Made available in DSpace on 2015-04-17T15:01:39Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1210293 bytes, checksum: 130b9c7cbdca13b9398ef10a92dc2a15 (MD5) Previous issue date: 2011-07-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The purpose of this research is to investigate the symbolic-mythological imaginary of seventeenth century Puritan Protestantism, based on the work of John Bunyan, The Pilgrim. The study was developed within the Graduate Program in Sciences of Religions at the Federal University of Paraíba (UFPB), in the research line Religion, Culture and Symbolic Production, by Research and Study Group in Anthropology and the Imaginary (GEPAI). The objective is to identify the mythical and imaginary roots of the Christian imaginary which are present in such work. The historical context in which such work was produced with all religious, philosophical and political conflicts are described. The approach offers elements to realize the mythic-ideological dimension present in John Bunyan s speech. He was a preacher of the Gospel (pastor), forged in an atmosphere of great tension, representative of Protestantism dissent known as Puritan . He used the resource of allegory as a support for the metaphors. The work narrates the trajectory of a Christian towards the Heavenly City. The symbolic-mythological element is present in all the work. This paper aims to bring near the allegory present in the work to the Christian Protestant imaginary. The work was originally published in 1678. The author was in prison for twelve years, and it was during this time that he wrote this, which is his masterpiece. The plot of this novel mingles to the symbolic interpretation. The theoretical analysis adopted is the Theory of the Imaginary by Gilbert Durand. The cultural imaginary consists of a dynamic system, organizer of images, mixture of mythical fragments generated by the human imagination and does not constitute of a secondary element of man s thinking, but in the very matrix of this thought. As a second Theoretical reference is Joseph Campbell, with his work about The Hero Adventure. The proposal is to identify the pilgrim journey in the work of Bunyan with the thesis of the conception of the mythological hero in Campbell. The myths are manifested in the symbolic acts, whose function is to put the man in a relationship of meaning with the world, with the other self and with his own self. There is a logic in all the imaginary mythological building process, in such a way that its phenomenology can be investigated and explained. Methodologically, the research consists in a descriptive and bibliographical study, associated with the studies of the imaginary according to Durand, and the hero adventure according to Campbell. The experience described by Bunyan illustrates our own experience. To tell the truth, all of us are pilgrims in this world, all of us walk in the direction of what is there and beyond, in one way or another, may it be in the plurality of how we feel, perceive and believe, may it be in the singularity of our inner beliefs. / A proposta desta pesquisa consiste em investigar o imaginário simbólico-mitológico do protestantismo puritano do século XVII, tomando como base a obra O peregrino de John Bunyan. O estudo foi desenvolvido dentro do Programa de Pós-Graduação em Ciências das Religiões da Universidade Federal da Paraíba (UFPB), na linha de pesquisa Religião, Cultura e Produção Simbólica, do Grupo de Estudo e Pesquisa em Antropologia do Imaginário (GEPAI). O objetivo é identificar as raízes míticas e imaginárias do imaginário cristão que estão presentes na referida obra. O contexto histórico da produção da referida obra com todos os seus conflitos religiosos, filosóficos e políticos são descritos. A abordagem oferece elementos para se perceber a dimensão mítico-ideológica do discurso de John Bunyan. Era um ministro do evangelho (pastor), forjado num ambiente de grande tensão, representante da dissidência protestante conhecida por puritana . Usa o recurso da alegoria como suporte para as metáforas. A obra narra a trajetória de Cristão rumo à Cidade Celestial. O elemento simbólico-mitológico está presente em toda a obra. Este trabalho procura aproximar a alegoria da obra e o imaginário cristão protestante. A obra foi publicada originalmente em 1678. O autor esteve na prisão por doze anos, tendo nesta época escrito esta sua obra prima. O enredo da obra mescla-se à interpretação simbólica. A fundamentação teórica adotada para a análise é a Teoria do Imaginário de Gilbert Durand. O imaginário cultural consiste de um sistema dinâmico, organizador de imagens, formado pelo amálgama de fragmentos míticos gerados pela imaginação humana e não se constitui num elemento secundário do pensamento do homem, mas na própria matriz deste pensamento. Como segunda referência teórica está Joseph Campbell, com o seu trabalho sobre A aventura do herói. A proposta é identificar a jornada do peregrino da obra de Bunyan com a tese da concepção do herói mitológico de Campbell. Os mitos são manifestos nos atos simbólicos, cuja função é colocar o homem em relação de significado com o mundo, com o outro e consigo mesmo. Há uma lógica em todo o processo de construção do imaginário mitológico, tanto que a sua fenomenologia pode ser pesquisada e explicada. Metodologicamente, a pesquisa consiste de um estudo descritivo e bibliográfico, associado aos estudos do imaginário segundo Durand, e da aventura do herói segundo Campbell. A experiência descrita por Bunyan ilustra a nossa própria. Na verdade, todos somos peregrinos neste mundo, todos caminhamos na direção do que está ali e além, de um modo ou de outro, seja na pluralidade dos modos de sentir, perceber e crer, seja na singularidade das convicções internalizadas.

