Dans la litterature international, l’ amour est sûrement un sujet privilégié, qui se exprime des façons divers. Dans mon projet de these nous examinerons une variante historique, poetique et très specifique, connue sous le nom de néohellénique dionysiasme”. Ce courant apparaît au debut de 20eme siècle, porté principalement par les poets de génération littéraire de 1910, dans le plus représentantif est Aggelos Sikelianos. Dans l’ oeuvre de ce poet l’ amour prend une valere global et religieux, exprime la tendance originelle a l’ union de tout chose et se met en rapport avec l’ esprit dionysiaque. Dans notre these nous etudierons en detail les expressions de l’ amour dionysiaque dans l’ oeuvre poetic d’ Aggelos Sikelianos, nous entreprendrons une typologie systématique des cas et nous examinerons la relation avec l’ art et la mythologie du monde grec ancient. Spécifiquemement, a partir de la typologie des expressions de l’ esprit dionysiaque dans la poésie de Sikelianos, nous examinerons les correspodances dans des oeuvres de l’ art grec ancient où le sujet de l’ amour a une dimension dionysiaque et nous montrerons des codes communs entre l’ art ancien et la poésie de Sikelianos. / The relationship between Angelos Sikelianos and the ancient spirit is well-known and has been the object of extensive research. Within the unique universe of his poetic mythology, the ancient world and its intellectual expressions (poetry, arts, religion, philosophy) constitue for Sikelianos the components of the Greek cultural diachrony. The intertextual relations between Sikelianos’ poetry and the artistic representations of the great myths of the ancient Greec religion (sculpture and painting) are crucial in order to interpret this universe. Out of these relations, we have chosen the research thematic of the Dionysiac love which represents a key-element in order to understand the Sikelianos cosmology.Indeed, in the poet’s work, love is of cosmological and religious value. It expresses the original tendency appearing in the union of all thinks and can be related to the Dionysian spirit. Reiterating the significance of the ekphrasis as practiced by the ancient Greek tradition, the expression of the Dionysiac love in the poetic work of Angelos Sikelianos has been affirmed via its links to the Greek vase-painting and the ancient Greek sculpture. We have recorded in a systematic way the texts where the poet passes throught the description of a work of art in order to express the Dionysian spirit. In the frame of an inter-semiotic approach, we attempted to highlight the eventual common codes between poetry and art, in order to assess the profound influence of the ancient Greek spirit on the personality and the work of of Sikelianos.

彭淑芬. / 論文(神學碩士) -- 香港中文大學硏究院宗敎與神學學部, 1995. / 參考文獻: leaves i-iv (3rd group) / Peng Shufen. / 序 --- p.i / 撮要 --- p.iii / 前言 --- p.1 / Chapter 第一章 --- 尋根探源 / Chapter 一. --- 理智和宗敎植根期(1909-1924) --- p.5 / Chapter 二. --- 智識開展與獻身社運期（1925~1936) --- p.7 / Chapter 三. --- 神秘經驗與信仰闡釋期（1937~1949) --- p.9 / Chapter 第二章 --- 歷代愛觀與神秘主義方式 / Chapter 一. --- 基督敎傳統中的愛觀 --- p.13 / Chapter 1. --- 奧古斯丁： caritas的宗敎 --- p.14 / Chapter 2. --- 阿奎那：caritas的繼承 --- p.17 / Chapter 3. --- 路德：agape的恢復 --- p.19 / Chapter 二. --- 薇依的神秘主義方式 --- p.21 / Chapter 1. --- 神秘主義的特徵 --- p.21 / Chapter 2. --- 言說愛的方式 --- p.23 / Chapter 第三章 --- 薇依之愛的思想 / Chapter ´ؤ. --- 愛與認識 --- p.27 / Chapter 二. --- 愛上帝與不幸 --- p.29 / Chapter 三. --- 友誼 --- p.33 / Chapter 四. --- 愛鄰舍 --- p.36 / Chapter 五. --- 愛世界之美 --- p.38 / Chapter 六. --- 愛宗敎與聖事 --- p.41 / Chapter 第四章 --- 對談：薇依思想與基督敎愛觀 / Chapter 一. --- 愛上帝：agape與eros之間的爭論 --- p.45 / Chapter 二. --- 十字架聖愛：基督敎的核心愛觀 --- p.55 / Chapter 第五章 --- 綜合評價 / Chapter 一. --- 愛的實行 --- p.63 / Chapter 二. --- 對薇依的評述 --- p.68 / 結論 --- p.76 / 參考資料 --- p.（i)

