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This thesis identifies continuities and disruptions within the tradition of literary allegory in Latin America and critically revisits the category of “national allegory” (Jameson 1986) in order to articulate an interpretative model suited to contemporary “transnational allegorical fiction”. Based on the analysis of seven Mexican novels that register the transition of neoliberalism from the political-economic order to a form of biopolitical control (Althusser, Foucault, Žižek), I identify the emergence of what I call a “transnational affective field”: a symbolic horizon, alternative to the nation, where the prospective function of foundational romances (Sommer) and the retrospective function of mourning akin to postdictatorial fiction (Avelar), converge. This ideological device negotiates power relations, facilitates the transfer of local/global meaning, promotes intercultural empathy and compromise, and denounces mechanisms of exclusion; thereby, reconfiguring the affective and political functions of allegory in Latin American fiction. Part One discusses critical approaches to allegorical fiction in both Latin American and World literatures. Part Two compares the representation of the binomial nation/world in three historiographic metafictions by Carmen Boullosa, Francisco Rebolledo and J.E. Pacheco through recent approaches in post-/de-colonial and memory studies. Part Three examines the depiction of the nation as simulacrum and the figuration of postmodern subjectivities in Jorge Volpi and Juan Villoro from a poststructuralist perspective. It also contends that Álvaro Enrigue’s and Valeria Luiselli’s novels are representative of an emergent meta-allegorical imagination that, in an ironic reversal of allegory (de Man), simultaneously constructs it as a mechanism of ideological control as well as a conscious strategy to resist commodification and symbolic violence (Bourdieu) in the contemporary world. The analysis demonstrates the vitality of Mexican transnational allegorical fiction as a socio-political and affective counter-hegemonic discourse that also functions as an effective strategy of recognition in the international literary field.

Collage is presented as an allegoric art-form sui generis, considering allegory itself as an open-ended form of art. The research provides a suggestion to a different understanding of collage i.e.: as a catalyst for a search for structure and semiotic relationships in an attempt to overcome a constant disordered expansion of an intertextual web and hermeneutic possibilities; and as an open work, providing multi-layered meanings. As an open work collage is typified by the prominent role of its "readers", its ambiguity and the infinite net of references it summons. Collage may be conceived as a bridge between modernism and postmodernism, structuralism and post-structuralism; as a model for constant innovation and suppleness; as a stimulator for meta-artistic questions, acceptance of "soft" universals and reevaluation of the role of the Other within an artwork. Works by Jasper Johns, Michal Na'aman, Dina Hoffman and myself exemplify these ideas. / Visual Arts / M.A. (Visual Arts)

This report examines Porphyry’s De antro nympharum and its eclectic mixture of philosophy, allegory, and mysticism in the form of a Homeric commentary. The paper situates Porphyry’s commentary in the broader tradition of Homeric interpretation with special attention to Stoic exegesis and Platonic views on poetry and myth. It also contextualizes Porphyry’s philosophy in terms of the mystery cults, particularly Mithraism, that had grown very popular by Porphyry’s time. The paper argues that Porphyry devised a practice of reading intended to promote a level of philosophical contemplation beyond the level of rational discourse, in keeping with the Neoplatonic philosophy of his teacher, Plotinus, and that this practice is especially evident in the De antro nympharum. / text

