Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden conflation, woman becomes nature, nature becomes woman, and both perform a single narrative plot function, in tandem with the Serpent. The erotic and tempting Eve-Serpent-Eden character is both protagonist and antagonist, seducer and seduced. In this dissertation, I engage in an ecofeminist narratological analysis of the Genesis/Fall myth, as it is retold in contemporary fashion magazine advertisements. My analysis examines how reconstructions of this myth in advertisements construct the reader, the narrator, and the primary characters of the story (Eve, Adam, the Serpent, and Eden). I then further explore the ways in which these characterizations inform our perceptions of woman, nature, and environmentalism. Using a narratological methodology, and through a poststructuralist ecofeminist lens, I examine which plot and character elements have been kept, which have been discarded, and how certain erasures impact the narrative characterizations of the story. In addition to what is being told, I further analyze how and where it is told. How is the basic plot being storied in these reconstructions, and what are the effects of this version on the archetypal characterizations of Eve and the Garden of Eden? What are the cultural and literary contexts of the reconstructed narrative and the characters within it? How do these contexts inform how we read the characters within the story? Finally, I examine the cultural effects of these narrative reconstructions, exploring their influence on our gendered relationships with each other and with the natural world around us.

Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden conflation, woman becomes nature, nature becomes woman, and both perform a single narrative plot function, in tandem with the Serpent. The erotic and tempting Eve-Serpent-Eden character is both protagonist and antagonist, seducer and seduced. In this dissertation, I engage in an ecofeminist narratological analysis of the Genesis/Fall myth, as it is retold in contemporary fashion magazine advertisements. My analysis examines how reconstructions of this myth in advertisements construct the reader, the narrator, and the primary characters of the story (Eve, Adam, the Serpent, and Eden). I then further explore the ways in which these characterizations inform our perceptions of woman, nature, and environmentalism. Using a narratological methodology, and through a poststructuralist ecofeminist lens, I examine which plot and character elements have been kept, which have been discarded, and how certain erasures impact the narrative characterizations of the story. In addition to what is being told, I further analyze how and where it is told. How is the basic plot being storied in these reconstructions, and what are the effects of this version on the archetypal characterizations of Eve and the Garden of Eden? What are the cultural and literary contexts of the reconstructed narrative and the characters within it? How do these contexts inform how we read the characters within the story? Finally, I examine the cultural effects of these narrative reconstructions, exploring their influence on our gendered relationships with each other and with the natural world around us.

Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden conflation, woman becomes nature, nature becomes woman, and both perform a single narrative plot function, in tandem with the Serpent. The erotic and tempting Eve-Serpent-Eden character is both protagonist and antagonist, seducer and seduced. In this dissertation, I engage in an ecofeminist narratological analysis of the Genesis/Fall myth, as it is retold in contemporary fashion magazine advertisements. My analysis examines how reconstructions of this myth in advertisements construct the reader, the narrator, and the primary characters of the story (Eve, Adam, the Serpent, and Eden). I then further explore the ways in which these characterizations inform our perceptions of woman, nature, and environmentalism. Using a narratological methodology, and through a poststructuralist ecofeminist lens, I examine which plot and character elements have been kept, which have been discarded, and how certain erasures impact the narrative characterizations of the story. In addition to what is being told, I further analyze how and where it is told. How is the basic plot being storied in these reconstructions, and what are the effects of this version on the archetypal characterizations of Eve and the Garden of Eden? What are the cultural and literary contexts of the reconstructed narrative and the characters within it? How do these contexts inform how we read the characters within the story? Finally, I examine the cultural effects of these narrative reconstructions, exploring their influence on our gendered relationships with each other and with the natural world around us.

Berättelsen i Genesis 3 har fascinerat människor genom tiderna. Hur Adam och Evalockas av ormen att äta av den förbjudna frukten är något som de flesta känner till utanatt för den skull vara bekännande troende. Den är helt enkelt en av våra mest kändamyter som påstås säga något viktigt om människans villkor i den här världen. Men vadhandlar den om, vad är det den vill säga och är det relevant för oss som lever idag? Vadär det för fel med att vilja ha kunskap, det vill säga varför hade Gud förbjuditmänniskan att äta av frukten från kunskapens träd? Är inte det något bra? Eller handlardet om, som författaren Karen Armstrong hävdar, en annan typ av kunskap än den vivanligtvis tänker på idag när vi associerar till begreppet? Armstrong menar att kunskap iBibelns mening inte är detsamma som en hellenistiskt inspirerad, vetenskapligdefinition där man söker finna fakta om världen vi lever i. Snarare handlar det om enpraktisk kunskap om hur man kan få leva ett gott liv. Det är något som kräver insikt ochvisdom eftersom vi måste leva med våra tillkortakommanden, i en brusten värld(Armstrong, 1996:16-17, 25-26).Är Edennarrativet i Genesis 3 främst en berättelse om hur synden kom in imänniskors liv eller handlar den om något annat? Dessa frågor vill jag försöka besvara idenna uppsats genom att söka mig tillbaka till några tidiga uttolkare. För migpersonligen har det känts viktigt att informera mig om tidiga tolkningar av berättelsenför att få en grund att stå på innan jag ger mig i kast med nutida. Detta för att kunnahandskas respektfullt med berättelsen i en samtida läsning.