Thesis: Courtly Love was a comprehensive cultural phenomenon brought about by changes in the social environment and influences from the Arab world. The crisis of the aristocracy in fifteenth-century Spain was a major determining factor in the revival of poetic themes and forms inspired by this literary and sentimental ideology. Oblectives: 1. To study the various trends in scholarship from the sixteenth century to the present day so that the term 'Courtly Love' can be redefined as a valid instrument for critical analysis; II. To investigate the socioeconomic background to the revival of troubadour poetry and chivalric idealism in late medieval Spain. The study inquires into: - I. The Origin and Meaning of Courtly Love. The theories are examined chronologically and analytically. For purposes of analysis they are divided into those concerned with the origins of amour courtois and those concerned with the meaning and validity of the concept. 1. Chronological survey: this survey shows the extent to which opinions on the medieval love lyric reflect contemporary literary fashions and political ideas. 2., Theories of origin: include Chivalric-Matriarchal., Crypto-Catharg Neoplatonic, Bernardine-Marianistg Spring Folk Ritual, Feudal-Sociological and the Hispano-Arabic. The Hispano-Arabio theory stresses the impact of Arab medical doctrines and Slid mysticism on European literature; the Sociological theory attributes the emergence of the troubadour movement to social and economic factors. 3. Theories of meaning: include the interpretation of Courtly Love as a collective fantasy fulfilling a psychological function; as an example of the play element in culture; as a figment of the imagination projected on the Middle Ages by nineteenth-century writers and scholars. II. Background to the Troubadour Revival. Courtly Love was from the start an aristocratic phenomenon. A considerable number of the nine hundred poets who flourished in the courts of Spain and Naples during the fifteenth century were related by ties of kinship and dependence to a rebel aristocracy, whose moral authority had been diminished by changes in the art of war and in the structure of society. Many were court officials Jewish conversos and the lesser landless sons of noble families. The rise of the Castilian love lyric is linked with the prevalence of baronial anarchy and with the rapid inflation of the titular nobility. It was a conservative reaction to social crisis by the dominant minority. 1. The aristocratic theory of society: examines the theory of the three estateat different forms of patronage, and the court as a centre of culture. 2* Historical background to the troubadour revival: outlines events during the reign of the Trastamaran dynasty, and attempts to assess the influence of personalities on cultural attitudes. 3. Documents: include decrees issued by Joan I of Aragon and his successor Harti" extollling the benefits of the Gay Science.

The aim of this thesis is to explore the weight of love in Augustine’s early works (AD 386-95). By the weight of love, this thesis refers to the location and direction of the soul qua lover. According to Augustine, every soul has a journey to attend to, and every journey comes replete with obstacles on the way. To negotiate these obstacles involves attending to the weight of love, taking care to place the soul in relation to the truth. To achieve this, Augustine embarks on three pivotal early works to develop an itinerary for spiritual awakening. In De Academicis (AD 386), he forges a path “from Cicero to Christ” in order to deliver the soul from scepticism, and to present it to the true philosophy. In De vera religione (AD 390-1), he paves a way “from aversion to transcendence” in order to overcome Manichean pride, and to embrace the humility of Christ. Finally in De libero arbitrio (AD 388-95), he charts a course “from faith to understanding” whereby the soul overcomes temptation to blame God for sin, and gains awareness of its location as a sinner in Adam. By examining each itinerary in chronological order, this thesis establishes the place of love as a driving mechanism in the early works, and thereby reveals a profound continuity in Augustine’s early approach to the soul as lover.

