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The purpose of the present dissertation is to study the elaborations of the initiation myth in contemporary Italian author Alessandro Baricco. The theoretical and methodological framework consists mainly of Mircea Eliade’s phenomenological theory of initiation. It is argued that the categories of space and time are interdepent in religious thought and should thus be studied as a unit, through the notion of the chronotope. The dissertation therefore proposes to introduce the concept of the chronotope of initiation as an operative tool, the intersection of the theories of Eliade and Mikhail Bakhtin, for the literary subgenre of the initiation novel. A hermeneutical analysis of the novels Oceano mare, Emmaus and Mr Gwyn demonstrates that the initiation myth is present in all three novels. The symbolism of death and rebirth is coherently enacted as a movement via the categories cosmos-chaos-cosmos, for which the author uses the symbolism of the earth to define cosmos (regularity and structure) and water symbolism for the regenerating chaos (dissolution and renewal). The different chapters of analysis accentuate the interaction of space and time within the different phases of the initiation pattern: the profane, the threshold, the sacred, the centre (the place where the actual ritual is enacted) and the return, which are all defined as chronotopes. The analysis shows that although the chronotope of initiation – the concept intending the fusion of the temporal event of ritual at the spatial centre – assumes different forms throughout the corpus, its function remains unmodified, with its purpose being the creation of ontological change. In its inherent structure, the chronotope of initiation unites antithetical spatial and temporal characteristics. Spatially it unites infinite and dissolving chaotic space with the constitutive envelope or sacred vertical centre, and temporally it brings together the ultimative ontological change at a fixed, historical moment with the eternal, sacred, time opened by ritual, representing the coincidentia oppositorum of the sacred. The analysis also shows that the so-called “portraits of the ineffable”, present in all three novels, reflect the same qualities. As immanent works of art, they function as thresholds into the infinite. From a chronological perspective, the dissertation shows a modification of the initiation pattern in Baricco’s writing: from the classical form in Oceano mare, via a more realistic application in Emmaus, to the most elaborate, meta-literary adaption in Mr Gwyn. Nevertheless, the use of the pattern and its thematic coherence reveals that Baricco consciously elaborates on the pattern to suit the contemporary context.

S’il est établi que le baby-boomer québécois francophone issu de la tradition catholique s’est distancié de cette dernière, nous observons aussi qu’il continue à s’y identifier à chaque recensement. Ce mémoire propose une démarche et des outils permettant de décrire l’expérience de foi de celui-ci. Il s’agit de la théologie de l’intime, dont la genèse et son expérimentation sont présentés dans le cadre d’une recherche conduite auprès de sujets appartenant à cette population. Cette approche s’articule à travers trois dialogues complémentaires et interdépendants : la quête de l’essence, la démarche d’incarnation et le défi identitaire. L’expérimentation démontre que le caractère pluridisciplinaire de la théologie de l’intime réussit à décrire de façon congruente l’expérience de foi de baby-boomers dont elle confirme aussi la cohérence, malgré le constat d’un décalage doctrinal avec le catholicisme. Le mémoire conclut en proposant d’autres perspectives d’application de la théologie de l’intime. / Even if we know that the Quebec French-speaking baby-boomer of catholic tradition stepped back from the latter, we also observe that he continues to become identified with it in every census. This report proposes an approach and tools allowing to describe the experience of faith of this one. It is about the intimate theology, of which the genesis and its experiment are presented within the framework of a research led with subjects belonging to this population. This approach articulates through three complementary and interdependent dialogues: the quest for essence, the embodiment process and the identity challenge. The experiment demonstrates that the multidisciplinary character of the intimate theology describes in a congruent way some baby-boomers’ experience of faith, the coherence of which it also confirms, in spite of the report of a doctrinal gap with the Catholicism. The report ends by proposing other perspectives of application of the intimate theology.

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.