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The purpose of the essay is based on the idea of masculine and feminine leadership. As well as the criticism of postheroic leadership as gender neutral, and the conflict in whether men's and women's conceptions of leadership differ. This is determined on the basis of the research questions "Do women have a notion of leadership that can be defined as postheroic", "Do women's notion of leadership differentiate from men's notion" and "Do women experience obstacles in their leadership from stereotypical notions of woman". The method used in the essay is a qualitative and quantitative approach. The collection of empirical data was conducted using six semi-structured interviews with respondents who have a managerial role in the private sector. Four of the respondents are women and two are men. In addition, a survey was conducted against the subordinates of the four female respondents to triangulate the leadership of the interviewed women. The thesis theoretical reference frame consists of ‘Heroic leadership’, ‘Postheroic leadership’, ‘Identity and culture’ and ‘Femininity and masculinity’. The result shows that all women in this study seem to have a postheroic notion of leadership in their way to lead. The result also shows that there do not appear to be any differences between men and women's notion of leadership. Instead, it suggests that the context in which leadership is located has a greater impact on the concept of leadership, than gender. The women in this survey do not state any direct obstacles in their leadership from stereotypical notions of the woman. Instead, it appears that it can be an advantage to be a woman in a relationship-oriented leadership.

Thesis (MPhil (Visual Arts))--Stellenbosch University, 2008. / This thesis considers the author's project submission, a comic-book entitled The Number One Game, as production of a local heroic myth. The author will show how this project attempts to engage with mythic and archetypal material to produce an entertaining narrative that has relevance to contemporary Cape Town. The narrative adapts previous incarnations of the hero, with reference to theories of archetypes and mythic patterning devices that are derived from the concept of the “mono-myth”. Joseph Campbell's conception of myth as expressing internal psychic processes will be compared to Roland Barthes' reading of myth as a special inflection of speech that forms a semiotic “metalanguage”. The comic-book is a specific form of the language of comics, a combination of image and text that is highly structured and that can produce a rich graphic text. Using the Judge Dredd and Batman comic-books as models it will be shown how The Number One Game adapts traditions of representation, such as in genre references, to local perspective to create a novel interplay of archetypes. It will be shown that this interplay in the author's project work and the rich potential of the comic-book as a site for mythic speech makes the mythic a useful paradigm for considering the expression of ideology in the heroic comic-book.

ZBIEJCZUKOVÁ, I. The conception of hero in fantasy literature. Diploma thesis. Prague: ÚČLLV FF UK, 2010-2011. This diploma thesis deals with typology of heroes and heroins in fantasy literature, with special regard to heroic quest from the point of view of literally composition. One part of the thesis applies to the defition and history of fantasy genre in both anglo-saxon and czech environment. The thesis therefore uses and cites both czech and foreign fantasy literally works. The aim of the thesis is to point to archetypical neomythic structure of fantasy texts and to their tendency to recreate heroism using particular examples of fantasy literature.