Lacan fait de Socrate l’antécédent historique du psychanalyste. Dans son séminaire sur le transfert, il prend appui sur le Banquet de Platon pour démontrer comment Socrate opère une manœuvre digne d’un analyste : quand Alcibiade lui déclare son amour, il le renvoie à Agathon. On peut ainsi dire que l’«interprétation» de Socrate lui dévoile le véritable objet de son désir, en lui prouvant aussi qu’il faut être trois pour aimer : telle serait l’éthique socratique, qui devancerait Freud quand ce dernier formule que «l’exemple est la chose même». Mais ce dialogue de Platon nous intéresse aussi parce qu’il met en relief ce que Lacan appelle la «métaphore de l’amour», à savoir le renversement à travers lequel l’aimé, celui qui se trouve être le centre et l’objet du désir des autres, devient aimant, manifestant ainsi un manque et abandonnant du coup sa position confortable. Ainsi, Lacan se sert de Platon pour comprendre la manière dont opère la psychanalyse : dans toute analyse digne de ce nom s’opère un renversement, une permutation de places, qui permet au sujet de se tourner vers l’inconscient, vers le désir de l’Autre. On peut en dire plus : il n’y a pas d’inconscient à proprement parler avant que ce changement de places énonciatives ne se produise. / Lacan makes Socrate the historical antecedent of the psychoanalyst. In his seminar about the transfer, he bases on Plato's Symposium to demonstrate how Socrate makes a maneuver worthy of an analyst: when Alcibiade declares his love to him, he send him back to Agathon. Thus, we can say that the "interpretation" of Socrates reveals the true object of Alcibiade's desire, proving to him that it takes three to love: such is the Socratic ethics. But Plato's dialogue is also interesting as it highlights what Lacan calls the "metaphor of love", namely the reversal through which the loved one, which is the center and the object of the other's desire, becomes the lover, expressing a lack and abandoning his comfortable position. Thus, Lacan uses Plato to understand how the psychoanalysis operates: in any analysis worthy of the name is effected a reversal, a permutation of places, which allows the subject to turn to the unconscious, to the desire of the Other. We can say more: there is no unconscious strictly speaking before a change of enunciative places occurs.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-01-11T15:47:06Z No. of bitstreams: 1 Luiz Gustavo Santos Teixeira.pdf: 950931 bytes, checksum: 48869897ab2215396d53548c65f37fa0 (MD5) / Made available in DSpace on 2017-01-11T15:47:06Z (GMT). No. of bitstreams: 1 Luiz Gustavo Santos Teixeira.pdf: 950931 bytes, checksum: 48869897ab2215396d53548c65f37fa0 (MD5) Previous issue date: 2016-12-08 / After several centuries, with a vision of sacrifice, revelation, relationship with God, faith, liturgy and practice, and with the renewal of the Second Vatican Council (1962-1965), the Church was able to review the way of expressing the faith being more adapted to the world. This way, the Church tries to recover the vision of God as love and mercy, taking as reference Jesus Christ, who cares about the human being. Therefore, there is a necessity to make the faithful deepen their faith and put into practice in their daily life. However, nowadays, we can see some resistance; gospel values are "interpreted" in the manner of each one; suffering and, sacrifice gain a sense of "redeemer" like the Old Testament rather than the sense of the New Testament, the donation and delivery the life for the people .Therefore, in the light of the Paschal Mystery and a brief analysis of some Eucharistic prayers and anaphora, this work aims to show the positive dimension of the sacrifice present in the Eucharist, allowing, thus, an authentic experience of Jesus Christ and how to put into practice such experience, with responsibility and commitment, from the base of God's love, the agape, because unfortunately, nowadays, still values so much the negative dimension