Romantic love since its beginnings raises the question of intimacy and has become an essential social force of society. In contrast to the forms of Christian love or passionate love, romantic love is the typical feature that imply a degree of self-knowledge and activity that leads to one of the characteristic elements of "heroic expedition". Since the establishment of the first novels, the concept has undergone significant way and has become the subject of much research int different disciplines. This thesis looks on the issue of display of romantic love in terms of a social construct which is variable over time and dependent on cultural and social factors of the society to which the media as part of the intended product. Constructing myth of romantic love is in this thesis elaborated in the cultural environment of Czech and Slovak film production, which shares a common history. Defined, collected and described myths, metaphors and archetypal view of the concept of romantic love, they were applied to the selected movie stories from the years 1992 - 2013.

La présente thèse étudie le rapport entre la vie et l’oeuvre d’Eugène Ionesco selon la perspective de l’autoportrait. Dans ses ouvrages fort divers — essai, roman et théâtre — l’écrivain se penche ouvertement sur sa vie et son passé pour y trouver l’essence de son existence. L’autoportrait ainsi dressé revêt constamment de nouvelles formes. Complexe et transgénérique, il embrasse plusieurs enjeux littéraires et métaphysiques que nous tentons d’analyser et de circonscrire dans le cadre d’une réflexion tripartite. Dans un premier temps, nous étudions la nature de « l’écriture de soi » chez Ionesco en regard des notions d’autobiographie et de journal pour en saisir l’originalité. Nous abordons ensuite l’écriture romanesque de l’auteur afin de montrer d’une part comment ce dernier introduit une dimension autobiographique dans une œuvre fictive et afin de révéler d’autre part son objectif sur le plan de l’écriture de soi. Enfin, nous analysons la nature de l’autoportrait dramatique ionescien du point de vue générique et examinons le mode de représentation de soi « hors de soi », c’est-à-dire, sur scène. / This thesis analyzes the relationship of Eugène Ionesco's life and works through a selfportrait lens. In his rich variety of works across multiple genres, e.g. essays, novels and plays, the author openly examines his life and his past to find the essence of his existence. Thus approached, the self-portrait constantly takes on new forms. Complex and cross-genre, it takes up various literary and metaphysical issues which will be analyzed and delineated through a tripartite approach. Firstly, the nature of self-writing in Ionesco's works will be considered in comparison to the concepts of autobiographical and journal writing in order to appreciate his originality more thoroughly. Next, his novelistic writing will be explored to show, on the one hand, how he adds an autobiographical dimension to fiction, and to reveal on the other hand, his goal as far as self-writing is concerned. Finally, the nature of Ionesco’s dramatic selfportrait will be analyzed from a genre standpoint as will his self-representation from “ outside himself”, that is to say, on stage.

Made available in DSpace on 2015-04-14T13:47:05Z (GMT). No. of bitstreams: 1 422750.pdf: 635680 bytes, checksum: 5be5f2b5fd8fcc7c137abb0126f5ea87 (MD5) Previous issue date: 2010-03-26 / As estrat?gias que homens e mulheres dos Campos de Cima da Serra adotaram para sobreviver ao cotidiano marcado pela viol?ncia s?o quest?es que permeiam este estudo. Priorizam-se, todavia as quest?es femininas, as mulheres v?timas e os agentes da viol?ncia. Esses elementos imiscuem-se nas redes que permeiam o cotidiano, pautado pelo ideal masculino; tamb?m se evidencia que a Modernidade estende os seus tent?culos, mas n?o abrange a todos. O que se constata ? que sujeitos espec?ficos s?o os que andam na contraven??o estabelecida pela ordem.

