O ponto fundamental desta tese é a comprovação de que os mitos e arquétipos presentes na obra em prosa de Mário de Sá-Carneiro auxiliam na formação de uma visão de mundo do autor. Mitos e arquétipos representam motivos, elementos temáticos fundamentais que aparecem e se repetem nos textos literários ao longo do tempo e revelam metaforicamente um conjunto de valores. Cada autor tem a sua mitologia particular, ou seja, mesmo que a criação literária seja feita pelo desejo consciente do artista de construir o seu texto, esses elementos temáticos aparecem em sua obra, tenha ele consciência disso ou não. Então, fez-se um levantamento dos principais mitos e arquétipos presentes na obra em prosa de Mário de Sá-Carneiro, depreendendo-se os valores ideológicos, éticos e estéticos que eles representam, para assim mostrar que eles auxiliam na sua visão de mundo. Os principais mitos encontrados foram o de Eros e Thanatos, de Salomé, da busca, e o da criação. Os arquétipos fundamentais são o do fidalgo simbolista assim nomeado dentro desta tese, a partir do arquétipo identificado por Edmund Wilson, em sua obra O Castelo de Axel e o da femme fatale. A partir de então, percebeu-se que estes elementos temáticos supracitados revelam alguns valores fundamentais para o autor, forjando uma visão de mundo que se caracteriza por alguns pontos basilares. Um deles é a insatisfação com a realidade, que se tenta resolver com a criação de uma arte tida como genial e superior. Esse sentimento de descontentamento é fruto também do fato de o artista moderno não se adaptar ao mundo de sua época, por isso seu refúgio na arte (que muitas vezes descamba para a estetização da vida), e em uma espécie de dandismo heróico. Isso dá um tom trágico e grandioso à existência desse indivíduo, considerado superior aos demais. Outro ponto importante da visão de mundo de Sá-Carneiro é a noção de que o amor só se resolve na morte. A causa central disso é uma concepção dicotômica da mulher tida ou como femme fatale ou burguesa ingênua , que impede a concretização de um relacionamento maduro e saudável. / The fundamental point of this thesis is the corroboration that the myths and the archetypes of the works of Mário de Sá-Carneiro assist in the formation of his vision of the world. Myths and archetypes represent motifs, thematic elements that appear many times in universal Literature and can reveal a set of values in a metaphoric way. Each writer has his own mythology, and even the literary creation is made in a conscious way, these thematic elements appear in his work, even he doesn´t know that. Then, this thesis made a research of the main myths and archetypes that is relevant in the literary works of Mário de Sá-Carneiro, perceiving the ideological, ethical and aesthetic values that they represent, in order to show how they assist in his set of values. The main myths that were found are Eros e Thanatos, Salomé, the quest and the creation. The main archetypes found were symbolist noble that are named this way from the archetype found by Edmund Wilson, in his work Axel´s Castle and the femme fatale. These thematic elements reveal some author´s essential values, forging his vision of the world, which is characterized for some basic points. One of them, is the sentiment of dissatisfaction with the reality, and the artist tries to solve it with the creation of some superior and brilliant form of art. This feeling of dissatisfaction is also cause by the fact that the modern artist is not well adapted in his own world, because of that he escapes to the art (that in many cases leads to a kind of stylization of life), and to a form of heroic dandyism. All of this gives a tragic and magnificent tone to this individual´s existence, which is considered superior among the others. Another important point in Mário de Sá-Carneiro´s vision of the world is the idea that love can only be resolved by death. It is caused by a dichotomy in the vision of the woman that is considered as a femme fatale or a naïve bourgeois woman that hinders a mature and healthy relationship.

by Carrie Yuk-ching Kwan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1990. / Bibliography: leaves 137-149. / Acknowledgement / Chapter / Chapter I. --- Introduction --- p.1 / Chapter II. --- The Mother Archetype --- p.9 / Chapter III. --- "An Archetypal Analysis of ""Death in Chicago""" --- p.28 / Chapter IV. --- "An Archetypal Analysis of A Passage to India ´ؤ with a Brief Comparison with ""Death in Chicago""" --- p.73 / Chapter V. --- Conclusion --- p.117 / Notes --- p.126 / Bibliography --- p.137