of this following due a liquid society that has developed over the years / Após vários séculos com uma visão de sacrifício, revelação, relação com Deus, fé, liturgia e práxis, com a renovação do Concílio Vaticano II (1962-1965), a Igreja conseguiu rever sua maneira de expressar a fé mais adaptada ao mundo. Dessa forma, tenta-se recuperar a visão de Deus como amor e misericórdia, a partir de Jesus Cristo, que se preocupa com o ser humano. Assim, tem-se a necessidade de fazer com que os fiéis aprofundem a fé e a coloquem em prática no cotidiano de sua vida. Entretanto, nos dias atuais, percebe-se certa resistência; os valores evangélicos são “interpretados” à maneira de cada um; o sofrimento e o sacrifício ganham um sentido “remissor” parecido com o do Antigo Testamento em vez do sentido, do Novo Testamento, de doação e entrega da vida em favor das pessoas. Portanto, à luz do Mistério Pascal e uma sucinta análise de algumas orações eucarísticas e anáforas, este trabalho busca mostrar a dimensão positiva de sacrifício presente na eucaristia, permitindo, assim, uma experiência de Jesus Cristo autêntica e de como pôr em prática tal experiência, com responsabilidade e comprometimento, a partir da base do amor de Deus, o ágape, pois infelizmente nos dias atuais ainda valoriza-se muito uma dimensão negativa desse seguimento, graças a uma sociedade liquida que se desenvolveu com o passar dos anos

Aḥmad Ibn ‘Ajība (d. 1224/1809) is one of the prominent Sufi mystics who lived in Morocco during the 13th/ 17th century. His importance in Sufi scholarship is a reflection of the fact that he is one of the original Sufi scholars who contributed immensely to elucidating ambiguous Sufi concepts that were, by their very nature, enigmatic and only accessible through Sufi adepts. He also stood out as an intellectual theoretician in the science of Qur’ānic esoteric hermeneutics because he was one of the few scholars who managed to convey theoretical concepts and esoteric theories of Qur’ānic interpretation in a language that could be accessed by those with an average level of intellect. One of these theories is the concept of divine love. In this thesis, I propose to address the concept of divine love in Aḥmad Ibn ‘Ajība’s famous exegesis of the Qurān al-Baḥr al-madīd fī tafsīr al-Qur’ān al-majīd (Oceanic Exegesis of the Qurān). Over the course of this thesis, I endeavor to show how Ibn ‘Ajība combined what has been extensively written on the subject of divine love by different Sufi saints and mystics with the mystical exegesis of the Qur’ān. Ibn ‘Ajība is one of the early Sufis who connected theoretical works on the concept of divine love and practically applied them to the Qur’ān’s verses on love. This unique combination was an important breakthrough in the Sufi literature which other Sufi scholars then built upon in offering an exegesis of the Qur’ān - Shaykh Aḥmad Ibn Muṣṭafā al-‘Alawī (d.1934) was particularly important in this respect. Explaining the concept of divine love through his mystical interpretation of the love verses in the Qur’ān ultimately aspire to connect the purpose of creation (which was due to the Creator’s love for His creation), to the turning point (the return of the creation to the Creator). This symphony of love that is an essential component of the story of creation is well-defined, clearly stated and deeply analyzed in Ibn ‘Ajība’s work. He also met the challenge of overcoming the elliptical mystical language of exposition that was used by earlier Sufis; accordingly, he successfully simplified the ambiguous style of writing and decoded their enigmatic mystical doctrines. I hope that an analysis of Ibn ‘Ajība’s concept of divine love will stimulate the appetite of academic researchers to investigate the scholarly works of this luminary, and thus highlight his significance in the wider Sufi tradition. Ibn ‘Ajība's works have in general not received sufficient attention and deserve deeper and more sustained analysis.

