O estudo propõe-se a investigar nas mídias a consolidação e a desconstrução do discurso vinculados à questão do mito no esporte, que atinge o imagético humano na medida em que há uma representação simbólica do esportista incorporando o arquétipo do herói. A mesma força que as configurações midiáticas predominantes imprimem na formação do mito também é usada no sentido de decomposição da imagem. O universo do esporte no Brasil, em especial o futebol, alcançou uma espetacularização tal que, em consonância com aspectos econômicos, políticos, sociológicos, psicológicos, permeia o inconsciente coletivo alimentado pelos processos comunicativos das sociedades contemporâneas. Tem-se como objeto de estudo um aspecto específico presente nas mídias o poder de atribuir significação bem como uma outra face em que as mesmas instâncias midiáticas podem sucumbir a um herói, o qual outrora fora sustentado pelas narrativas. No contexto dos rituais de passagem, delineados por Campbell, o retorno de Ronaldo ao futebol brasileiro pretende ser analisado à luz do comportamento midiático com base na observação do noticiário referente ao jogador vinculado pelos jornais O Estado de S. Paulo e Folha de S. Paulo mediante o cenário esportivo atual determinado pela carência de heróis. Espera-se, contudo, contribuir para a configuração de quadros conceituais e a compreensão dos discursos da mídia em relação à alimentação/ desconstrução do mito, mediante um reordenamento com as constantes transformações tecnológicas. / The study proposes to investigate in the media the consolidation and deconstruction of discourse linked to the issue of myth in the sport, that reaches the human imagery in the proportion that there is a symbolic representation of the sportsman incorporating the archetypal hero. The same force that the media settings predominant acting in the formation of the myth is also used in the direction of image decomposition. The universe of sport in Brazil, in special the football, has reached such a spectacle that, in line with economic aspects, political, sociological, psychological, permeates the collective unconscious powered by communicative processes of contemporary societies. It has the subject of this study a specific aspect present in the media - the power of assign significance - as well as another feature in the same media instances may succumb to a hero, that was once supported by them. In the context of rites of passage, introduced by Campbell, the return of Ronaldo to Brazilian football aims to be analyzed according to the media behavior based on the news observation concerning to the player linked to the newspapers O Estado de S. Paulo and Folha de S. Paulo considering the current sportive scenario determined by the lack of heroes. It is expected, however, contribute to the settings of conceptual extension and the understanding of the media discourses regarding to the support / deconstruction of the myth through a reorganization with the Constant technological changes.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-10-22T14:05:33Z No. of bitstreams: 2 Dissertação - Tobias Dias Goulao - 2015.pdf: 1699912 bytes, checksum: 90e89537d9f504f9f404a150f8e43692 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-23T11:47:23Z (GMT) No. of bitstreams: 2 Dissertação - Tobias Dias Goulao - 2015.pdf: 1699912 bytes, checksum: 90e89537d9f504f9f404a150f8e43692 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-23T11:47:23Z (GMT). No. of bitstreams: 2 Dissertação - Tobias Dias Goulao - 2015.pdf: 1699912 bytes, checksum: 90e89537d9f504f9f404a150f8e43692 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-03-02 / The purpose of this study was to analyze from the films about the Perseus myth, Clash of the Titans (1981-2010), the way happens the adaptation of the myth for contemporary society produced by the cinema; as a way of displaying to the current audience a form of past staging and the use of mythology in a cultural context of contemporary, because it is about a movie that portrays a historical period and creates in its narrative this aesthetic about the past, thus contributing to the formation of a sense of history and its purposes in society. The myth is an element that proves to be useful for generations like a means of instruction due to its polysemy, being a common component in all civilizations, serving as a symbolic and pedagogical reference for the people that use this range of knowledge. In the West one of the mythical narratives which has great influence in society are the stories that compose the wide Greek mythology. Among the various stories, we