Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

This thesis will examine intensively “The Tower of Babel: A Morality” a significant work of Thomas Merton, a major spiritual writer of the 20th Century, entitled. In order to explore this play three other works which impacted significantly on the development of the drama will also be examined. These three works are: A poem also called “Tower of Babel”; a second poem entitled “A Responsory” and a musical work titled “The Tower of Babel: An Oratorio”. Even though Victor Kramer, a Merton scholar, noted the significance of the Morality, the existing literature has all but ignored the impact of “The Oratorio” and the drama. Until this author requested a copy of “The Oratorio” from the Merton Centre in Louisville, Kentucky the work had been known by name only and had never been analysed. Yet this work was a major development from the poem “A Responsory” and led to the creation of the Morality Play. This work argues that “A Morality” was pivotal in contributing to personal and spiritual change in Merton as well as developing a greater depth of social understanding in him. It will also argue that the work contained the seeds of future Merton writings. Writing the drama moved Merton towards a contemplative maturity based on communion not simply community. While many studies have alluded to the play none of them have studied it with this particular focus. This new focus is the discovery of the ways Merton attempted to resolve the dilemma he experienced between the paths of monk and poet and how, in doing so, he created for spiritual seekers a fresh inner significance for the Babel story. This work is opening up new ground for an understanding of the importance of Merton’s insights in the contemporary world. The methods used in this thesis are: 1. Contextualising, that is establishing the historical, social, spiritual and literary framework in which the poems and plays were written, and 2. Literary analysis. Part A of the thesis examines the monastic, spiritual, social, literary and academic contexts which brought Merton to the moment of writing the Morality. Part B is organised chronologically and is an intensive analysis of the poems, the Oratorio and the Morality Play. Part C identifies the seeds of future growth contained within the Morality play and points to some of the directions in which these seeds developed in later Merton works.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Thesis (Ph. D.)--University of Oregon, 2007. / Liturgical drama for vocal soloists (TBarB), chorus (SATB), children's chorus, and chamber orchestra. Text adapted from Thomas Merton's play The Tower of Babel : a morailty. Text printed as words: leaves 129-134. Includes vita and abstract. Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (M.A.E.T.)--Covenant Theological Seminary, 2006. / Includes abstract. Includes bibliographical references (leaves 56-59).

Thesis (M.A.E.T.)--Covenant Theological Seminary, 2006. / Includes abstract. Includes bibliographical references (leaves 56-59).

Este trabalho tem por objetivo compreender o processo de constituição da Barra da Tijuca, bairro da cidade do Rio de Janeiro. Nomeada devido a um acidente geográfico, assim foi reconhecida por séculos, constituindo-se como recorte territorial apenas a partir da década de 1970. Seu desenvolvimento se fortaleceu a partir da década de 1950, como um prolongamento da Zona Sul do Rio de Janeiro. Para racionalizar essa ocupação, foi chamado o mesmo urbanista de Brasília, Lucio Costa, que em nenhum momento menciona a palavra condomínio no Plano-piloto, embora esse tenha sido a forma que se consolidou como moradia no bairro, tornando-se um modelo, associado ao consumo e à idealização, presente tanto no discurso de moradores quanto no estereótipo criado para eles, o do emergente, novo-rico. Parte do preconceito está associada à falta de equipamentos culturais de relevância, falta que a hoje nomeada Cidade das Artes tentou preencher. Esse projeto está de acordo com a mercadização das cidades e do planejamento estratégico e teve início com o prefeito César Maia. Nomeamos a subjetividade existente na vida em condomínio como morte da alteridade, pois decorre fundamentalmente do Ideal do Eu regressivo, dando origem à mimese e ao narcisismo das pequenas diferenças. Interpretamos os mitos gregos de Cronos e de Ulisses, relacionando-os, respectivamente, ao Ideal do Eu regressivo e ao Ideal do Eu maturativo. Ao comentarmos sobre o mito de Babel, trazemos à discussão a função precípua da cidade e do urbano, qual seja, a da individuação. Metodologicamente, utilizamos revisão bibliográfica e entrevistas para a realização dessa tese / This thesis aims to analyse Barra da Tijucas process of constitution, which is a neighbourhood in the city of Rio de Janeiro. It was named after a landform and were recognised as it for centuries, arising as a territorial limit only in the 1970s. Its development strengthened along the 1950s as an extension of Rio de Janeiros South Zone. Lucio Costa, the same urbanist that projected Brasilia, was invited by the government to rationalise its occupation and does not mention the expression town house complex at all on the Plan Lucio Costa, although this is the form that became the model of neighbourhoods occupation. Town house complex is associated to consumption and idealisation, which is shown as much dwellers speech as the stereotype created to them, the nouveau-riche. Part of prejudice is related to the hollowness of existent cultural facilities, which was planned to be fulfilled by Cidade das Artes. This project is in accord to cities marketing and competition and strategic planning that has started in Rio de Janeiro with the former mayor Cesar Maia. We named the subjectivity experienced in town house complexes as the end of alterity because of the regressivity of Ego ideal that corresponds to mimesis and the narcissism of minor differences. We interpret the Greek myths of Cronus and Odysseus relating them, respectively, to regressive Ego ideal and maturational Ego ideal. On the Tower of Babel myth, we bring to discussion the paramount essence of cities and the urban, videlicet, individualisation. Our methodology consists in literature survey revision and a few interviews