L’utopie est la suivante : elle débute par l’injonction amoureuse de Pablo Neruda, ‘‘je veux faire avec toi ce que le printemps fait avec les cerisiers’’, à la suite de laquelle, j’entame une petite collection dépareillée qui met en scène et met ensemble : pièces détachées, éléments brillants, particules rougissantes ou ternies et corps inconnus, qu’il me faudra déployer et marier dans les moindres détails, de novembre 2010 à novembre 2015 pour constituer ce que j’appelle : ‘‘la plastique du corps amoureux’’. J’observerai les effets des images, des corps, de l’œil de l’artiste et celui du regardeur, sous la contrainte du rougissement. Il ne sera pas nécessaire de chercher l’unité mais de bien faire le dessein d’hypothèses amoureuses éparses. Car si la plastique a le pouvoir de faire émerger une forme, celle d’un corps amoureux, ne serait-elle pas une tentative de s’exiler de la forme et de sa propre chair ? Faut-il parler d’informité quand on en vient au couple tant la limite est fragile lorsqu’on s’attaque aux contours ? Que fait-on une fois qu’il n’y a plus d’amour ? Que fait-on, une fois que l’on ne s’y voit plus ? L’engagement s’inscrivant sur une courte durée, il sera de bon augure de le situer dans une temporalité de l’instantané et de ce fait, il sera préférable de ne pas négliger ce que l’on nomme communément ‘‘cliché’’ comme une expérience vécue et recevable par tous, pour amorcer une pensée fleurissante qui croit et décroit suivant la saison. / Here is the utopia: it will all start with the loving injunction of Pablo Neruda “I want to do with you what spring does with the cherry trees.” Then comes a little mismatched collection which will put on a performance and put together: spares parts, blushy or faded particles and shiny elements, which, from November 2010 until November 2015, I will open out and combine down to the smallest detail to constitute what I will call “The plasticity of the loving body”. I will observe images, bodies, the artist’s vision and the spectator vision when they are placed under the effects of blushing. I do not aim at achieving any form of unity but instead, at intending to make numerous assumptions of “loving designs”. Assuming that plasticity has the power of arising shapes, would not the plasticity of loving body be the attempt to get extracted from its own shape and its own flesh. .Should we define the couple as something shapeless: its limits are becoming more and more fragile as deconstruct its outlines. What should we do when love is nowhere to be found ? What should we do once all hopes are gone ? The implication, in the field of love, is timewise very short. It is characterized by its instantaneous dimension. Therefore, I will explore what is generally defined as a “cliché” as actually anybody could very easily experience it. I should be then carried away by a blooming thinking that would blossom and wither with the seasons.

O que quer uma mulher? Essa questão permaneceu enigmática na obra de Freud. Alguns psicanalistas apontaram a maternidade como uma das respostas para a insondável questão do ser... mulher. O campo privilegiado da discussão desta tese é a articulação entre a feminilidade e a maternidade, num percurso de investigação dos textos freudianos, das teorizações pós-freudianas e das formulações lacanianas. Consiste em um estudo teórico-clínico, motivado por questões surgidas na experiência psicanalítica com sujeitos femininos, diante dos impasses do ser mãe e do ser mulher. Freud entendeu a maternidade como caudatária da função fálica na menina, mas manteve em aberto a questão sobre o enigma da feminilidade. A querela do falo permaneceu com os pós-freudianos; que enfatizaram o papel da mãe, a partir do discurso sobre o amor materno. Lacan, ao postular um mais-além do pai, realizou a promoção da sexualidade da mulher, enfatizando o desejo da mulher na mãe. Para destacar a disjunção entre a mãe e a mulher, esse estudo realiza a análise da histeria no romance Memória de duas jovens esposas (Honoré de Balzac, 1955) e da paranóia, a partir do Emílio (Rousseau, 1762) e do caso Aimée (Jacques Lacan, 1932). Para concluir, salienta a divisão entre a mãe e a mulher, articulando-as às vertentes de desejo e gozo, próprios aos sujeitos femininos. / What does a woman want? This question has remained enigmatic in Freud´s work. Some psychoanalysts indicated maternity as one of the answers for the unsoundable question of being... a woman. The privileged discussion topic of this study is the articulation between femininity and maternity, in an investigation path of Freudian texts, of post-Freudian theories and Lacanian formulations. It consists of a clinical-theoretical study, motivated by questions originated in the psychoanalytical experience with female subjects, in face of the impasses of being a mother and a woman. Freud understood maternity as being submissive to the phallic function of a girl, but kept in open the question related to the enigma of femininity. The indictment of phallus remained with the post-Freudians who emphasized the role of the mother, from the discourse on maternal love. Lacan, when postulating on something else more than a father, promoted women´s sexuality, emphasizing the woman´s wish in the mother. To point out the disjunction between the woman and the mother, this study proposes an analysis of histery in the novel Memoirs of Two Young Wives (Honoré de Balzac, 1955) and of paranóia, from Émile (Rousseau, 1762) and also in Aimée´s case (Jacques Lacan, 1932). All in all, it stresses the division between the mother and the woman, articulating them to the slopes of desire and joy, totally related to female subjects.