have the hero myth Perseus. Hero which faces the Graeae, defeat the Gorgon Medusa, kill the sea monster and it gets king of Tiryns. The cinema know seize these stories like these in their productions causing the Perseus myth passed by two film adaptations in 1981 and 2010. / A proposta desse trabalho é analisar a partir dos filmes sobre o mito de Perseu, Fúria de Titãs (1981-2010), a forma como acontece a adaptação do mito para a sociedade contemporânea à produção pelo cinema; como meio de exibir para o público atual uma forma de encenação do passado e de utilização da mitologia em um contexto cultural da contemporaneidade, pois trata-se de um filme que retrata um período histórico e cria em sua narrativa essa estética sobre o passado, colaborando assim para a formação de uma noção sobre a História e dos seus usos na sociedade. O mito é um elemento que se mostra útil a várias gerações como meio de instrução devido à sua polissemia, sendo um componente comum em todas as civilizações, servindo como referencial simbólico e pedagógico para o povo que utiliza desse conjunto de saberes. No Ocidente uma das narrativas míticas que possui grande influência na sociedade são as histórias que compõem a vasta mitologia grega. Dentre as várias histórias temos o mito do herói de Perseu. Herói que enfrenta as Gréias, derrota a Górgona Medusa, mata o monstro marinho e se torna rei de Tirinto. O cinema sabe aproveitar essas histórias como essas em suas produções fazendo com que o mito de Perseu fizesse duas aparições cinematográficas 1981 e 2010

O presente trabalho tem como objetivo o estudo da representação do herói na obra literária As Andorinhas, de Paulina Chiziane, publicada em Maputo, em 2008, e no Brasil, no ano de 2013. A obra de três contos inspira-se em figuras históricas importantes à constituição da identidade moçambicana. Os heróis nacionais tratados na ficção da autora, entretanto, são narrados como personagens provenientes do universo mitológico. Com o propósito de compreender a finalidade da obra dentro do contexto social e histórico de Moçambique, este trabalho analisa o herói tanto pela sua representação simbólica, como por sua atuação no processo de desenvolvimento de uma identidade nacional em contraposição ao sistema colonial e suas mazelas. Portanto, o tema da busca da liberdade permeia a trilogia de contos e coloca o herói como o representante das transformações sociais no tempo histórico e representante das divindades no tempo mitológico. / The present paper aims to study the representation of the hero in the literary work The Swallows, from Paulina Chiziane, published in Maputo (2008) and in Brazil (2013). The short stories are inspired by important historical figures to the formation of Mozambican identity. These national heroes, however, are narrated as characters from the mythological universe. In order to understand the purpose of the literary work within the social and historical context of Mozambique, this paper analyzes the hero both for its symbolic representation, as for its role in the formation of a national identity in opposition to the colonial system and its ills process. Therefore, the theme of the pursuit of freedom permeates this trilogy and puts the hero as the representative of the social transformations in historical time and representative of the deities in the mythological time.

Este trabalho apresenta uma possibilidade de leitura do espaço geográfico por meio das histórias em quadrinhos do gênero super-heróis - com ênfase em Batman - levando em conta a importância destes ícones e da linguagem quadrinhística no mundo moderno. Ao verificarmos como a paisagem é retratada nas aventuras dos super-heróis, buscamos interpretar as representações do espaço - e se possível os espaços de representação - e como elas ratificam e/ou legitimam os valores e idéias da sociedade que, direta ou indiretamente, as geraram: a sociedade americana/capitalista. A contribuição mais evidente da pesquisa consiste no fato de abordar uma temática ainda pouco explorada dentro dos estudos geográficos e ao mesmo tempo, estabelecer uma possível ponte interdisciplinar com a área de conhecimento da Comunicação / This paper provides a way to interpret geographic space trough the use of super-hero comics - mainly Batman - highlighting the importance of cultural icons and the comic book language in the modern world. We attempted to demonstrate that the landscape itself, as well as what this landscape represents, confirms or legitimizes the values and ideas of american/capitalist society which, directly or indirectly, generates them. The most important contribution of this paper lies in its application of the little used theme of super-hero comics in geographic studies. In addition, this study facilitates the establishment of an interdisciplinary bridge to the area of Communication studies

