86 were also shown to participate in the P. lutzii-host interaction. However, intracellular killing of P. lutzii yeast cells was clearly dependent on TLR4, and the production of cytokines as IL-6, MIP-2, IFN- and IL-12p40 were important for the control of the yeast by macrophages. In the experimental model of P. lutzii, male C57BL/6 mice (6-7 weeks) were infected intratracheally with 1x106 viable yeasts of the isolate Pb01like. We found two phases of the disease, the first from the inoculation to 2 or 4 weeks after infection and the second from 4 to 12 weeks. Yeast appear to be contained within the first week of infection and subsequently are also absent from macerated lung, differently from the model of BALB/c mice infected with ATCC Pb60855 conidia in which CFUs were detected up to week 16 post-infection. We found a mixed Th1/Th2 pattern (IL-12p70, IL-23, IL-10) in bronchoalveolar lavage and lung, with the predominance of proinflammatory cytokines in the first phase and predominance of regulatory Th2 cytokines in the second phase, reproducing findings of P. brasiliensis infection models produced with both conidia and yeast. However, in the first period of the disease in C57BL/6 mice there was a higher inflammatory burden, reflected by the high cytokine levels (TNF-alpha, MIP-2 and GM-CSF), the latter in particular because it was positively regulated both in vitro and vivo), that persisted through the chronic period. We also observed that starting from 48 hours postinfection to the chronic period there were increased levels of IL-12p70, which together with IL-23 appeared to be responsible for the reduction of infection in the late period. This is the first time that an experimental model with P. lutzii (Pb01) is described, showing an immunological profile with only slight differences compared to the P. brasiliensis model. The present study details important aspects of the pathogenesis of the disease due to different species of Paracoccidioides and helps to understand the different forms of presentation in experimental models

No description available.

No description available.

Made available in DSpace on 2014-07-29T16:19:02Z (GMT). No. of bitstreams: 1 Dissertacao Edson Manzan Corsi.pdf: 892608 bytes, checksum: 7241984b3e1a9a6410ecca4287ae543c (MD5) Previous issue date: 2010-12-10 / This thesis has as its object of study three modalities of the uncanny as they appear in the poetry of Irish writer William Butler Yeats. They are: the incidence of the Double, the contact with the Deads, their way of operation in the metaphysical sphere as well as in the world of the Living, and the Animist way of thinking which embraces the omnipotence of thought. We believe that this is possible to be theoretically thought and analyzed through the ideas presented by Sigmund Freud in his essay titled The uncanny ( Das Unheimliche ), edited in 1919. In order to help our discussion of the problem, we used some considerations from French psychoanalyst Jacques Lacan. For example, what he exposes in his seminar dedicated to the anxiety and in his essay on the mirror stage . Many important ideas and concepts from literary critics such as T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, among others, were also used as basis for the development of our discussion on the theme of the strangeness (uncanny) in the frontiers between literature and psychoanalysis. The thought of Friedrich Nietzsche also helped us to understand the concept that Yeats developed and used of tragic joy and the relationship of the poet with the tragic thinking, discussed by the German philosopher and which influenced the work of the Irish writer. This influence made possible, in the poetry Yeats wrote, appear an aspect of absurdity, of ambition for being assimilated in the chorus of the tragedy visible, for instance, in the chapter about the Double and that we can find in his most important poems. / Esta dissertação tem, como objeto de estudo, três modalidades do estranho na poesia do escritor irlandês William Butler Yeats. São elas: a incidência do Duplo, o contato com os Mortos, o modo de operação deles, tanto no âmbito metafísico quanto no mundo dos Vivos, e o modo de pensar Animista que abarca a onipotência de pensamento. Acreditamos que isso é possível de ser teoricamente pensado e estudado a partir das ideias apresentadas por Sigmund Freud, em seu ensaio O estranho ( Das Unheimliche ), publicado em 1919. Para auxiliar nossa discussão do problema, utilizamos algumas considerações do psicanalista francês Jacques Lacan. Por exemplo, o que ele expõe em seu seminário dedicado à angústia e no seu ensaio sobre o estádio do espelho . Muitas ideias e conceitos importantes de críticos literários como T. S. Eliot, W. H. Auden, Tzvetan Todorov, Emil Staiger, Joseph Warren Beach, Ezra Pound, entre outros, foram também utilizados como base para o desenvolvimento de nossa discussão sobre o tema do estranho, nas fronteiras entre a literatura e a psicanálise. O pensamento de Friedrich Nietzsche também ajudou-nos a entender o conceito que Yeats desenvolveu e usou de alegria trágica e a relação do poeta com o pensamento trágico, discutido pelo filósofo alemão e que influenciou a obra do escritor irlandês. Isso possibilitou, na poesia que Yeats escreveu, aparecer um aspecto de absurdidade, de ambição por assimilar-se ao coro da tragédia visível, por exemplo, no capítulo sobre o duplo e que podemos encontrar em seus mais importantes poemas.