Den här studien behandlar ämnet ledarskap. Teorier konkluderar att det normativa ledarskapsidealet baseras på det transformativa ledarskapet. Syftet med uppsatsen är att studera om en ny ledare i organisationer gör anspråk på ett normativt ledarskapsideal och vilka konsekvenser det får, samt i vilka avseenden det finns skillnader mellan den nya chefens beskrivningar av intentioner och vad chefens ansett sig ha uppnått överens med medarbetarnas uppfattningar. Två nya ledare, som varit i liknande situationer, har studerats och jämnförts. Resultatet pekar på att nya chefer som försöker följa det normativa ledarskapet kan skapa omedvetna hinder för sig själva. Det transformativa ledarskapet i samband med stilen som ett ideal kan medföra oanade problem för nya chefer så som fantasiföreställningar om sitt eget ledarskap. Nya chefer som inte söker sig till normativa ledarskapet har det däremot lättare att etablera sig och accepteras i deras nya organisationer.

The following study compares and contrasts the ways three women writers craft narrative selves in their autobiographical texts. Each of the women, the Metis author Maria Campbell, the Chinese-American writer Maxine Hong Kingston, and the Irish lyric poet Eavan Boland, calls on oral techniques to write her autobiography. The study examines how each of the women draws on the oral traditions of her mother-culture, subsequently using characters from culturally distinct mythologies to express her own growth as writer. The methodologies that inform this study are a combination of postcolonial theories about identity and language, and closely related feminist theories about power relations between women and colonialism and women and patriarchal power. Structuralist and feminist theories about mythologies, as well as analysis of the psychodynamics of orality have also influenced the analysis undertaken in this thesis.<p> The research conducted provides evidence that each woman writes a narrative self structured on the framework of the heroic, but infused with culturespecific heroic characters and characteristics from the mother-culture's oral traditions. Maria Campbell's Half-Breed shows distinctly oral influences both in its narrative structure and in its characters. For example, by comparing Maria's character to Wesakaychak's character from Nehiyawak Trickster cycles and other Native North American Trickster cycles, the study shows how Campbell's character resembles the character from oral tales. The Trickster, and consequently, Maria, destabilizes boundaries and unsettles domains of knowledge, therefore, questioning colonial and patriarchal discourses and imagery. In Woman Warrior, Maxine Hong Kingston likewise battles limiting stereotypes held by both her Chinese-American community and the mainstream community she inhabits. The character Maxine imagines herself as both woman warrior and a warrior poet, characters she hears about from her mother, and in the process of chronicling her own training as a woman warrior, she also chronicles her training as a word warrior. Eavan Boland, in Object Lessons unsettles the conventions surrounding the hero-bard whose shadow falls over Irish lyric poetry. While she is marginalized in different ways than either Campbell or Kingston, she shares their desire to show women as active agents in their own lives. These writers show that foremothers exist in other storytelling traditions, even if the textual record does not reflect the influence that female storytellers have had on it. As the women (re)construct themselves in their autobiographies, they work within and against conventional Western heroics, building characters who enrich and redefine what it means to be heroic.

