Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-08-30T12:56:04Z No. of bitstreams: 1 Helena Haenni Zimerman.pdf: 902911 bytes, checksum: a62ef2245ef8dfdf747e74745d1c4968 (MD5) / Made available in DSpace on 2017-08-30T12:56:04Z (GMT). No. of bitstreams: 1 Helena Haenni Zimerman.pdf: 902911 bytes, checksum: a62ef2245ef8dfdf747e74745d1c4968 (MD5) Previous issue date: 2017-08-25 / The research approaches the poetic work of St John of the Cross and performs an interlocution with the psychoanalytic concept of invoking drive. Specialized bibliographies were sought based on the life and work of the catholic mystic, as well as writings of the saint himself. The considerations on the peculiarities of the poetry of St John of the Cross are analyzed from bibliographical references which deal specifically with the esthetic and stylistic question of the mystic. The theoretical axis for articulation with the mystical field is the psychoanalytic field, based on the works of Sigmund Freud and Jacques Lacan. St. John of the Cross expressed his mystical experience poetically. The context in which the beginning of his poetic creation takes place, in a moment of intense anguish and helplessness, as well as the dimension assumed by his art, compose an interesting perspective for reflection within the psychoanalytic clinic. It is sought to investigate, by this study, if the aesthetic resource, used by St John of the Cross, privileging the sonority in its verses and, at the same time, maintaining the enigmatic character of its experience, reveals itself as a resource that allowed him to recreate a new way of being and relating to his existence. Such interlocution provides a fertile field for reflection on psychoanalytic practice / A pesquisa aborda a obra poética de São João da Cruz e realiza uma interlocução com o conceito psicanalítico de pulsão invocante. Buscou-se bibliografias especializadas na vida e obra do místico católico, bem como, escritos do próprio santo. As considerações sobre as peculiaridades da poesia de São João da Cruz são analisadas, a partir de referenciais bibliográficos que tratam especificamente da questão estética e estilística do místico. O eixo teórico para a articulação com o campo místico é o campo psicanalítico, embasado nas obras de Sigmund Freud e Jacques Lacan. São João da Cruz expressou sua experiência mística de modo poético. O contexto em que se deu o início de sua criação poética, em um momento de forte angústia e desamparo, bem como, a dimensão que assumiu sua arte, compõem uma perspectiva interessante para a reflexão no âmbito da clínica psicanalítica. Busca-se averiguar, a partir do exposto, se o recurso estético, utilizado por São João da Cruz, privilegiando a sonoridade em seus versos e, ao mesmo tempo, a manutenção do caráter enigmático de sua experiência, revela-se como um recurso que permitiu-lhe recriar um modo novo de estar e se relacionar com sua existência. Tal interlocução, propicia um campo fértil para reflexão da clínica psicanalítica

Thesis (doctoral)--Universität Tübingen. / Includes bibliographical references (p. 198-214).