‘Poetry’ insisted Ezra Pound, ‘is a composition of words set to music’: his Cantos remembered ‘Uncle Willie’ downstairs composing, singing poetry to himself. This study examines the nature and effects of W.B.Yeats’s idiosyncratic but profound sense of music. For his poems were compositions set to music. They were saturated with musical themes; syntactically he professed to write for the ear rather than the eye; and he flung himself repeatedly into the breach between music and words, composing ballads, songs, and plays with music, and performing poetry with musical instruments. My thesis is that nature of poetry, spoken, read or sung, obsessed Yeats, and I hold it self evident that such an acutely self-conscious poetry will articulate this obsession: to use his own imagery, will bear the scars of its own birth. What follows is a study of meaning, obsession, and influence, beginning with what Yeats knew and how he came to poetry: his father’s and his own vocalizations of the musical preoccupations of Scott and Shelley, viewed through the annotations of ‘the first book [he] knew Shelley in’ and the solipsistic singers and instrumentalists of his early verse. The theme of chapter two is Ireland: the musical resonances of Anglo Irish ballads and Irish verse are viewed through Yeats’s aurally-oriented canon-formation, as we examine his instinctual recitations and deliberate approach to Irish folksong through the mediation of Douglas Hyde. The aesthetics of Wagner, Pater, and the French symbolistes frame the third chapter, which describes how poetry might approach the condition of music in the motivic organization of The Wind Among the Reeds. In chapter four the impact of Nietzsche’s profoundly musical philosophy is correlated for the first time with the exact moments of Yeats’s discovery of his texts, as Yeats’s plays and poetry move from ‘Apollonian’ languor to ‘Dionysian’ energy, from dream to song and dance. My final chapter uncovers the long history of the practical experiments Yeats made to perform poetry with a ‘psaltery’, and their resonating afterlife in subsequent poetry and poets. No musician himself, Yeats’s musical sense has until now been entirely dismissed: this study shows how central it is to his art and to an understanding of the dominant aesthetic of the age.

This thesis analyses the responses of Irish writers and painters to a phase of national self-assertion that had arguably lost its liberating potential. It shows how the exhaustion of revolutionary pressures in Ireland after independence complicates the ties between creative activity and political activism. Drawing on a wide range of scholarship within political theory, literary criticism and art history, I chart an emerging network of literary and artistic techniques that confronts the representational aesthetics of the nation with strategies of paradox, reversal and renewal. My readings of the work of Denis Devlin, Samuel Beckett, James Joyce, Mainie Jellett, Jack Butler Yeats and, in particular, Thomas McGreevy, provide a means by which to distinguish other cultural possibilities that were imagined and pursued from 1922 to 1941, including McGreevy’s own aspiration to remould 'A Cultural Irish Republic'. The thesis argues that Ireland's political and artistic avant-garde were forcibly divided during this period: two factions that had been split apart by the effects of civil war and censorship. As such it will be preoccupied with a central question: how to sustain cultural strategies of revolutionary significance when the frontier between creative activity and political activism can no longer be straightforwardly crossed.