Made available in DSpace on 2016-04-28T20:13:55Z (GMT). No. of bitstreams: 1 2006- Cesar Augusto Da Ros.pdf: 8517371 bytes, checksum: 2a0778913577d99b72967c390d056a45 (MD5) Previous issue date: 2006-08-30 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / This paper analyzes the dynamics of implementation of the agrarian policies in Rio Grande do Sul from 1999 to 2002. In this period the simultaneous presence of two distinctive governmental strategies for the widening of the access to land in this State was observed. The first strategy was led by the government of Fernando Henrique Cardoso (PSDB) and focused on two lines of action: a) the policy of the settlements implemented by the Regional Superintendency of INCRA; b) the agrarian credit program from the Land Bank (Banco da Terra), implemented by the Regional Delegation of MDA. The second strategy was led by the government of Ol?vio Dutra and it purposed at implementing a state policy of settlements and resettlements and at assisting claims from several kinds of public. The emphasis of the analyses carried out throughout this thesis is placed on the attempt to understand the dynamics of the actions developed within the scope of the federal and state government agrarian policies and of the relationships between both governments and the main social agents present on the field of agrarian conflicts. In this sense, the different governmental strategies are analyzed in an articulate way with the political struggle between social agents about the gaucho agrarian issue. On a first moment, the paper presents a comprehensive historical panel on the complexity and heterogeneity of the agrarian problems that arose in the state, highlighting their connection to the rise of the social agents participating in the political struggle within the field of agrarian conflicts. On a second moment, the paper seeks to analyze the internalization of the agrarian conflicts within the scope of the governments (federal and state) and of the state authorities responsible for the implementation of agrarian policies, in a more recent historical background. In this sense the paper shows that the tensions produced by the political struggle between the social agents caused direct repercussions on the character of the adopted agrarian policies, as well as on its rate, extension and on the definition of the instruments used. The way in which the governments of Fernando Henrique Cardoso and Ol?vio Dutra diagnosed the nature of the agrarian problem and its possible solutions was intimately related with the nature of their political projects and with the composition of the social forces which supported their mandates. The comparison of their general agenda on agrarian policies with the results obtained in this period confirms that perception. / Este trabalho analisa a din?mica de implementa??o das pol?ticas agr?rias no Rio Grande do Sul durante os anos de 1999 a 2002. Neste per?odo observou-se a presen?a simult?nea de duas estrat?gias governamentais distintas para a amplia??o do acesso a terra no estado. A primeira delas foi conduzida pelo governo Fernando Henrique Cardoso (PSDB) e se concentrou em duas linhas de atua??o: a) a pol?tica de assentamentos implementada pela Superintend?ncia Regional do INCRA; b) o programa de cr?dito fundi?rio o Banco da Terra, implementado pela Delegacia Regional do MDA. A segunda foi conduzida pelo governo Ol?vio Dutra e se objetivou na implementa??o de uma pol?tica estadual de assentamentos e reassentamentos, al?m de ter concentrado as suas a??es no atendimento das reivindica??es de diversos tipos de p?blico. A ?nfase das an?lises realizadas ao longo desta tese centra-se na tentativa de compreender a din?mica das a??es desenvolvidas no ?mbito das pol?ticas agr?rias dos governos federal e estadual e das rela??es de ambos com os principais agentes sociais presentes no campo dos conflitos agr?rios. Neste sentido, as diferentes estrat?gias governamentais s?o analisadas de forma articulada ? luta pol?tica travada entre os agentes sociais em torno da quest?o agr?ria ga?cha. Num primeiro momento, o trabalho apresenta um painel hist?rico abrangente sobre a complexidade e heterogeneidade dos problemas fundi?rios que se constitu?ram no estado, evidenciando a sua conex?o com a emerg?ncia dos agentes sociais que participam das lutas pol?ticas no interior do campo dos conflitos agr?rios. Num segundo momento, o trabalho procura analisar a internaliza??o dos conflitos fundi?rios no ?mbito dos governos (federal e estadual) e das inst?ncias estatais respons?veis pela implementa??o das pol?ticas agr?rias, numa conjuntura hist?rica mais recente. Nesta dire??o o trabalho demonstra que as tens?es produzidas pela luta pol?tica travada entre os agentes sociais repercutiram diretamente no car?ter das pol?ticas agr?rias adotadas, assim como, no seu ritmo, extens?o e na defini??o dos instrumentos utilizados. O modo pelo qual os governos Fernando Henrique Cardoso e Ol?vio Dutra diagnosticaram a natureza do problema agr?rio e, as suas poss?veis solu??es, estavam intimamente relacionados ? natureza dos seus projetos pol?ticos e ? composi??o das for?as sociais que deram sustenta??o aos seus mandatos. O cotejamento das diretrizes gerais das suas pol?ticas agr?rias e dos resultados alcan?ados no per?odo confirma essa percep??o.