The following study compares and contrasts the ways three women writers craft narrative selves in their autobiographical texts. Each of the women, the Metis author Maria Campbell, the Chinese-American writer Maxine Hong Kingston, and the Irish lyric poet Eavan Boland, calls on oral techniques to write her autobiography. The study examines how each of the women draws on the oral traditions of her mother-culture, subsequently using characters from culturally distinct mythologies to express her own growth as writer. The methodologies that inform this study are a combination of postcolonial theories about identity and language, and closely related feminist theories about power relations between women and colonialism and women and patriarchal power. Structuralist and feminist theories about mythologies, as well as analysis of the psychodynamics of orality have also influenced the analysis undertaken in this thesis.<p> The research conducted provides evidence that each woman writes a narrative self structured on the framework of the heroic, but infused with culturespecific heroic characters and characteristics from the mother-culture's oral traditions. Maria Campbell's Half-Breed shows distinctly oral influences both in its narrative structure and in its characters. For example, by comparing Maria's character to Wesakaychak's character from Nehiyawak Trickster cycles and other Native North American Trickster cycles, the study shows how Campbell's character resembles the character from oral tales. The Trickster, and consequently, Maria, destabilizes boundaries and unsettles domains of knowledge, therefore, questioning colonial and patriarchal discourses and imagery. In Woman Warrior, Maxine Hong Kingston likewise battles limiting stereotypes held by both her Chinese-American community and the mainstream community she inhabits. The character Maxine imagines herself as both woman warrior and a warrior poet, characters she hears about from her mother, and in the process of chronicling her own training as a woman warrior, she also chronicles her training as a word warrior. Eavan Boland, in Object Lessons unsettles the conventions surrounding the hero-bard whose shadow falls over Irish lyric poetry. While she is marginalized in different ways than either Campbell or Kingston, she shares their desire to show women as active agents in their own lives. These writers show that foremothers exist in other storytelling traditions, even if the textual record does not reflect the influence that female storytellers have had on it. As the women (re)construct themselves in their autobiographies, they work within and against conventional Western heroics, building characters who enrich and redefine what it means to be heroic.

Just as memory pervades our everyday lives, it pervades the lives of the characters and readers of J.K. Rowling's Harry Potter series and Philip Pullman's His Dark Materials trilogy. Acts of recall or recollection occur in almost every chapter as the characters in these novels devote much of the present to keeping in touch with some aspect of the past. Memory is integral to Harry Potter and His Dark Materials, highlighting the following problematic questions: Who are we and how do we relate to the past? How is what we wish for the future grounded in the past and the present? Memory is at the core of constructivism, the active construction of reality by the individual through the use of mental activity. In this thesis I maintain that the central protagonists in Harry Potter and His Dark Materials, Harry Potter and Lyra Belacqua, actively construct their "selves" from memories and narratives – their own and those of others – just as the novels' readers negotiate their own identities in the world outside of the novels. The constant recalling of the past to confirm and amply one's present creates a complex web of remembering and forgetting, assimilating and discarding, which we attempt to explicate through the use of culturally appropriate metaphors. The thesis comprises three chapters that correlate memory with genre, narrative, and technology respectively. I commence the thesis by exploring the idea of genre as collective memory. I position Harry Potter and His Dark Materials within the genre of heroic fantasy and examine how the monomyth provides readers with the memory triggers they require to decode the structure of these texts. The novels conform to and yet manipulate the preconceived patterns present in the heroic or "high" fantasy genre, where narrative, memory and identity are all linked by the desires of the stories' participants. Chapter Two applies Freud's concept of Nachtraglichkeit, which supposes the process of memory is one of incessant reconsideration or "retranslation", the reworking of memory traces in the light of later knowledge and experience. This conceptualisation of memory is compared to the common, but less productive, tendency to describe memory through objectifying metaphors, such as the idea that memory works analogously to a photograph. Chapter Three addresses how knowledge and experience in Harry Potter and His Dark Materials are furnished by prosthetic memory devices, such as photographs, the Pensieve, the alethiometer and the Amber Spyglass, “that permit us to transcend "raw" biological limits – for example, the limits on memory capacity or limits on our auditory range” (Bruner, Acts of Meaning 34). The novel's protagonists are then armed with these devices in trying to make sense of the landscapes they inhabit. Ultimately, we are all story-tellers (for better or for worse), weaving our self-narratives from material gleaned from the collective memories and prosthetic memory devices of the society we belong to, our own experiences, and the tales of others, trying to achieve the uniformity of consciousness and an awareness of the connection between the actions and events of the past, and the experience of the present, which are fundamental to a sense of individual identity.