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-07-04T10:46:28Z No. of bitstreams: 1 denisedefatimagonzagadasilva.pdf: 1300270 bytes, checksum: c820c9ef44ddea6ad419c76b463f8ba4 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-08-08T13:15:38Z (GMT) No. of bitstreams: 1 denisedefatimagonzagadasilva.pdf: 1300270 bytes, checksum: c820c9ef44ddea6ad419c76b463f8ba4 (MD5) / Made available in DSpace on 2017-08-08T13:15:38Z (GMT). No. of bitstreams: 1 denisedefatimagonzagadasilva.pdf: 1300270 bytes, checksum: c820c9ef44ddea6ad419c76b463f8ba4 (MD5) Previous issue date: 2008-08-29 / Essa dissertação desenvolve suas questões a partir da análise do Romanceiro da Inconfidência de Cecília Meireles(1953) e da Conferência proferida pela poetisa em 1955 na cidade de Ouro Preto. A autora recorre aos recursos estilísticos que caracterizam a forma de um Romanceiro rompendo com a construção do herói segundo o paradigma clássico ao aproximar a construção simbólica de Tiradentes da cultura popular, dos personagens marginalizados e da imagem de transgressão. Segundo nossa leitura, o discurso poético de Cecília traria em si o encontro de distintas temporalidades, mediante a confluência do passado colonial brasileiro no século XVIII, a aquisição e transformação do arquivo dos Inconfidentes no século XIX pela República e o momento de escritura da autora no século XX. .Dentro disso, trabalhamos com a busca da construção de identidade e nacionalismo produzidas pela autora modernista, no século XX, além da conseqüente construção da memória e da lírica no enveredar pelos arquivos da história brasileira.Observamos que é possível reconhecer a aproximação de duas formas de conhecimento fundamentais- o saber histórico e literário que alicerçam a composição de um conceito de história em consonância com Walter Benjamin nas suas Teses sobre a história. Para compreender a busca pelos arquivos da história brasileira efetuada pela poetisa utilizamos o arquivo como categoria teórica arquitetada por Derrida em Mal de Arquivo. O trabalho busca refletir sobre a construção do herói formulada pela artista modernista concebendo o mundo do texto como um espaço aberto onde se entremeiam e espelham os tempos e espaços que marcam a constituição de nossa nacionalidade e identidade a partir da ótica do intelectual moderno e do discurso como lugar de poder onde as questões políticas e sociais se ensejam. / This dissertation develops its questions from the analysis of the book Romanceiro da Inconfidência, by Cecília Meireles (1953), and from the lecture delivered by the poet in 1955, in the city of Ouro Preto. The author recurs to stylistics resources which characterize the form of a “romanceiro”, breaking with the classic paradigm of the construction of the hero by approaching the symbolic construction of Tiradentes to the popular culture, the marginalized characters and the image of transgression. In accord with our reading, the poetic discourse of Cecília Meireles would carry in itself the encounter of distinct temporalities through the confluence of the Brazilian XVIIIth century colonial past, the acquisition and transformation of the archive of the “Inconfidentes” by the Republic in the XIXth century, and the author’s writing moment in the XXth century. Among this, we work with the research of construction of identity and nationalism produced by the modernist author in the XXth century, as well as the consequent construction of memory and modern Lyric by following the path of the archives of Brazilian history. We observe that it is possible to recognize the approach of two fundamental forms of knowledge – the historical and the literary knowledge – that lay the foundation of a concept of History consonant with Walter Benjamin’s Theses on History. In order to understand the research that the poet did through the archive of Brazilian history, we made use of the “archive” as a theoretical category conceived by Jacques Derrida in Archive Fever. Thus, this work seeks to reflect on the construction of the hero as formulated by the modern artist, conceiving the world of text as an open space where layers of time and space that mark the constitution of our nationality and identity intermingle and mirror each other, and from the optics of the modern intellectual and of the discourse as a locus of power where the political and social questions are interwoven.