No description available.

Made available in DSpace on 2016-07-27T13:47:57Z (GMT). No. of bitstreams: 1 Elias Mayer Vergara.pdf: 1579647 bytes, checksum: f936462ff4df46e87fe2ac082592fe0e (MD5) Previous issue date: 2005-02-28 / Genesis 3 will be approached here as a Hebrew myth and will serve as a case study in which we seek to show that psychoanalysis offers a different view in the understanding of the polysemy that exists in myths. According to anthropology and psychology, myths carry the human archetypes. These are couched in symbolic language and open up the polysemy of the myths. In the myth of Genesis 3, sin and the fall are significants resultant from a monosemic hermeneutic that has dogmatically legitimated the existence of the priest and of the church. The symbolic element of the serpent representative of a divinity competes with the divinity Yahweh through a transgressive project which is victorious and liberates the human beings to go beyond the garden. It is outside of this logic that the first sexual relationship between Adam and Eve occurs. In this way they have the pleasure of completing each other and becoming creative Gods. In a new focus derived from a polissemic reading, Eve s transgression can supply the archetypal energy necessary for a prophetic vocation awakening the heroic self that exists in all mankind. It is in the interval between great powers that the human being exercises freedom and makes himself divine. / Gênesis 3 será tomado, aqui, como um mito hebraico que servirá para uma análise de caso, onde se busca comprovar que a psicanálise tem um olhar diferenciado para entender a polissemia existente nos mitos. Os mitos, segundo o que é aceito pela antropologia e psicologia, carregam consigo os arquétipos humanos, que, configurados por uma linguagem simbólica, abrem a sua polissemia. No mito de Gênesis 3, pecado e queda são significados resultantes de uma hermenêutica monossêmica, que tem legitimado dogmaticamente a existência do sacerdote e da Igreja que o sustenta. O elemento simbólico serpente , representativo de uma divindade, compete com a divindade Iahweh, através de um projeto transgressor, que, vitorioso, liberta os seres humanos para além do jardim. É fora desta lógica que ocorre a primeira relação sexual entre Adão e Eva, que assim degustam o prazer de se completarem, tornando-se assim também Deuses criadores. A transgressão, novo foco de sentido encontrado pela leitura polissêmica, pode fornecer a energia arquetípica necessária para a vocação profética, e para despertar o ser heróico que habita em todos os humanos. É no intervalo entre os grandes poderes que o ser humano exercita a liberdade e diviniza o seu ser.