Esta pesquisa utiliza a análise do discurso para investigar os valores ideológicos que fundamentam o discurso presente em Kojiki tomo I, a obra mais antiga do Japão. Além de sua antiguidade, sua importância consiste por seu repositório dos primeiros mitos, mitologia japonesa, história e poema-canção (歌謡:Kayō). Nesta pesquisa os mitos são símbolos da nova estrutura que se estabelece neste período, regulando suas práticas sociais. Eles possuem duas funções na narrativa: uma temporal, relacionada ao evento passado e atemporal, cuja importância está sempre presente em sua comunidade. Sua segunda função é criar suas lideranças políticas e um sentimento de pertencimento a uma cultura. Como tal, considera-se três questões: qual o papel da cosmogonia e dos mitos dentro do tomo I? Como se constitui a organização narrativa desses mitos e qual a formação do herói? E, de acordo com essa organização, qual a função que se quis destacar no tomo I? Para responder a essas questões, essa pesquisa analisa, sistematicamente, a construção do discurso nas narrativas utilizando teorias da linguagem e a Nova retórica, desenvolvida por Perelman e Tyteca (2014). Além disso, as relaciona ao contexto político do Japão nos períodos Yayoi (弥生時代: 400 a.C.-250 d.C.) até Nara (奈良時代: 710 - 794 d.C.). Este estudo conclui que a narrativa mítica estabelece o paradigma que rege as relações sociais do país. Isso ocorre porque o mito incorpora os significantes existentes na ordem simbólica japonesa. O primeiro tomo da obra atua como uma alegoria para narrar a origem da família imperial mais antiga do mundo, que hoje está no 125° imperador, Akihito (1989 - presente). Desprovido de suas particularidades do espaço e do tempo, a narrativa ainda preserva sua natureza mítica como um relato teleológico dessa sociedade. / This research uses speech analysis to investigate the ideological values in the discourse present in Kojiki - tome I, the oldest writing in Japan. Besides its antiquity, its importance relies on its repository of the first myths, the japanese mythology, history and poem-chant (歌謡:Kayō). In this research the myths are symbols of the new structure that has been set in this period, which orders the social practices. They have two functions in the narrative: the first is temporal, related to past events and atemporal, which importance is still present in its community. The second one is to create political leaderships and the feeling of belonging to a culture. As such, it is considered three questions: what are the roles of the cosmogony and the myths in tome I? How are the myths arranged in the narrative organization and how is the hero formed? And, according to this organization, what is the highlighted function in tome I? To address these questions this research analyses, systematically, the speech constructions in the narratives using theories of language and the New rhetoric, developed by Perelman and Tyteca (2014). Furthermore, they are connected to the political context in Japan during the Yayoi period (弥生時代: 400 A.D.-250 B.C.) up to the Nara period ((奈良時代: 710 - 794 B.C). This study concludes that the mythical narrative establishes the paradigm that conduct the social relations in the country. This happens because the myth incorporates the existent signifiers into the japanese order. The writings first tome works as an allegory to tell the origin of the oldest imperial family, which is in its 125th emperor, Akihito (1989 - present). Regardless of its time and space particularities, the narrative still maintains its mythical nature as a teleological report of this society.

Traditional sketching with pen on paper can be seen as to visualize the memory. Limited to a framework of influences, experiences and ideas the outcome will result in something already known.In searching for knowledge an experimental sketch method counteracts this framework. The aim of this work is to explore morph animation of archetypical garments. Shape interpolation in Adobe Flash software makes it possible to calculate the way between two silhouettes. The result is a third silhouette, a morph of selected garments and depends on where the animation is paused. The work also deals with the gap between visualize(sketching) and making(construction/realization). In the investigation a new way of using animation as an sketch method have been found. Also how to use computer based 3D sketching in fashion design and an alternative construction method based on paper craft techniques have been developed. The collection consists of garments based on a morph between a classic skirt and a blazer to discuss new visions and possibility’s in fashion. Can the way we sketch, construct and produce affect garment definitions? And how could the findings in this work being used in a commercial industry. / Program: Modedesignutbildningen

This report deals with the definition and meaning of garment. It explores how the meaning of a garment alters depending on how it is worn. Is the meaning of an garment somhow in the garment itself? By searching for new expressions in clothing by eliminat- ing parts and giving other a new purpose, the aim is to explore the aesthetic potential that occurs when two garment’s are incorporated. This is dealt with through a method that discusses the definition of an artefact. From a minimalistic point of view the es- sence of garments is explored through revealing what is underneath and exemplifying how the garments interact or affect each other. Through experiments I studied how to incorporate two garments in an natural and unforced manner. To find perfect balance in imbalance. As a conclution of my work i discovered that to create balance between two garments was to use the details discreatly and to focus on the small things. However I realised that the “perfect“ balance was not the aim i was striving for. Questions that has been discussed is how much does a garment need to be recognisable and how much does a detail need to be visable. As a method I see this as the starting point and there is more to be explored and developed. / Program: Modedesignutbildningen

