CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / A partir da leitura da peÃa RÃs, de 405 a.C., de AristÃfanes, depreende-se uma forte utilizaÃÃo de material mitolÃgico utilizado pelo comediÃgrafo na construÃÃo do texto. Dessa forma, uma leitura dessa comÃdia, a partir das modernas abordagens cientÃficas do mito, permite a determinaÃÃo de um nÃcleo mÃtico capaz de oferecer uma importante chave de leitura para a obra de AristÃfanes, bem como para a produÃÃo dramÃtica do final do perÃodo clÃssico grego. No agÃn entre Ãsquilo e EurÃpedes, sÃo os prÃprios trÃgicos, que, insultando-se, revelam como fonte de sua produÃÃo, respectivamente, a influÃncia dos mitos de Ares e Afrodite. Sendo os dois tragediÃgrafos integrantes da trÃade eleita pelos atenienses como os melhores representantes do gÃnero trÃgico, e, sendo a poesia uma das fontes constituintes da educaÃÃo do cidadÃo grego, a pesquisa verificarÃ, atà que ponto os mitos de Ares e Afrodite estÃo presentes na obra dos dois tragediÃgrafos, e como ambos os utilizam como contribuiÃÃo para o fundamento da formaÃÃo do espÃrito do homem grego. Tendo como base uma dialÃtica entre o amor e a guerra, a pesquisa irà verificar as ocorrÃncias dessas tradiÃÃes na obra do comediÃgrafo AristÃfanes, a partir da leitura da peÃa RÃs. AristÃfanes, ao escolher o reino dos mortos como espaÃo de discussÃo entre essas duas tradiÃÃes mitolÃgicas, estabelece um tribunal paradigmÃtico, apto para apreciar e valorar os diferentes elementos e tipos de discurso trÃgico, tratando-os, entretanto, sob a Ãtica cÃmica. Faz-se mister determinar atà que ponto o discurso cÃmico, a partir do paralelo entre estruturas do submundo e a contingÃncia da vida ateniense estariam sendo utilizados como uma tentativa de interpretar o mito. Por fim, verificaremos se comÃdia no ano de 405 a.C., com a apresentaÃÃo da peÃa RÃs, procurava apropriar-se do discurso mitolÃgico, modificando-o e plasmando-o de acordo com as novas exigÃncias da pÃlis, como antes fizeram os trÃgicos, e quais as implicaÃÃes desse novo discurso diante dos elementos do fazer teatral: texto, performance e audiÃncia / Based on a reading of the play The Frogs, 405 b.C., by Aristophanes, itâs inferred a strong use of mythological material used by the comediographist in the construction of the text. Therefore, a reading of that comedy under the modern scientific approaches to the myth allows the determination of a mythical nucleus able to offer an important key to reading the work of Aristophanes as well as the dramatic production of the late classical Greek period. In the agon between Aeschylus and Euripedes, the tragic themselves are the ones who, insulting each other, reveal the source of their production to be, respectively, the influence from the myths of Ares and Aphrodite. Both the tragedians being members of the triad elected by the Athenians as the best representatives of the tragic genre, and, the poetry being one of the constituent sources of the Greek citizenâs education, this research will verify to what extent the myths of Ares and Aphrodite are present in the work of the two tragedians, and how both use it as a contribution to the foundation for the shaping of the Greek manâs spirit. From a dialectic between love and war, the second part of the research will verify the occurrences of these traditions in the work of the comediographist Aristophanes, analyzing the play The Frogs. The author, when choosing the kingdom of the dead as a discussion space between these two mythological traditions, establishes a paradigmatic court, able to appreciate and value the diferent elements and types of tragic speech, treating them, however, under the comical perspective. It is necessary to determine to what extent the comic speech from the parallel between the underground structures and the contingency of Athenian life were being used as an attempt to interpret the myth. Finally, will verify with the presentation of the play Frogs, the comedy would be, in 405 b.C., seeking to appropriate the mythological speech, modifying it and shaping it according to the new requirements of the polis, as the tragic did before, and what are the implications of this new discourse on the elements related to theater: text, performance and audience

Os aspectos próprios aos processos de formação pessoal acontecem, também, em âmbito escolar, entretanto, são mobilizados por instâncias que extrapolam as práticas educativas institucionalizadas. Fundamentados em uma reflexão filosófica sobre as distintas concepções pedagógicas que se articulam em torno de diferentes compreensões da condição humana, procuramos, dessa maneira, articular a função da arte na formulação de conhecimentos aos saberes adquiridos por meio da experimentação do mito. Para tanto, valemo-nos de uma abordagem antropológica do imaginário e seus processos criativos, inspirada no pensamento de Gilbert Durand, cuja configuração nos apresenta os símbolos como uma estrutura sintética, intermediadora das pulsões subjetivas e intimações cósmico sociais, operantes na apreensão criativa de uma determinada realidade, revelando o desenrolar dos trajetos formativos enraizados nos campos da cultura e evidenciando o potencial pedagógico das narrativas ficcionais. Dessa maneira, focalizando os elementos sensíveis envolvidos na prática da educação, concebida em sua realização estética, como propõe Duarte Júnior, elaboramos uma leitura mitohermenêutica de Harry Potter, isto é, uma interpretação dos símbolos dinamizados pela trama mitológica. Este método de leitura foi adotado a fim de darmos forma ao imaginário constituído em torno da saga, delinear uma de suas possíveis significações simbólicas e apontar, junto ao percurso do herói, as transformações existenciais que acompanham a passagem da vivência egocentrada à experiência comunitária. / The typical aspects of a personal make-up in progress also occur in the school setting, however, are mobilized by instances that go beyond the institutionalized educational practices. Grounded in a philosophical reflection on the different pedagogical concepts that are articulated around different understandings of the human condition, we seek in this way to articulate the role of art in the formulation of knowledge to wisdom acquired through experimentation myth. For this, we make use of an anthropological approach to the creative imagination and their creative processes, inspired by the thought of Gilbert Durand, whose configuration presents the symbols as a synthetic carrier, mediator of subjective social instincts and cosmic orders, operative in the apprehension of a reality, revealing the development of formative paths rooted in the fields of culture and highlighting the pedagogical potential of fictional narratives. Thus, focusing on the sensitive elements involved in the practice of education, conceived in its aesthetic accomplishment, as proposed by Duarte, Jr., developed a mitohermenêutica reading on Harry Potter, that is, an interpretation of the mythological symbols streamlined plot. This reading method was adopted in order to give way to the imaginary constituted around the exploit, an outline of their possible symbolic meanings and pointing along the path of the hero, the existential transformations that accompany the transition from self-centered to community living experience.

