Nas escusas veredas da Luanda contemporânea edificada no romance Os transparentes (2013), de Ondjaki, todos os caminhos, desde o começo, parecem apontar para uma única solução possível: a destruição. Analisaremos por que a cidade do romance deve ser destruída, a começar pela construção histórica desse arquétipo, de acordo com Northrop Frye. A ocorrência estética desse temário poderá ser constatada na forma romanesca, consoante as formulações de Bakhtin, evidenciando o caráter vivo e moderno do romance em questão, bem como a categoria de cronotopo ocupada pela cidade. Esse caminho será percorrido, com um recuo para investigar o lugar deste livro no pós-Independência, até chegar às causas da destruição presentes nos subterrâneos da sociedade, que enfraquecem os alicerces de Luanda na narrativa, e fazem-na ser consumida pelo fogo quase impiedoso ateado pelas mãos daqueles que estão às voltas com o poder político-econômico e que fazem da cidade viva da narrativa um lugar de embates, uma zona de contato, como será discutido nas considerações finais. / Considering the misleading paths in a contemporary Luanda built in Ondjaki\'s novel Os transparentes (2013), all the ways, from the very beginning, seem to point to a single possible solution: destruction. We will analyze why the city in the novel \"has to\" be destroyed, beginning with the historical construction of this archetype, according to Northrop Frye. The aesthetic occurrence of this subject can be verified in the romanesque form, according to the formulations of Bakhtin, which highlights the living and modern character of the novel to be considered as well as the category of chronotope occupied by the city. This path will be taken by using a retreat to investigate the place of this book in the so-called post-Independence moment, until the reasons for the destruction present in the essence of the society are known, being these very same destructions the ones that weakened the structures of Luanda in the narrative, and that made it to be consumed by the merciless fire fought by the hands of those who are dealing with political-economic power and who make the living city of the narrative a place of clashes, as well as zone of contact, as it will be discussed in the final considerations.

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Le roman populaire est souvent associé à une littérature de seconde zone, gravitant autour des Lettres nobles. C’est surtout son public qui est décrié puisqu’il s’agit d’un lectorat de consommation qui impose à l’auteur un mode d’écriture particulier. Toutefois, certains auteurs comme Alexandre Dumas ont réussi à dépasser ce mépris en étant reconnus par la nation française. Pour cet écrivain prolifique, la reconnaissance voit le jour dans les couloirs sombres du Panthéon. Ses œuvres, elles, demeurent sur le parvis! Ce travail a l’ambition de montrer que l’écriture dumasienne détient un poids littéraire des plus considérables à travers sa sollicitation par les foules. Deux œuvres retiennent notre attention vu qu’elles sont connues de tous mais pas nécessairement lues par tous : Le Comte de Monte-Cristo et Les Trois Mousquetaires. Après un constat premier sur la réception double accordée à ces romans, nous analyserons leur imaginaire (personnages, espaces et scènes de genre) d’une part et leur structure narratologique (morphologie, narrateur et narration) d’autre part. Cette lente dissection tentera de comprendre, à partir de sa deuxième et de sa troisième partie, le mécanisme de l’attrait exercé par la plume de Dumas sur la grande masse des lecteurs. L’on aboutit ainsi à des ingrédients particuliers qui sont la signature de l’auteur. Néanmoins, force nous est de constater que cette recette est partagée par d’autres écrivains. Elle permet à la littérature populaire de regagner ses galons et d’affirmer sa légitimité. / The popular novel is often considered to be second-class literature, orbiting around the Fine Literature. The blame is on the consumerism of its readers that forces the authors to follow a certain style of writing. However, some authors, like Alexandre Dumas, managed to avoid this contempt by getting the acknowledging of the French nation. For this prolific writer, recognition saw the light in the dark alleys of the Pantheon, unlike his works that remain snubbed.The aim of this thesis is to prove that Dumas’ work is a heavy-weight of literature due to the high appeal it has over the masses. Two works grab our attention as they are known to all, but not necessarily read by all : The Count of Monte Cristo and The Three Musketeers. In the first place, we will observe the double reception of each of these novels, before analyzing their imaginary (characters, spaces and genre scenes) on the one hand and narration structure (morphology, narrator and narration) on the other. Through this slow dissection, in the second and third part, we will try to understand how Dumas’ pen casts his spell over the big mass of readers. It thus leads us to specific ingredients that are the signature of the author. Nevertheless, we are compelled to note that this recipe is shared by other writers. It allows popular literature to regain its stripes and its legitimacy.