In this essay I look at J.M Coetzee’s Disgrace from a rather different perspective. I argue that, despite his less than heroic attributes, David Lurie is the protagonist of an adventure and follows Joseph Campbell’s pattern of the hero’s ditto. Furthermore, the goal of David Lurie’s journey lies in self-realization and self-reinvention, which is not typical for the hero’s journey. The Ultimate Boon is usually something else but different times call for different heroes. In J.M. Coetzee and the Ethics of Reading, Derek Attridge suggests that David Lurie grows on the reader throughout the novel and is a better person at the end (Attridge 183). This indicates that David Lurie goes through a process personally that changes him in a positive direction. Besides Campbell’s theory, the theories of Propp and Stanford are presented and put to good use as theoretical background. Since this essay deals with both narratology and structuralism I provide short explanations of these two branches of literature criticism as presented in Peter Barry’s Beginning Theory. I then discuss relevant passages from Disgrace in connection with the different stages of the hero’s journey as described by Campbell. I do so in the order they are presented in Campbell’s book.

Cette thèse a pour objet un ensemble de réalisations artistiques qui jouent entre fiction et autofiction. Elle se construit à partir d’une enquête sur un « héros » entre remémoration et oubli. Elle développe une série d’expérimentations et de questions qui concernent les notions de héros individuel et de héros collectif, de mémoire, les limites entre l’autobiographie et l’autofiction. « L’Artiste », « l’Auteure », « le héros » forment trois entités singulières qui se croisent, s’imbriquent et ce faisant, interrogent leurs statuts respectifs. Ainsi, « l’Artiste », dans un jeu d’ubiquités et d’ambiguïtés, cède sa place, en tant que personnage, à « l’Auteure ». Le héros individuel ou « Z-héros » construit par « l’Auteure » cède sa place au héros collectif. La mémoire collective permet de construire cette identité partagée du héros collectif, mais sur quels faits, quels oublis ? « L’Artiste » ici fournit des documents, des images, mais vient brouiller les pistes. Il fait resurgir la mémoire individuelle au sein d’une histoire collective. Ces différentes questions, les oeuvres qui en ont fondé l’existence sont développées dans cette thèse en trois grands moments : l’apparition du héros, sa disparition puis réapparition et les artifices de l’auteur. / This thesis presents a collection of artistic works that exist between fiction and autofiction. It is based on a study of the "hero" between recollection and forgetting. It develops a series of experiments and questions concerning notions of the individual hero and the collective hero, of memory, and the borders between autobiography and autofiction. The artist, the author and the hero form three specific entities that intersect and overlap, and in doing so, question their respective statutes. Thus, the artist, in a game of ubiquities and ambiguities, yields his position as a figure to the author. The individual hero or Z-hero created by the author gives way to the collective hero. Collective memory can create this shared identity of the collective hero, but on what grounds, with wich omissions ? The Artist here provides the documents and the images, but confuses the issue. He brings back the individual memory within a collective history. These different questions and the works that have founded their existence are developed in this thesis in three major moments : the emergence of the hero, his disappearance followed by reappearance, and the artifices of the author.