Este trabalho tem por objetivo compreender o processo de constituição da Barra da Tijuca, bairro da cidade do Rio de Janeiro. Nomeada devido a um acidente geográfico, assim foi reconhecida por séculos, constituindo-se como recorte territorial apenas a partir da década de 1970. Seu desenvolvimento se fortaleceu a partir da década de 1950, como um prolongamento da Zona Sul do Rio de Janeiro. Para racionalizar essa ocupação, foi chamado o mesmo urbanista de Brasília, Lucio Costa, que em nenhum momento menciona a palavra condomínio no Plano-piloto, embora esse tenha sido a forma que se consolidou como moradia no bairro, tornando-se um modelo, associado ao consumo e à idealização, presente tanto no discurso de moradores quanto no estereótipo criado para eles, o do emergente, novo-rico. Parte do preconceito está associada à falta de equipamentos culturais de relevância, falta que a hoje nomeada Cidade das Artes tentou preencher. Esse projeto está de acordo com a mercadização das cidades e do planejamento estratégico e teve início com o prefeito César Maia. Nomeamos a subjetividade existente na vida em condomínio como morte da alteridade, pois decorre fundamentalmente do Ideal do Eu regressivo, dando origem à mimese e ao narcisismo das pequenas diferenças. Interpretamos os mitos gregos de Cronos e de Ulisses, relacionando-os, respectivamente, ao Ideal do Eu regressivo e ao Ideal do Eu maturativo. Ao comentarmos sobre o mito de Babel, trazemos à discussão a função precípua da cidade e do urbano, qual seja, a da individuação. Metodologicamente, utilizamos revisão bibliográfica e entrevistas para a realização dessa tese / This thesis aims to analyse Barra da Tijucas process of constitution, which is a neighbourhood in the city of Rio de Janeiro. It was named after a landform and were recognised as it for centuries, arising as a territorial limit only in the 1970s. Its development strengthened along the 1950s as an extension of Rio de Janeiros South Zone. Lucio Costa, the same urbanist that projected Brasilia, was invited by the government to rationalise its occupation and does not mention the expression town house complex at all on the Plan Lucio Costa, although this is the form that became the model of neighbourhoods occupation. Town house complex is associated to consumption and idealisation, which is shown as much dwellers speech as the stereotype created to them, the nouveau-riche. Part of prejudice is related to the hollowness of existent cultural facilities, which was planned to be fulfilled by Cidade das Artes. This project is in accord to cities marketing and competition and strategic planning that has started in Rio de Janeiro with the former mayor Cesar Maia. We named the subjectivity experienced in town house complexes as the end of alterity because of the regressivity of Ego ideal that corresponds to mimesis and the narcissism of minor differences. We interpret the Greek myths of Cronus and Odysseus relating them, respectively, to regressive Ego ideal and maturational Ego ideal. On the Tower of Babel myth, we bring to discussion the paramount essence of cities and the urban, videlicet, individualisation. Our methodology consists in literature survey revision and a few interviews

Le mythe du Graal, mythe littéraire, créé par Chrétien de Troyes, rencontre des ramifications avec le mythe de Babel, mythe cosmogonique de la pluralité des langues. Peut-on considérer le mythe du Graal comme un mythe de la parole, perdue, recherchée, retrouvée ? L’aventure de l’évangélisation dans l’Estoire del Saint Graal, inspirée des croisades et des missions franciscaines, et la quête du Graal dans la Queste convergent dans leur dynamique vers une unité que symbolise le Graal mais qui empêche la parole. Elles tendent vers le rassemblement et la réunification des matériaux d’un chaos primordial créé sous l’égide de Babel. À un certain chaos, à une certaine fragmentation de la parole se substitue une parole unificatrice relative au Un originel qui ordonne le monde en lui donnant un sens.Cette unification de la parole : une seule parole, celle de Dieu, pour une seule bouche, celle du peuple chrétien, suit le schéma inverse de Babel. En effet l’Estoire ne retrace pas l’éparpillement d’un peuple maudit mais représente l’archétype d’un exode bien encadré d'un peuple choisi et dont la finalité n’est pas de défier Dieu mais de le servir ; c’est pourquoi Dieu lui octroie le privilège et la force des mots. Dans la Queste, le commencement des aventures des chevaliers de la table ronde le jour de la Pentecôte inscrit d’ores et déjà les événements dans la réconciliation post-babélique offerte aux apôtres pour répandre la bonne parole. La Pentecôte qui inaugure le début de la quête du Graal dans la Queste, inaugure de même l’introduction de la nouvelle parole des envoyés de Dieu, qui dès le début du récit en signe l’orientation mystique annihilant ainsi tout héritage courtois. / The literary myth of the Grail, created by Chrétien de Troyes, has common roots with thecosmological myth of Babel which explains the plurality of languages. Can we consider themyth of the Grail as a myth of a language lost, sought and finally regained? The adventure of evangelism in Estoire del Saint Grail and the Holy Grail in the Queste, inspired by theCrusades and the Franciscan missions, converge in a dynamic unity symbolized by the Grail,which prevents language . They tend to gather materials of a primordial chaos created underthe aegis of Babel. Chaos, and fragmentation of speech are followed by a unifying voice of aunique origin that orders the world by giving it a meaning. This unification of the speech: aunique speech, God’s speech, for one mouth, that of the Christian people, follows a pattern opposite to Babel. The Estoire does not track the dispersal of a damned people but represents the archetype of a well-managed exodus of a chosen people whose purpose is not to defy butto serve God ; Therefore God grants His people the privilege and the power of words. In the Queste, the beginning of the adventures of the knights of the round table on the day of Pentecost recalls the post-Babel reconciliation offered to the apostles in order to spread thegood word. Pentecost inaugurates the start of the quest for the Holy Grail and also theintroduction of a new voice, the voice of God’s messenger. From the beginning of the story,this new voice as a sign of mystical orientation, destroys any courtly legacy.

Version remaniée de : Dissertation : Ludwig-Maximilians-Universität München : 2000. / Texte en allemand. Quelques extraits sont en russe.