A Ópera Mouffe (1958) é um filme inaugural na obra da cineasta Agnès Varda. Um \"documentário-ficcional\" que utiliza diferentes modos expressivos, construído a partir de imagens em fluxo constituídas de forma ficional, a partir de elementos simbólicos, ou registradas em situações observacionais na rua Mouffetard, em Paris. De natureza subjetiva, o filme exibe, ainda, o primeiro registro do corpo de Varda em sua obra, na ocasião grávida de sua primeira filha, Rosalie. Foi a gestação que a mobilizou para a feitura do filme e a maternidade é o foco da narrativa. Varda faz desse pequeno curta uma espécie de manifesto feminista sensorial, ao apresentar, de forma poética, os conflitos reveladores das angústias das mulheres no interior da sociedade patriarcal, através da expressão em consonância dos arquétipos de Vênus e Deméter, respectivamente a Amante e a Mãe, conjugados na personagem central. Em vários de seus filmes posteriores, Varda irá expandir a configuração e combinação destes mitos, através de personagens que apresentam conflitos em relacionamentos, comportamentos, ou traços de personalidades que ecoam esses arquétipos. Essa característica possibilitou a Varda apresentar narrativas que permitem analisar criticamente o papel reservado às mulheres em nossa sociedade. / The Mouffetard Opera (1958) is an inaugural film in the work of French filmmaker Agnès Varda. A \"fictional documentary\" that uses different expressive modes, constructed from a flow of images constituted of fictional form, symbolic elements, and documentary images registered in observational situations at the Mouffetard Street, in Paris. Of subjective nature, the film also shows for the first time Varda\'s body in her work, at the time when she was pregnant of her first daughter, Rosalie. It was the gestation that mobilized her to make the film and motherhood functions as the trigger of the narrative. That short film is as a kind of sensorial feminist manifesto which reveals, in a poetic way, conflicts engendered by the anguish women experience within patriarchal society through the consonant expression of the archetypes of Venus and Demeter, respectively the Lover and the Mother, combined in the central character. In several of her ulterior films, Varda will expand the configuration and combination of those myths through characters that present conflicts in relationships, behaviors, or personality traits that echo those archetypes. Such tools allowed Varda to present narratives that allow a critical perspective over the role offered to women in our society.