Cette thèse a pour but de construire le concept de « tendance » dans le champ des Sciences de l’Information et de la Communication. Notion fortement investie par les professionnels de la communication, les tendances sont absentes de notre discipline alors même qu’elles sont au cœur des processus de construction de l’identité et de médiation. Cette thèse construit donc ce concept en rapport avec la notion de dispositif et d’archétype. Elle introduit une perspective historique en étudiant comment cet archétype s’est exprimé depuis le XVIIème siècle jusqu’à nos jours. Enfin, elle étudie l’expression et l’utilisation de ces tendances dans notre société, ainsi que leur relation à la mode, au travers d’un support médiatique, le magazine Elle. / Summary: this work is about building the concept of trends with the help of other concepts found in the Information and Communication Sciences. Today, media and communication professionals all talk about trends, but they are quite silent in our universitary field of expertise, whereas they are helping individuals to define themselves (and each other) and to communicate. We are studying this concept and how it expresses itself in France from the XVIIth century to the XXth especially in the media, like the French magazine Elle, thanks to the concept of “mechanism” (dispositif; created by Michel Foucault) and archetype (created by Jung)

O objetivo da presente tese firmou-se na investigação de como se articula a imagem-símbolo da viagem no conto literário O companheiro de viagem, de Hans Christian Andersen, em diálogo com o conto popular norueguês O companheiro e a narrativa mítica nórdica Thor no País dos Gigantes. Para fundamentar o comparatismo literário das três narrativas, buscou-se aporte teórico na taxonomia dos símbolos presente na antropologia do imaginário, de Gilbert Durand (2012), e em outros teóricos da crítica da literatura contemporânea sobre o imaginário, o conto popular e o mito, a produção literária. Verificou-se como cada narrativa do corpus é configurada em imagens-símbolos e que algumas ressoam no conto anderseniano. A imagem compósita da viagem manifestou-se constitutiva de um esquema ascensional pela presença de um simbolismo que remete ao cume, à vitória do herói, à realização do sonho da conquista da amada e do reinado. A viagem é ascensão simbólica. Do ponto de vista da crítica literária pode-se reconhecer ainda que O companheiro de viagem é o palimpsesto no sentido que formula Gèrard Genette: um hipertexto (texto inovador) que narra um hipotexto (um texto anterior), pelo procedimento da transformação que se distingue da imitação. O conto O companheiro de viagem é (re)tecido em imagens-símbolos, configuradas em artifícios picturais, melodiosos, gestuais, visuais pela escrita. A imagem semelhantemente à vida, manifesta-se. / The aim of this thesis is based on the investigation of how is articulated the trip symbol image in the tale The travelling companion, by Hans Christian Andersen, in dialogue with the Norwegian popular tale The companion and the mythic Nordic narrative Thor in the land of giants. In order to support the literary comparatism in the three narratives, the theoretical contribution was made in the taxonomy of symbols present in the imaginary anthropology, by Gilbert Durand (2012), and other theorists of the contemporary literature criticism about the imaginary, the popular tale and the myth, the literary production. It was verified how each narrative of the corpus is configured in symbols-images and that some of them resound in the Andersenian tale. The composite image of the trip has revealed itself as constitutive of an ascended scheme by the presence of a symbolism which refers to the summit, the heros victory, the achievement of the dream of conquering the beloved woman and the realm. The trip is a symbolic ascent. From the point of view of the literary criticism, the literary tale is palimpsest in the sense of the Geràrd Genettes formulation: a hypertext (innovative text) which tells a hipotext (a previous text), by the resource of transformation that differs from imitation. However, the tale The travelling companion is (re)woven in symbols-images, configured in pictorial, melodic, gestural, visual devices by the writing. The image, similarly to life, manifests itself.

A situação planetária exige, cada vez mais, atenção. São cuidados com o meio ambiente e com os caminhos que levarão a existência humana a uma situação de conforto, declínio ou, quiçá, desaparecimento. Nesse contexto surge a necessidade da reação da sociedade mundial em prol da sustentabilidade e da defesa do meio ambiente e, claro, da sociedade. O conceito de sustentabilidade aparece com força, explicando que uma empresa deve cuidar de si, de forma a que sua produção e comercialização não destruam, mas que o que seja gasto no processo produtivo seja devolvido à natureza. Em paralelo a esse processo, há um clamor social em direção ao combate da corrupção, em busca de ética, seja no âmbito governamental, seja no empresarial. Do atendimento a esses dois pontos surge a Responsabilidade Social Empresarial, que pressupõe que uma empresa deva garantir a sustentabilidade, agir com ética, atender sua comunidade e cumprir seu papel social, pagando impostos e tratando seus funcionários condignamente. Muitas empresas, engajadas no conceito de triple botton line, vêm fazendo projetos sérios na direção de uma verdadeira Responsabilidade Social Empresarial. Outras, inclusive de grande porte, aproveitando-se do tema, usam projetos de Responsabilidade Social Empresarial com o intuito único de alavancar a imagem de suas marcas. Independente da intenção, no entanto, a comunicação da Responsabilidade Social Empresarial confere à organização uma dose de poder, ou, em alguns casos, permite que ações não sejam notadas ou percebidas, muito em função desse poder adquirido. Palavras / The planetary situation demands, more and more attention. It is the care of the environment, and with the ways that lead to human existence in a situation of comfort, decline or, perhaps, disappearance In this context appears the need of the reaction of the world society for the benefit of the sustainability and the protection of the environment and of course of the society. The concept of sustainability appears with force, explaining that a company must take care of themselves, in order that their production and marketing does not destroy the environment, but that what is spent in the production process is \"returned\" to nature. In parallel to this process, there is a public outcry toward the fight against corruption in search of ethics that is within the framework of government, or in business. The attendance at these two points there is the Corporate Social Responsibility, which requires that an enterprise should ensure sustainability, act with ethical, meet their community and to meet their social role, paying taxes and dealing with their employees with dignity. Many companies, involved in the concept of triple bottom line, have been doing serious projects in the direction of a real Corporate Social Responsibility. Others, including large companies, taking advantage of the subject, use projects in Corporate Social Responsibility with the only intent to leverage the image of their brands. Regardless of the intention, however, the communication of Corporate Social Responsibility gives the organization a dose of power, or, in some cases, enables actions are not noticed or perceived, much in the light of that power purchased.