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-02-16T13:54:54Z No. of bitstreams: 1 carlosfredericobarbozadesouza.pdf: 2789665 bytes, checksum: 6df111460266f9263387d9e5f50f64d3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-20T17:42:16Z (GMT) No. of bitstreams: 1 carlosfredericobarbozadesouza.pdf: 2789665 bytes, checksum: 6df111460266f9263387d9e5f50f64d3 (MD5) / Made available in DSpace on 2017-02-20T17:42:17Z (GMT). No. of bitstreams: 1 carlosfredericobarbozadesouza.pdf: 2789665 bytes, checksum: 6df111460266f9263387d9e5f50f64d3 (MD5) Previous issue date: 2008-07-31 / O objetivo desta tese é estabelecer uma comparação entre a concepção de coração presente nos escritos de Ibn ‘Arabī de Múrcia (1165-1240) e João da Cruz (1542-1591). Para isto, a mesma se divide em três partes, sendo a primeira centrada no pensamento de Ibn ‘Arabī sobre Deus, o cosmo em sua dinamicidade, o ser humano e seu processo de ascensão espiritual rumo à aniquilação e subsistência no Real. A segunda parte se centra no pensamento de João da Cruz, também procurando descrever sua concepção acerca de Deus, da natureza e do ser humano, assim como do processo espiritual com suas Noites e de seu clímax na unio mystica . Já a terceira parte é o cerne da tese e aborda especificamente como estes dois místicos compreendem o coração e seu papel na jornada espiritual. Assim, serão percorridos textos de ambos, que demonstram que o coração é concebido como centro da pessoa e da experiência mística. Ao mesmo tempo ele se constitui de maneira dinâmica e fluídica, capaz de assumir diversas formas no processo de acolhida do Real decorrente de seu polimento que lhe torna espelho por excelência das manifestações divinas. Centrados no evento cordial , Ibn ‘Arabī e João da Cruz desenvolverão uma cardio gnosis e, ao mesmo tempo, uma religio cordis . Sobressai a semelhança com que ambos tratam esta questão e a singularidade joãocruciana, que trabalha com algumas concepções quase que exclusivas da mística muçulmana. / The aim of this thesis is to establish a comparison between the concept of heart found in the writings of Ibn ‘Arabī of Múrcia (1165-1240) and John of the Cross (1542-1591). To articulate this, the thesis is divided into three parts; the first section centres on Ibn ‘Arabī thoughts about God, the cosmos in its dynamism, the human being and the process of his spiritual ascension towards annihilation and subisisntence in the Real. The second part focuses on the thoughts of John of the Cross. It also tries to describe his conception of God, nature and the human being, as well as the spiritual process with his Nights ( Noites ) and of his climax in the Unio Mystica . The third part, however, is the core element of this thesis and it raises the question specifically of how these two mystical men understand the heart and its role through the spiritual journey. Thus, texts from both writers have been examed and they show that the heart is conceived as the centre of a person and of the mystical experience. At the same time, it is formed in a dynamic and fluid manner, capable of assuming many forms in the process of embracing the Real due to the fact that it was polished and thus becoming a mirror for excellence of the divine manifestations. Centred in the hearty event ( cordial evento ) Ibn ‘Arabī and John of the Cross's work will help to develop a Cardio Gnosis and, at the same time, a Religio Cordis . What stands out is the similarity with which both writers address this subject and the singularity of John of the Cross's writings which work with some conceptions that are almost exclusive to Muslin mysticism.

The Incarnation Mystery in the writings of John of the Cross as a reverberation of Johannine Christology. This thesis analyzes the mystery of Incarnation in the mystical experience and doctrine of John of the Cross, a Spanish Carmelite from 16th century, and searches for traces of the testimony of the Fourth Gospel in his conception of this mystery. Based on analysis of excerpts of his writings it concludes that the mystery of Incarnation has crucial role both in his experience and his writings. It consists in the fact that Jesus - the Word incarnate - is a principal agent in the process of uniting with God: He is both a model for a Christian to shape him or herself after and a beloved Spouse with whom he or she should be united and so enter a loving communion with Father and Son and the Holy Spirit. The main work which reveals how much John of the Cross esteems the mystery of Incarnation is a poetic paraphrase of the Gospel of John: Romance based on the Gospel »In principio erat verbum«. It depicts author's view of the incarnational mystery as a dialogue between Father and Son in eternity. The Incarnation is seen as nuptials of the Word incarnate and humankind which elevates humankind to the God's level. By extension, humankind gains participation on the relationship between Father and Son. The...