António Ramos Rosa est une figure majeure dans le panorama de la poésie portugaise contemporaine, avec une œuvre singulière qui a contribué, dès les années 50, à la rénovation de l’espace poétique, en ayant un rôle d’intervention théorique et critique au sein des mouvements artistiques au Portugal Notre propos, dans cette recherche, a été d’étudier les rapports entre philosophie et poésie dans le cadre de la modernité, à partir du temps comme ligne d’orientation dans une perspective phénoménologique (Cf. Husserl, Heidegger, Derrida et Deleuze, entre autres). Considérant le langage et l’expérience esthétique comme l’enjeu privilégié de la modernité poétique, nous avons cherché à comprendre la façon dont le discours philosophique s’inscrit dans le matériau de l’œuvre poétique, et à montrer comment l’analyse des textes peut nous permettre de dégager des éléments pour une réflexion concernant leur implication sur le plan ontologique. Ainsi, dès les premières analyses, le temps a été confirmé, non seulement comme élément essentiel, mais aussi comme marqueur principal dans ce discours qui, dans cette poétique, convoque d’autres référents d’ordre phénoménologique contribuant à la structuration d’un langage novateur. Notre approche pragmatique a permis d’identifier le caractère prégnant de ces référents, dans son ensemble. C’est dans ce contexte que l’idée de transformation, de transparence et d’utopie surgissent. Il s’agit d’une situation énonciative qui rapproche poétique et dialectique dans un réseau d’images et modes du discours qui ont pour horizon l’ontologie et en matérialisant dans le langage du poème. / António Ramos Rosa is a major personality in the panorama of contemporary portuguese poetry. Since the decade of 1950, the remarkable originality of his works has been a contribution to the renovation of the poetical universe, having a theoretical and critical main role of intervention among the artistic movements in Portugal. Our project in this research, was to analyse the relations between poetry and philosophy having modernity as its framework, with the concept of time as our guide in a phenomenological perspective (Cf. Husserl, Heidegger, Derrida and Deleuze). Considering language and aesthetic experience as the privileged challenge of modernity in poetry, we have tried to understand in what way the philosophical discourse is inscribed in the poetic works of this author and to show how the analysis of texts allows us to separate the elements of a reflection with an implication on ontological plan. In that way, and since the very first analysis, the concept of time, besides from being an essential element, was to be confirmed as an important mark in the poetic discourse of António Ramos Rosa, and calls for other referents that contribute to structure an innovating language. Our pragmatic approach allows us to identify the particularity of those points, as also as to relevate the place of language and the subject in his totality. In this context the importance of transformation, transparence and utopia became clear. It is a situation of enunciation approaching poetics and dialectics within a web of images and modes of discourse having in the horizon ontology materialized in the language of the poem.

This thesis addresses aspects of Romanian society and cinema, by analyzing post-communist films through the perspective of marginality. The central hypothesis of this study refers to the ways in which films illustrate conditions of post-communist Romanian society, as they consider representations of the periphery through the angle of allegories of marginality. Following a long tradition, especially in literary studies, where it refers to the overt insertion of symbolic meanings, allegory refers in this study to a less noticeable delivery, by using a postmodern interpretation of the concept. This translates to detecting a latent meaning in films, by interpreting them in a broader context pertaining both to the film's circumstances (production, distribution and reception), and to the broader framework of the film's content. What connects post-communist Romanian films is a concern for matters of marginality, as they focus on dissensions in society, intergenerational conflicts, youth and limited opportunities of social movement, and the use of satire as a way of handling the bleak conditions of life. Aiming to provide a realistic representation of post-communist life, new wave Romanian films focus on the mundane reality of everyday life. The films discussed in this thesis expand beyond the scope of the new wave, and present a diversity of aesthetic approaches and relating perspectives on allegory—from distinct to obscure—defined by the contextual conditions of post-communism.

TITLE: Use of Fables in the 5th Grade of Elementary School AUTHOR: Kateřina Týblová DEPARTMENT: Department of Czech Literature SUPERVISOR: doc. PhDr. Ondřej Hník, Ph.D. ABSTRACT: In her diploma thesis Use of Fables in the 5th Grade of Elementary School the author discusses teaching fables in Literary Education lessons during the last year of Elementary School. In the theoretical part, she briefly describes the features and history of fable and specifies the target age group. The main part of the thesis is the practical part. In the practical part, the author presents her suggestions for fable teaching activities as well as three ninety minute lesson plans. Finally, the author reflects on the realization of the lessons. KEYWORDS: Literary Education, children's literature, eleven year olds, creative writing, fables, allegory