This paper sought to examine conspiracy theory (CT) use across three types of groups: radical violent extremists (RVE), non-violent extremists, and moderates. Using the theory of significance quest, or the desire for one’s life to have meaning (Kruglanski, Chen, Dechesne, Fishman, & Orehek, 2009), I sought to determine whether RVE groups were more likely to use CTs, invoke need for cognitive closure (NFCC) via the use of time pressure, elicit anomie, and promote significance quest through violence than the other groups. Using text analysis software, I pulled passages from six groups – two from each level of extremism - that had conspiratorial language and then coded for the variables described above. RVE groups were significantly more likely than the other groups to use CTs and invoke NFCC through time pressure but were less likely than non-violent groups to elicit anomie. In addition, RVE groups were more likely to promote significance gain through action, but not significance restoration or prevention of significance loss. Implications of the findings are discussed.

La répétition, matrice essentielle de l’écriture de Robert Pinget, en informe tous les enjeux. Les reprises sous-tendent l’écriture et en font un lieu aporétique : entre désir de mimèsis et impossible figuration, cohésion textuelle et déstructuration narrative, reconstitution authentique de la parole et avancée tâtonnante, écriture romanesque et oralité toute théâtrale, foisonnement baroque et épure poétique. Ce retour linguistique de la répétition se fait chemin vers un retour mémoriel. Anamnèse qui s’avère impossible et à laquelle se substitue une complexe remontée vers le roman des origines familiales où la fable et la fiction prennent la place des souvenirs réels. Aucune restauration mémorielle n’étant possible dans le monde pingétien, les œuvres signent l’échec des mémoires familiale, historique et patrimoniale dans un monde où seules demeurent des histoires retranscrites dans des manuscrits qui les perpétuent – mémoire textuelle essentiellement. Dans ce travail mémoriel, qui se veut avant tout scriptural, émerge une figure essentielle bien que marginale au sein de l’œuvre de Robert Pinget : l’écrivain. En charge d’une œuvre fondamentalement inachevée, ce dernier est un être singulier qui hante les marges des textes et du monde. L’écrivain pingétien, en véritable anachorète, s’astreint à une difficile ascèse scripturale pour accéder au texte pur, lieu d’une parole vraie et authentique. Dans cette posture littéraire tout autant que morale peut se lire le parcours même de l’auteur Robert Pinget qui n’a eu de cesse d’occuper une place marginale au sein du champ littéraire de son époque, à la fois proche et en retrait du Nouveau Roman et du Nouveau nouveau roman. / Repetition, a founding pattern of Robert Pinget's writing, affects all its aspects. Repetitions underlie the writing, making it aporetical – between desire of mimesis and impossible representation, textual cohesion and narrative destructuration, authentic reproduction of speech and hesitant progression, novelistic writing and utterly dramatic orality, baroque profusion and poetic refining. This linguistic recurrence of repetition becomes the way back into memory all the characters are looking for. An anamnesis which turns out to be impossible and is replaced by a slow and complex return to the novel of family origins, in which fable and fiction substitute themselves for real memories. No restoration of memory being possible in Pinget's world, his works bear witness to the failure of family, historical and patrimonial memories in a world where the only stories left live on in manuscripts which retranscribe them – i.e. mostly textual memory. From this work on memory, which first of all aims at focusing on the writing, an essential figure – marginal as it may be in Robert Pinget's works – stands out : the writer. Responsible for basically uncompleted works, this one is a singular being haunting the margins of both the text and the world. The pingetian writer, a true anchorite, compels himself to a difficult asceticism of writing to reach pure text, and thus a true and authentic speech. Through this literary as well as moral position we can glimpse the very path followed by author Robert Pinget, who constantly endeavoured to play a marginal part in the literary world of his times, both close and standing back from the « Nouveau Roman » and the « Nouveau nouveau roman ».