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Part I of this thesis has been written with a view to exploring the relevance a text over 2500 years old has for contemporary ars poetica. From a detailed study of ‘The Book of Job’ I highlight three main tropes, ‘cognitive dissonance’, ‘tĕšuvah’, and ‘dark saying’, and demonstrate how these might inform the working methods of the contemporary poet. In the introduction I define these tropes in their theological and historical context. Chapter one provides a detailed examination of ‘Job’, its antecedents and its influence on literature. In chapters two and three I examine in detail techniques of Classical Hebrew poetry employed in ‘Job’ and argue for a confluence between literary technique and Jobian cosmology. Stylistically, the rest of the thesis is a critical meditation on how the main tropes of ‘Job’ can be mapped onto contemporary ars poetica. In chapter four I initiate an exploration into varying responses to cognitive dissonance, suggesting how the false comforters and Job represent different approaches to, and stages of, poetic composition. A critique of an essay by David Daiches is followed by a detailed study of Seamus Heaney. In chapter five I map the trope of tĕšuvah onto contemporary ars poetica with reference to the poetry of Pilinszky, Popa, and to the poems and critical work of Ted Hughes. The chapter concludes with a brief exploration into the common ground shared between the terms tĕšuvah and versus as a means of highlighting the importance of proper maturation of the work. Chapter six consists of a discussion of how the kind of ‘dark saying’ found in ‘Job’ 38-41 impacts on an understanding of poetic language and its capacity to accelerate our comprehension of reality. I support this notion with excerpts from Joseph Brodsky and a close reading of Montale’s ‘L’anguilla’. Chapter seven further develops the notion of poetry as a means of propulsion beyond the familiar, the predictable or the clichéd, by examining the function of metaphor and what I term ‘quick thinking’, and by referring to two recently published poems by John Burnside and Don Paterson. In chapter eight I draw out the overall motif implied by a close reading of ‘Job’, that of the weathering of an ordeal, and map this onto ars poetica, looking at two aspects of labour, which I identify as ‘endurance’ and ‘letting go’, crucial for the proper maturation of a poem or body of poems. The concluding chapter develops the theme of the temple first discussed in chapter one. I argue for a connection between Job as a temple initiate, who has the capacity to atone for the false comforters, and poetry as a form of ‘at-one-ment’. This notion is supported by reference to Geoffrey Hill and Rilke. Part II of the thesis consists of a selection of my own poems, titled ‘Bedrock’.

An examination of Teresa of Avila and John of the Cross, applying modern theories of gender and sexuality to the textual analysis of a selection of primary written works and biographical works, in order to determine the roles that they play, not only in the case of these two saints of the Catholic Church, but also within the mystical tradition as a whole.

This thesis deals with the theme of the dark night in the work of St. John of the Cross and its influence on the formation of contemporary spiritual authors. Firstly, it focuses on the Spanish Carmelite mystic, John of the Cross social and biographical facts. These provide background to John's spiritual formation and without them the symbol of the dark night loses its historical context. This is followed by a list and brief description of the key works of John of the Cross. Of these texts, the dark night motif is dealt with in "Ascent of Mount Carmel" and "Dark Night," which constitute two aspects of a single journey leading to union with God. We encounter the dark night motive itself in the third chapter. First, we look at the dark night as described by John from the Cross. Then we focus on the symbolism of the dark night in the saint's work, its articulation and outcome. The last chapter introduces us to the view of contemporary spiritual authors, namely Thomas H. Greene, Thomas Halik, Iain Matthew, Gerald G. May, and Wilfrid Stinissen on the dark night theme.

Este trabajo pretende establecer una teoría de la imagen en San Juan de la Cruz a partir de los textos del autor y de la interpretación del dibujo del Monte de perfección o Monte Carmelo (ca.1580). Nuestro estudio parte de la comprensión de los hechos vitales fundamentales que llevaron a este religioso a la creación literaria y de ésta, a la creación plástica. Se analizarán las características de dicha imagen, como diagrama espiritual vinculado a técnicas de memorización, como ejemplo de poesía visual, como plasmación del mundo interior e invisible y como icono que responde a lo que podríamos llamar una estética de la negatividad, antiidolátrica, abstracta. El estudio se basa en una recopilación iconográfica que muestra la evolución de la imagen original a través de distintas ediciones de las obras de San Juan. / This dissertation aims to establish a theory of image in Saint John of the Cross through his texts and an interpretation of the drawing of the Mount of Perfection or Mount Carmel (ca. 1580). Our investigation starts with an explanation of the facts that brought this religious man to the literary creation, and from it, up to the graphical creation. We carry out an analysis of the features of this image, understood as a spiritual diagram related to mnemonic techniques, as an example of visual poetry, as an expression of the inner and invisible world and as an icon in response to what we could call aesthetics of negativity, antiidolatry and abstraction. This work is based on an iconographical recopilation that shows the evolution of the primitive image through different editions of Saint John's works.