If, as author Toni Morrison believes, we tell stories about what we find most terrifying, then our cultural narratives suggest an overwhelming preoccupation with the murderous mother ??? the monster in our minds. This dissertation examines some of the most powerful and enduring stories told about the murderous mother and considers how these stories are shaped by the unconscious fears and fantasies that dominate the cultural psyche. Revolving around the idea of infanticide as an ???imaginary??? crime, this dissertation uncovers the psychoanalytic foundations of the obsessive telling and consumption of stories of maternal child-murder in Western culture and contends that infanticide narratives can be read as symptoms of psychocultural dis(-)ease. Underlying all stories about the murderous mother is an unconscious fear of infanticide and fantasy of maternal destructiveness that is repressed in the individual psyche. These fears and fantasies are expressed in our cultural narratives. Chapter 1 examines fairytales as the literary form that most clearly elaborates individual fears and psychic conflict and locates the phantasmic murderous mother within psychoanalytic narratives of individuation. Chapter 2 shows how individual fears and fantasies of maternal monstrosity are transferred to society and revealed in the myths through which our culture is transmitted. Chapters 3 and 4 focus on the particular neuroses of ancient Greek society and early modern culture and consider stories of the murderous mother that most powerfully reflect anxieties of maternal origin and fantasies of maternal power. Chapters 5 and 6 shift to a contemporary setting and consider stories that reveal, in differing ways, how the murderous mother haunts the cultural psyche. Examining a variety of texts and drawing material from a spectrum of disciplines, including law, literature, criminology, theology, philosophy, and medicine, this dissertation concludes that it is only by exposing the underpinnings of our cultural stories about the murderous mother that we can hope to break free from the unconscious attitudes that imprison us. Emerging from this study is an original and important theoretical framework concerning conceptualisations of infanticide, the ways in which we imagine maternal child-murder and the limits of that imagination, and how we might escape the murderous maternal monster buried deep in the labyrinths of the mind.

This thesis looks at the Jungian concept of the archetypes and the connection between the process of individuation and social ecology. An unnatural split between thinking and feeling is seen to be entrenched in society and to be a cause for conflict. It is argued that this split has its origins in the individual 's unresolved inner conflict of ego and shadow. The idea of the archetype is examined in the context of Jung's observations about psychic features which he made throughout his lifetime. While it is true the psychic archetypes have an immense significance for a society in general, it is also true that archetypes are absolutely central in the life of the individual. The central part played by mythology and fairy tale in Jungian psychology is explored using a North American Indian myth as a vehicle for an exposition for some major concepts. Inheritance of archetypes is perhaps the central feature of controversy surrounding the Jungian concept of psychic archetypes and a possible mechanism of inheritance based on the idea of the 'meme' and its relationship to the gene, is examined. The ancient story of Aladdin and the Lamp, is found to contain inherent psychic features or artefacts, which elucidate the concept of the ego/shadow polarity, and so can be seen to constitute an example of an 'archaeology' of archetypes. The apparent dual nature of the archetype is further explored by comparing and contrasting the archetypes of the 'wise old man' and the 'wicked magician', and this dual nature exploration is seen to be in essence an examination of the ego/shadow equilibrium, which exerts its influence on all manifestations at the moment of expression. This unexpected influence on the archetype, despite the archetype's collective nature, explains the positive and negative faces of the archetypes and seems to resolve some questions about their moral, amoral and/or polar nature. The resolution of psychic conflict in the context of Jungian individuation and how the individuation process may influence the expression of collective features, is also found to have the ego/shadow equilibrium as the central psychic structure. / Master of Science (Hons) (Social Ecology)