Orientador: Marcos Antônio Siscar / Banca: Miguel Castillo Didier / Banca: Constança Terezinha Marcondes Cesar / Banca: Arnaldo Franco Júnior / Banca: Orlando Nunes Amorim / Resumo: O tema da viagem de Odisseu foi largamente retomado pela tradição literária após a Odisséia de Homero, seja para confirmar o ideal do herói nostálgico, que anseia o retorno à pátria, seja para reafirmar o ímpeto do eterno navegador de mares. Nikos Kazantzakis (1883-1957) igualmente retoma o Odisseu lendário, insatisfeito com o retorno ao lar, como seu protótipo de herói e constrói, na modernidade, o poema épico Odisséia (1938), a partir do canto XXII no verso 477 do poema de Homero, sendo Odisseu levado a um novo itinerário ao deixar Ítaca definitivamente. Embora se baseie na obra clássica, recuperando personagens e a estrutura épica, Kazantzakis participa de seu tempo, compondo um novo Odisseu representante do mundo moderno, próximo das filosofias de Nietzsche e de Bergson. Como figura "entre mundos", o Odisseu de Kazantzakis recupera as antigas delineações de Homero e incorpora as questões da modernidade: o niilismo, a desesperança, a multiplicidade. No entanto, além de prolongar os feitos de Odisseu e a narrativa de Homero, Kazantzakis compõe um poema épico de dimensões admiráveis - 33.333 versos de 17 sílabas poéticas, em 24 cantos - contrariando (e reafirmando) as intenções inovadoras de seus contemporâneos da primeira metade do século XX. A epopéia configura na modernidade um gênero considerado esgotado, que teria dado lugar ao romance como gênero mais apropriado às produções modernas. Esta investigação, no entanto, procura evidenciar que o épico de Kazantzakis, ainda que represente um anacronismo em tempos modernos e, para muitos, uma afronta às normas estéticas, é, assim como muitas das obras de sua época, a confirmação das intenções inovadoras em tempos de crise, por meio da incorporação de uma trajetória filosófica de Odisseu baseada no niilismo heróico de cunho nietzschiano e na evolução criadora de Bergson... (Resumo completo clicar acesso eletrônico abaixo) / Abstract: The theme of Odysseus‟ journey was broadly retaken by the literary tradition after Homer‟s Odyssey, whether to confirm the nostalgic ideal of the hero yearning to return to his homeland, or to reaffirm the impetus of the eternal navigator. Nikos Kazantzakis (1883-1957) also incorporates as his prototypical hero the legendary Odysseus, unhappy about returning home, and writes, in the modernity, the epic poem Odyssey (1938), based on the canto XXII and on the verse 477 of Homer‟s poem, and taking Odysseus to a new route when he leaves Ithaca for good. Although based on the classic work, restoring its characters and its epic structure, Kazantzakis takes part of his own time, creating a new Odysseus, now representative of the modern world, and close to the philosophies of Nietzsche and Bergson. As a figure "between worlds", Kazantzakis‟s Odysseus recovers the old delineations of Homer and incorporates the issues of modernity: nihilism, hopelessness, and multiplicity. However, besides prolonging Odysseus‟ prowess and Homer‟s narrative, Kazantzakis wrote an epic poem of remarkable dimensions -- 33,333 verses of 17 poetic syllables, along 24 Cantos -- contradicting (and reassuring) the innovative intentions of his contemporaries in the first half of the 20th century. In the modernity, epic poetry configures a genre considered to be already exhausted, and which would have given rise to the novel as a genre much more suitable to the modern productions. This research, however, intends to show that the Kazantzakis‟s epopee, even being an anachronism in the modern times and, for many, an affront to aesthetic standards, is, like many of the works of his time, the confirmation of innovative intentions that take place in times of crisis, through the incorporation of a philosophical trajectory of Odysseus based upon Nietzsche‟s heroic nihilism and on Bergson‟s ...(Complete abstract click electronic access below) / Doutor