Made available in DSpace on 2016-07-27T14:21:33Z (GMT). No. of bitstreams: 1 Marisete Malaguth Mendonca Reis.pdf: 911429 bytes, checksum: a7b0f41abd8331a61141af8dea935966 (MD5) Previous issue date: 2008-02-25 / The aim of this research was to verify if the attributed symbolism to each of Rorschach s inkblot by the archetype theory is translated directly or through a phenomenological hermeneutic, in the experience of the examined who respond to the stimulus. With the hermeneutic, the sense of experience and the possible articulation of the Rorschach archetype hypothesis were fetched. The researches done by the American Robert McCully and the academic papers done by Professor Rodolfo Petrelli were the references used in this paper of Jungian thesis of archetypes applied to the Test. Another interpretative resource, besides the archetypes, used by the researcher was the notion of Prägnanz, from Max Wetheimer s Gestaltheory. This, identified in the experiments of Berlin School, oriented the reading to the viewing of present conditions conjuncture, very coherently with the prescription of the here and now of Gestaltherapy, searching in the elements of the present field the understanding of the experiential structure underlying the behavior and also the answers to the Rorschach stimulus. The principle of Prägnanz showed clearly the direction of configurations pointing to the future or, in other terms, to the gestalt resolution. Gestalt Psychologists refer to Prägnanz as a basic generating relation that connects in a necessary way the parts to the total organization. In the case presented in the paper, the generating relation which connects each Inkblot to the protocol totality can be identified in the theme: the affirmation of the feminine in a context of patriarchal paradigm. An itinerary that, starting in Inkblot I, closes in the last Inkblot was identified: the despised feminine that triumphs, the apology of the gender, the rescue of its ontological and social dignity. Because of the successive emergency of the case, another deduction occurred in the Examiner s spirit: one of a process being constructed during the Test submission. In practical terms, that means it s conceivable that the answers represent not only the symbolic presentification of experienced or traumatic situations, but the result organizing impulse, building up the solution. / O objetivo dessa pesquisa foi verificar se o simbolismo atribuído a cada prancha do Rorschach pela teoria dos arquétipos, se traduz, de forma direta ou via uma hermenêutica fenomenológica, na vivência dos examinandos que respondem aos estímulos. Com a hermenêutica se buscou o sentido da vivência e a possível articulação com a hipótese arquetípica do Rorschach. As pesquisas feitas pelo americano Robert McCully e os trabalhos acadêmicos do professor Rodolfo Petrelli foram as referências, usadas neste trabalho, da tese junguiana dos arquétipos aplicada ao Teste. Outro recurso interpretativo, além dos arquétipos, utilizado pela pesquisadora foi a noção de Pregnância, da Gestalteoria de Max Wertheimer. Este fator, identificado nos experimentos da Escola de Berlim, orientou a leitura para a visada da conjuntura de condições atuais, muito coerente com a prescrição do aqui e agora da Gestalt-terapia, buscando nos elementos do campo presente o entendimento da estrutura vivencial subjacente ao comportamento e também às respostas aos estímulos do Rorschach. O princípio da Pregnância mostrou claramente, a direção das configurações apontando para o futuro ou, em outros termos, para a resolução da gestalt. Os psicólogos da Gestalt se referem à Pregnância como a relação geradora básica, que liga de modo necessário as partes à organização total. No caso apresentado nesta monografia, a relação geradora que liga cada Prancha à totalidade do protocolo, pode ser identificada no tema: a afirmação do feminino num contexto de paradigma patriarcal. Identificou-se um itinerário que, iniciando na Prancha I, se fecha na última Prancha: o feminino vilipendiado que triunfa, a apologia do gênero, o resgate da sua dignidade social e ontológica. Em vista da sucessiva emergência de significados do caso, foi ocorrendo outra dedução no espírito da Examinadora: a de um processo sendo construído durante a submissão à Prova. Em temos diagnósticos, isso que dizer que pode-se conceber que as respostas representam não apenas a presentificação simbólica de situações vividas ou traumáticas, mas o impulso organizador do advir, construindo a solução.

Made available in DSpace on 2016-07-27T13:48:34Z (GMT). No. of bitstreams: 1 JOSIAS ALVES DA COSTA.pdf: 3540333 bytes, checksum: 0ecdd732cd812e62ebb1d32d92418bed (MD5) Previous issue date: 2014-02-24 / This purpose seeks to understand the reasons which led the project of the foundation of Brasilia to finish with a strong load of symbolic value and understand the way that led to his imagination and achievement. For this purpose, this research will seek to identify the manifestations of the archetype of sacred space in the geography of the Central Plateau of Brasilia, these manifestations were observed in some religious temples and other civil constructions in the city. Thus, this work will also seek to establish the relationship between dreams, anticipation and planning for future capital with printed symbols on their buildings. This discussion will be possible through dialogue with the theory of archetypes, which will be used to interpret the unconscious imagination involved to make the city appear. Besides, the theory will be used in an attempt to explain the origin of archetypal forms displayed in temples and some buildings of Brasilia as well as the assumptions used by architects and pioneers to the idealization and city construction. / A presente pesquisa busca compreender os motivos que levaram o projeto da fundação de Brasília a se concretizar com forte carga de valor simbólico e entender os sentidos que levaram à sua imaginação e consecução. Para esse fim, buscará identificar as manifestações do arquétipo de espaço sagrado na geografia do Planalto Central de Brasília, observadas em alguns templos religiosos e outras construções civis da cidade. Desse modo, também buscará estabelecer a relação entre o sonho, expectativa e planejamento da futura capital com a simbologia impressa em suas edificações. Isso será possível por meio do diálogo com a teoria dos arquétipos, que será utilizada para se interpretar o inconsciente imaginário envolvido para fazer surgir a cidade. Ademais, a teoria será utilizada na tentativa de explicar a origem das formas arquetípicas visualizadas nos templos e em algumas edificações de Brasília, bem como os pressupostos usados pelos arquitetos e os pioneiros para a idealização e construção da cidade.