Les puritains interdisaient généralement de s’exprimer dans un style imagé et exigeaient que la Bible soit interprétée littéralement. Bunyan, écrivain puritain lui aussi, était en revanche en faveur de l'expression spirituelle et de la métaphorisation du texte biblique, convaincu que ce style était celui des Écritures. Cette thèse propose d'étudier ce paradoxe en essayant de comprendre la raison de cette crainte à l’égard des images littéraires, de la part des puritains, et la raison de leur utilisation par Bunyan, notamment dans « The Pilgrim's Progress ». La première partie examine la relation des puritains à la Bible dans trois chapitres. Le premier chapitre traite de la position des puritains face à l'Église Établie et la monarchie. Le deuxième chapitre analyse l'autorité de la Bible chez les écrivains puritains. Le troisième chapitre retrace les étapes scripturaires que Bunyan a traversées, avant et après sa conversion. La deuxième partie, composée de trois chapitres, étudie l’importance de l’image littéraire chez Bunyan. Le premier chapitre traite de la définition du terme « image » pour dissiper la confusion entre celui-ci et les autres figures du style. Il propose aussi au lecteur un bref historique de l’image littéraire et plastique depuis l’Antiquité jusqu’à l’époque de Bunyan, et des débats théologiques que le mot « image » a suscité. Le deuxième chapitre analyse comment et pourquoi l’auteur s’est servi de l’image comme support pédagogique dans l’édification de ses coreligionnaires. Le troisième chapitre traite des matériaux qu’il utilisa pour construire ces images dans « The Pilgrim’s Progress ». Enfin, la troisième partie analyse en détail deux images bibliques, le chemin et le lion, que Bunyan utilise dans « The Pilgrim’s Progress ». Elle explique les nuances de ces images, leurs origines bibliques, et leur portée théologique, le tout dans le cadre de la foi protestante et puritaine qui était celle de Bunyan. / The Puritans generally forbade imagery and required a strict literal interpretation of the Bible. Bunyan, although a Puritan writer himself, was in favour of spiritual expression and metaphorical understanding of the Biblical text, convinced that this was the style of the Scriptures. This thesis sets out to study this paradox and understand the reason for the Puritans’ fear of literary images, as well as the reason why Bunyan used them, especially in "The Pilgrim’s Progress". The first part analyses the Puritans’ relationship with the Bible. The first chapter discusses their position toward the Established Church and the monarchy. The second chapter analyses the authority of the Bible. The third chapter depicts Bunyan’s scriptural steps before and after his conversion. The second part discusses the importance of imagery to Bunyan. The first chapter attempts to define the word "image" in order to elucidate its meaning, and to distinguish it from other figures of speech. A brief history of literary and artistic imagery from antiquity to Bunyan’s time, and the theological debates about the word "image" through the centuries are also proposed. The second chapter attempts to determine how and why Bunyan used images for the edification of his readers. The third chapter analyses the techniques used to compose "The Pilgrim’s Progress". Finally, the third part discusses in detail two biblical images that Bunyan used in "The Pilgrim's Progress": the Way and the lion. It explains the nuances of these images and their theological content, in the context of Bunyan's Protestant and Puritan beliefs.

Proust est un lecteur régulier et exigeant de Baudelaire, auquel il consacre des pages critiques qui ont compté dans la réception du poète au cours du XXe siècle. Toutefois, les liens qui unissent les deux auteurs sont loin de se réduire à cette dimension métatextuelle et permettent d’interroger plus avant la notion même d’intertextualité. La principale difficulté dans l’identification de la présence de Baudelaire tient à son côté diffus qui s’inscrit dans les linéaments de l’écriture. Loin d’être explicites, les renvois à l’œuvre du poète se font au mieux sur le mode de l’allusion, sinon au gré d’un filtrage intertextuel et culturel qui gomme presque totalement les traces de ce souvenir. Nous proposons de revenir à une définition de l’intertextualité entendue dans un sens large, associant l’étude du texte à l’histoire et à l’anthropologie culturelles, soulignant ainsi que l’écriture est autant mémoire qu’oubli, et, partant, que la mémoire du lecteur n’est pas moins ambivalente. Atteindre le Baudelaire de Proust suppose ainsi de comprendre quelle idée le romancier se faisait du poète, mais aussi par quelles médiations l’œuvre de Baudelaire, passée au filtre des sensations de Proust, de son histoire, de son époque s’est imprimée dans la Recherche. En d’autres termes, il convient tout à la fois d’établir la sociologie d’une lecture et celle d’un lecteur.Apparaissent ainsi deux Baudelaire : l’un est explicite et rapidement usée par la conversation et l’autre innerve la Recherche. On voit qu’un Baudelaire chasse l’autre, et que les réseaux intertextuels ne peuvent être que souterrains. L’œuvre de Baudelaire chez Proust est ainsi lue au prisme de la mémoire et de l’oubli. / A voracious and meticulous reader of Baudelaire, Proust’s non-fiction writing pays substantial attention to the poet, in criticism which would influence the reception of Baudelaire’s work throughout the twentieth century.However, the imbrication of these two writers extends far beyond the issue of metatextuality. Rather, by highlighting the pervasive presence of Baudelaire in Proust’s oeuvre, the object of scrutiny becomes the very notion of intertextuality itself. The challenge of identifying Baudelairean references in the Recherche arises from their diffusion. Seldom explicit, Proust’s allusions to the poet’s work are subtle, if not near camouflaged by the cultural and intertextual filters. This thesis argues for a return to intertextual analysis in the broadest sense of the term, namely a study that devotes attention to the text’s historical and cultural-anthropological facets. In so doing, the thesis underlines how the act of writing involves memory as much as forgetfulness, and that the reader’s memory is as ambivalent as the author’s. But also, and more importantly, my thesis undertakes to demonstrate the ways in which Baudelaire’s poetry is transformed through the Proustian prism: that is, the narrative and mood of the Recherche, being written in a particular period, with a particular aesthetic sensibility. The social conditions of a reading, and the social determinism of a reader, are placed here in parallel. There are thus two Baudelaire in the Recherche. One is referenced explicitly in banal exchanges; the other is referenced implicitly a Baudelaire diffuse who vitalises the Recherche. And so, each Baudelaire chases the other, creating intertextual networks.