Cette recherche se propose d'examiner la figure du héros américain de cinéma, en tant que figure héroïque et pas seulement en tant que personnage principal. Refusant le motif d'un Âge d'or du héros (qui correspondrait au cinéma classique hollywoodien) suivi d'une décadence anti-héroïque (que serait le nouvel Hollywood des années 70), nous avons voulu traiter, au-delà des héros eux-mêmes, de l'héroïsme qui leur était associé, notamment dans un genre considéré comme le vivier par excellence des nouveaux Hercules : le film d'Action.Cet héroïsme nous est apparu comme critique, c'est-à-dire en crise - autrement dit, les héros vivent leur héroïsme sur un mode conflictuel, qui se traduit notamment dans la mise en image de corporéités impossibles, où le corps est poussé vers des états limites. Nous avons ainsi travaillé cette notion d'héroïsme en creux, en cherchant à définir son ailleurs ; à cet égard,c'est le nerd, figure stéréotypée prégnante dans la culture américaine, qui s'est imposée. Ce contre-héroïsme du nerd n'est pas seulement un contre-modèle, mais aussi un terme nécessaire dans l'équation héroïque. Les super-héros qui peuplent aujourd'hui les écrans de cinéma forment à priori une image sublimée de l'héroïsme au cinéma, mais réaffirment, par le jeu des identités doubles, l'intrinsèque fragilité d'un héroïsme qui ne peut émerger qu'à la condition d'intégrer son contraire. / This research aims to examine the figure of the american hero in cinema, understood as aheroic figure and not just a main character. By waving aside the idea of a Golden Age for thehero (which could be embodied by classic Hollywood characters) followed by a decadent era(the new Hollywood), we wish to focus - beyond the heroes themselves - on their heroism,especially in a genre considered as the ideal context for harvesting new Herculeses: the actionfilm. Heroism is revealed as being critical, meaning in crisis - in other words, heroes live theirheroism on a conflictual mode, which results in images showing impossible corporeities,where the body is pushed to borderline states. We have thus treated this concept of heroismby searching for its opposites; in this framework, the stereotypical figure of the nerd,dominant in the American culture, imposed itself. The nerd presents a counter-heroism that isnot only a reversed model, but also a necessary term in the heroic equation. The super-heroesthat we see nowadays on movie screens seem to present a sublime image of heroism in thecinema, but thanks to the interplay of their dual identity, they also reaffirm the inner fragilityof heroism, which can only emerge when it accepts its contrary.

This thesis examines the realisation of archetypes, symbols and mythic processes reflected in the musical discourse of selected 20ftt Century stage musicals with a hero theme, namely The Fantasticks, Camelot, Jesus Christ Superstar and Man of La Mancha. Of these, Camelot and Jesus Christ Superstar are mythically by far the more complex, so these will receive correspondingly far greater attention to background, immediately prior to their musical analyses. Insofar as the mythic language of symbols is heavily invested with description, the text reflects this investment. The purpose of this research has been to examine the way in which composers of the 1960s and '70s have revealed symbolic entities inherent in the dramatic plots of these musicals without necessarily being academically aware of deliberately revealing these entities. This being the case, the symbolic grammar and structural psychic elements evident in the musicals could be said to elicit a symbolically related compositional response conveyed in musical structures. Furthermore, the implications of the mythic choice of the hero theme itself and how this is conveyed both in the drama and in compositional choices are examined and discussed in an attempt to comprehend the Zeitgeist of the era, and how its representation In a popular musico-dramatic genre contributes to our insights into human and societal health. / Thesis (DMus)--University of Pretoria, 2010. / Music / unrestricted

The cinematic experience is often an emotional or ‘felt’ experience. In the aftermath of the film, it is challenging to indicate precisely how I was guided to react emotionally to the film. This study presents an investigation of the emotional cinematic experience from a Jungian critical reading. Jungian theory introduces a model of the psyche as consisting of, amongst other constructs, the collective unconscious and the archetypes. These archetypal contents manifest visually as symbols. These symbols guide the reader of the filmic text towards an emotional cinematic experience by activating, in particular, the archetype of the Self. Based on a review of the available scholarship in Jungian theory and film, this dissertation develops a Jungian conceptual framework consisting of notions and concepts that can describe, articulate and examine the psychological dynamics of an emotional cinematic experience. In a demonstration of how a Jungian approach to the text can highlight the dynamics of the emotional cinematic experience, the study presents a critical reading of M. Night Shyamalan’s films The Sixth Sense, Unbreakable and Signs. Using the Jungian practice of amplification, the study focuses on notions of the archetypal (contents and manifestations, particularly the archetype of the Self); individuation motifs; notions of the Apocalypse; and alchemical symbolism, all framed within an approach proposed by Jungian dream analysis. The symbolic aspect of film imagery is constructed by archetypal contents and individuation motifs that emphasise the emotional cinematic experience Based on the critical reading of Shyamalan’s film, this dissertation concludes that the emotional cinematic experience can be examined with specific reference to the emotional cinematic experience as ‘guided’ by the filmic images’ symbolic aspect. The Jungian framework developed by this study can be used to effectively investigate and articulate the emotional cinematic experience. / Dissertation (MA (Drama and Film Studies))--University of Pretoria, 2007. / Drama / MA / Unrestricted