Made available in DSpace on 2016-07-27T13:49:25Z (GMT). No. of bitstreams: 1 JERONIMO MOREIRA DE OLIVEIRA.pdf: 636181 bytes, checksum: 539d8ed2373fcf99662b7c61fb149b41 (MD5) Previous issue date: 2007-05-25 / This thesis is useful to religion, religiousity and archetypes. The question is:- does understanding of the real and the imaginary conducts a person to a better situation in his/her life? To answer this question one would have to know the meaning of the phrase - a better situation in his/her live . Once the religiosity according to tell of the Other, these are, considered of moral tenor and the actions are used in the conduct as a sociologic vision to determine how these actions are done to the religious comprehension. How would be the mind s alchemy in old times seem through today s symbolic systems? Exemplifying, today, we have a CAVI (Ciclo de Aprendizagem Vivencial do Imaginário Imaginary s Lively Learning) very strong/virtual the technology that became CAV (Ciclo de Aprendizagem Vivencial Lively Learning Cycle) and the ours forefathers CAVI. The interaction of archetypes in the gender (father/mother) makes us comprehend the oracle s alchemy : seek the transformation as a stimulus the symbolic system of the CAV and CAVI together form the resultant. / Esta tese é da utilidade da religião, religiosidade e arquétipos. A questão é:- a compreensão do real e imaginário direciona a pessoa para uma melhor situação em sua vida? Para responder a esta questão teria de saber qual é o significado da frase- ...uma melhor situação em sua vida . Uma vez que a religiosidade esteja de acordo com dizer/fazer do Outro, estes são, considerados de teor moral e as ações são utilizadas na conduta como uma visão sociológica para determinar como estas ações são efetuadas para a compreensão religiosa. Como seria a alquimia da mente em tempos passados vistas pelo sistema simbólico de hoje? Exemplificando, hoje temos um (CAVI) Ciclo de Aprendizagem Vivencial do Imaginário muito forte/virtuala tecnologia, que passa a ser o nosso (CAV) Ciclo de Aprendizagem Vivencial e o CAVI dos nossos antepassados. A interação dos arquétipos nos gêneros (pai/mãe) nos faz compreender a alquimia do oráculo: buscar a transformação tendo como estímulo o sistema simbólico do CAV e do CAVI que somados formam a resultante.

Though brands are created and maintained using many different management strategies, market and academic research has offered evidence that brands presenting the strongest personalities are more likely to perform better and resonate longer with consumers. This paper examines the components of brand personality using connections between contemporary branding and 13 classic archetypes. The study also discusses the life cycle of the brand, including development of brand personality and achievement of iconic status in conjunction with archetypal marketing. The research of Faber and Mayer (2009) is the basis for an analysis measuring participant attitudes toward popular brands by matching them with archetypal descriptions and explores possible correlation between product category and archetype. Results show evidence for high levels of participant agreement when categorizing archetypal representations of popular brands as well as consistency across product category. Results are also indicative of a relationship between gender and archetype selection.

This thesis examines the works of Nathaniel Hawthorne and the archetypal images therein. The Scarlet Letter is discussed extensively with references made to The Blithedale Romance. Characters in the following short stories are referred to: “Rappaccini’s Daughter,” “Young Goodman Brown” and “The Birthmark.” An overall analysis of feminine repression in both male and female characters is explored. Hester Prynne, Arthur Dimmesdale, and Pearl are the subjects of lengthy discussion. Journeys, both inward and outward are explored in the characters. The context is nineteenth-century culture of which Hawthorne is a product. The characters in The Scarlet Letter search for a complete existence, an integration of the unconscious and the conscious. Through a mythological study of Hawthorne’s work, we draw closer to understanding this complex example of nineteenth-century literature.

This study is an examination of the protagonists in Evelyn Waugh's Decline and Fall, A Handful of Dust, and Brideshead Revisited. The purpose of this study is to show how each novel displays the same type of character progressing towards heroism. This type of heroism is explained by using Carol Pearson's The Hero Within: Six Archetypes We Live By. Using Pearson's archetypes to discuss these protagonists gives one a better understanding of the characters and their development as they move towards self-knowledge. The introduction explains the term hero and gives a brief review of Pearson's book. Chapters two, three and four are each devoted to one of the specified novels and contain an examination of how the protagonist progresses through Pearson's archetypes. Chapter five is the conclusion, which summarizes this study and states the usefulness of archetypes in understanding the development of a character, as well as the importance of taking the heroic journey.