L’objectif de cette thèse est de montrer qu’Ève, en tant que métaphore du manque et sujet femme désirante, n’est pas étrangère au désir de Dieu. Pour cela, nous commencerons par repérer que ce que nous connaissons du personnage d’Ève dans le texte de Gn 3 est le fruit de la perception de ce que nous définirons comme « la Tradition » et de son interprétation de ce texte. Cette perception, sur le versant de « la femme-objet », est une réalité fondée par le regard d’hommes croyant que la femme est par nature plus faible, parce qu’incomplète, manquée, et donc manquante. En explorant comment les interprétations du récit de Gn 3 mettent en scène les figures d’une Ève tantôt dangereuse, tantôt inférieure, tantôt gommée par la figure idéalisée de la Vierge Marie, nous verrons comment les a priori culturels propres à une lecture androcentrique ont profondément marqué la façon même de relire le texte, de l’entendre et de le comprendre. En prenant acte de la manière dont cette Tradition a entendu et masqué tout à la fois la différence sexuelle homme-femme, notre propre analyse discursive du récit de Gn 3 déroule comment la figure d’Ève peut aussi devenir la représentante du manque désiré par Dieu lui-même. Le manque voulu par Dieu, dont Ève est la métaphore, apparait à la fois comme l’ingrédient nécessaire à la vie, à la parole et au désir, et comme le fardeau que doit porter Ève pour marcher sur les chemins de son propre destin de femme qui ne peut pas plus échapper à la question de la maternité. Notre axe de relecture, qui tient compte de la dimension du sujet parlant, nous conduit à cerner le rôle actif d’Ève. De sa posture de « pas-toute », elle prend place dans la création de l’adam comme celle à qui s’adresse le serpent venu d’ailleurs. C’est avec le serpent que le premier dialogue s’instaure et qu’Ève s’éprouve comme sujet parlant et désirant. Par la parole, Ève déborde. Une fois l’interdit parlé, il devient lieu de l’inter-dit, là où, entre les lignes, quelque chose du désir singulier d’Ève devient transmissible à l’adam. La transgression en acte rend alors possible le regard porté sur la différence sexuelle, en rendant aussi possible la transmission de la vie humaine comme acte de création. À ce moment du récit, Ève devient un sujet, sujet de désir, femme-sujet, en écart de ce que l’homme la veut, une femme intrinsèquement et expérientiellement habitée par la question du maternel et de la maternité. Si pour les hommes comme pour les femmes, le maternel est le premier accès à la femme, le récit montre que la parole d’une femme est dépendante de cette structure subjective, qui rend chaque femme singulière. Sa subjectivité d’être-femme dont le corps est troué vient nécessairement orienter son être au monde, à l’Autre et aux autres, en mettant en jeu autant sa responsabilité que son éthique, dont Ève est la figure qui les représentent toutes. Cette thèse vise donc à participer à une réflexion et une discussion sur l’être femme, non plus considéré comme objet à soumettre, posséder, ou dont le corps pourrait être réduit à procréer, mais comme l’expérience d’un sujet singulier, un sujet de désir, un parlêtre de chair et de sang dont le dire et le désir sont à prendre en compte en écart du discours universel. Nous espérons que notre thèse apportera une contribution significative à ce que les femmes soient reconnues dans leur énonciation singulière et subjective comme participant à l’à-venir du monde, qu’elles soient reconnues comme souffle qui émerge du manque et qui fait brèche dans le fantasme de l’Un. / The objective of this dissertation is to show that Eve, as a metaphor of the lack and as a desiring subject-woman, is related to the desire for God. To do this, we will begin by pointing out that what we know of the character of Eve in the story of Genesis 3 is the result of the perception of what we will define as “The Tradition” and of her interpretation of this text. This perception, on the side of the “woman-as-an-objet”, is a reality based on the gaze of men who believe that the woman is weaker by nature, because she is incomplete, a miss, and therefore missing. By exploring how the interpretations of the Gn 3 narrative stage the figures of an Eve, sometimes dangerous, sometimes inferior, sometimes erased by the idealized figure of the Virgin Mary, we will see how the cultural a priori of an androcentric reading have deeply marked the very way of rereading the text, of hearing and understanding it. By taking in account the way this Tradition has both heard and masked the sexual difference between man and woman, our own discursive analysis of the story of Gn 3 unfolds how the figure of Eve can also become the representative of the lack that God himself desires. The lack that God desires, of which Eve is the metaphor, appears both as the necessary ingredient for life, word and desire, and as the burden that Eve must bear in order to walk the paths of her own destiny, as a woman who cannot escape the question of motherhood either. Our axis of rereading, which takes into account the dimension of the speaking subject, leads us to identify Eve’s active role. From her “not-all” posture, she takes her place in the creation of the adam as the one to whom the snake from elsewhere talks. It is with the serpent that the first dialogue is established and that Eve experiences herself as a speaking and desiring subject. Because she speaks, Eve overflows. Once the forbidden has been spoken, it becomes the place of the "inter-dit", where, between the lines, something of Eve's singular desire becomes transmissible to the adam. The transgression in act then makes it possible to look at sexual difference, making also possible the transmission of human life as an act of creation. At this point in the narration, Eve becomes a subject, a subject of desire, a woman-as-a-subject, at bay from what man wants her to be, a woman intrinsically and experientially inhabited by the question of the maternal and the motherhood. If for both men and women, motherhood is the first access to the woman, the narrative shows that a woman’s speech is dependent on this subjective structure, which makes each woman singular. Her subjectivity of being a woman with a hole in her body necessarily tends her being to the world, to the Other and to others, bringing into play both her responsibility and her ethics, of which Eve is the figure that represents them all. This dissertation therefore aims to participate in a reflection and a discussion on being a woman, no longer considered as an object to be submitted, possessed, or whose body could be reduced to procreate, but as the experience of a singular subject, a subject of desire, a being of flesh and blood whose words and desire are to be taken into account at bay from the universal discourse. We hope that our thesis will make a significant contribution to the recognition of women in their singular and subjective enunciation as participants in the becoming of the world, and that they are recognized as the breath that emerges from the lack and which breaks through the fantasy of the One.