Ce travail est consacré à l’étude du personnage allégorique de la Folie sur la scène de l’Académie Royale de Musique entre 1697 et 1718. Qu’il soit suggéré ou personnifié, ce caractère féminin est abondamment présent dans les spectacles de cette période. A la fin du règne de Louis XIV, la Folie fait peu à peu son entrée à l’Opéra. Entourée de Momus, du Carnaval, de Bacchus, de l’Amour et des personnages de la commedia dell’arte, la Folie « ramène les tendres Jeux », « chasse la Raison cruelle » et invite sans cesse à « goûter les charmes de la vie ». En accédant à l’Opéra, cette figure extravagante et enjouée signale une évolution de ton qui préfigure le changement de mœurs associé à la Régence. Mais au-delà de la philosophie hédoniste qu’elle dispense, quel est le sens caché des paroles de la Folie ? Faut-il voir dans la présence de ce personnage une remise en cause de l’ordre établi, de la politique sociale et de l’austérité marquant la fin du règne ? Son utilisation permet-elle, sous la couverture d’une « maladie de l’âme », de critiquer la politique et les mœurs de Louis XIV ? Qui se cachent derrière le discours subversif de la Folie ? Quel est le rôle de cette figure dans les débats esthétiques de l’époque ? Cette recherche explore le rôle, ainsi que le traitement musical, dramatique et scénique d’une telle figure à travers l’étude d’ouvrages créés à l’Opéra. Nous proposons ici un portrait physique, moral et social de la Folie, à la lumière de multiples documents musicaux, textuels et iconographiques de l’époque, et présentons différents traits de caractère du personnage et plusieurs thèmes qui lui sont liés afin de comprendre les raisons de sa présence à cette époque. / This work is devoted to the study of the allegorical figure of Folly on the stage of the Académie Royale de Musique between 1697 and 1718. Suggested or personified, this female character is abundantly present in the spectacles of this period. At the end of the reign of Louis XIV, Folly appears little by little at the Opera. Surrounded by Momus, Carnival, Bacchus, the god of love and the characters of the commedia dell'arte, Folly "brings back the soft Games", "banishes the cruel Reason" and continually invites to "taste the charms of life”. By accessing the Opera, this extravagant and playful figure indicates a change of tone that foreshadows the changing attitudes of the Regency. But beyond the hedonistic philosophy that she provides, what is the hidden meaning of Folly’s words? Should we see a calling into question of the established order, the social policy and the austerity marking the end of the reign? Does its use allow, under the cover of a “disease of the soul”, to criticize the policy and manners of Louis XIV? Who hides behind the subversive speech of Folly? What is the role of this figure in the aesthetic debates of the period? This research explores the role, as well as musical, dramatic and scenic treatments of such a figure through the study of works created at the Opera. We propose here a physical, moral and social portrait of Folly, in the light of multiple musical, textual and iconographic documents of the time, and present different character traits and several themes that are related to it in order to understand the reasons for its presence at this time