This paper discusses a Fine Art Master thesis exhibition. The show was on the topic of the Latter-day Saint doctrine of a Mother in Heaven. It contains a project statement detailing the theological meanings and reasons, an overview of the visual elements of the exhibition, and a section contextualizing the exhibition within the art world.

Kindred, an MFA exhibition held at the Tipton Gallery located in downtown Johnson City from Feburary 22nd to March 4th. Kindred presents two bodies of work, which are a collection of drawings, etchings, monoprints, and lithographs, that center around a personal mythology and symbolism of self-identity and discovery. These works explore the physical and spiritual connection behind being a fraternal twin through the metaphorical use of animal imagery. The ideas discussed in this paper center around the process of creating a personal mythology and symbolism through my observations of animals and how I relate that experience to other mythologies that inspire me. This process of creating narratives and iconography coincide with the writings of Joseph Campbell and Carl Jung. This paper also includes the inspiration of other artists, such as Beth Cavener and Dennis McNett, who also use animal imagery to explain a kind of kinship.

"You Cannot Chase Two Antelopes at the Same Time" will teach your child(ren) the invaluable lesson of determination and focus. This heart-warming story about the courage and determination of a little boy and his sister who set out to chase two antelopes unsuccessfully, extracts in a vivid illustrative style, the important character trait of determination and focus. The little boy and girl set out to accomplish an impossible task and try different approaches, but to no avail. They finally figured out that in life some pursuits are too delicate to focus on multiple things at the same time. The vivid imagery of antelopes and their incredible sense of swiftness will thrill, entertain and motivate your children. / https://dc.etsu.edu/etsu_books/1080/thumbnail.jpg

Shakespeare uses metadrama as a rhetorical vehicle for responding to antitheatricalism; realistic drama and staged theatricality therefore coexist in his plays. The cultural context of the early modern era, especially its antitheatrical rhetoric and the predominance of theatricality throughout the structures of its society, illumines the interaction of metadrama and antitheatricality Shakespeare's plays, particularly Troilus and Cressida and King Lear. By failing to consider adequately the unique nature of the emergence of early modern theater and the equally distinct reaction to its popularity, previous scholarship considering antitheatricality has exhibited essentialism and a universalizing tendency similar to that of the antitheatricalists. The paucity of specifically protheatrical response in prose to the immense antitheatrical work of polemicists such as William Prynne and to antitheatrical tracts and publications signals the presence of protheatrical response within the literature of the stage: its plays. Metadramatic critics have noted that metadrama provides a subtle means of establishing a connection between actors and their audience and that it serves as a means of interrogating various deployments of theatrical power and the motives implied by its use. Troilus and Cressida celebrates, interrogates, and reproves the theater, engaging the proponents and detractors of the theater through depictions of Ulysses and Pandarus as effective and ineffective interior directors, respectively. Ulysses's militaristic drive toward victory at all costs demonstrates his affinity to the figure of the stage Machiavel, while his seemingly inexplicable hostility toward Achilles similarly marks his connection to the figure of the Vice. Pandarus's relation to theatricality highlights the negative associations of theater and prostitution apparent in the works of the antitheatricalists. His self-delusory propensity to motivate others to actions to which they are already predisposed mocks and calls into question the assertion that theater exerts motivational power over its audience. Literary critics considering King Lear observe that identity loss underpins the tragic process apparent in the plays' protagonists. Depictions of staged theatrical ability and inability and positive depictions of antitheatrical Puritanism pervade King Lear. The deployment of theatricality in the play both emphasizes its creative and soteriological function and embodies the harmful potential of dramaturgical art.

Ao buscar histórias ligadas à mitologia brasileira em algumas comunidades no Norte do Brasil, a presente pesquisa realizou uma escuta que permite relacioná-las a aspectos de modos de vida, criando um paralelo entre o contexto da experiência de campo e o contexto de vida contemporânea na cidade de São Paulo, no qual a pesquisadora se insere. Como suporte teórico, utiliza a abordagem da psicologia analítica, que contribui tanto para a compreensão e análise simbólica dos mitos e de sua relevância em cada contexto, como para a elaboração da experiência de campo. Outro ponto importante da pesquisa foi retomar aspectos da história do Brasil que originaram o povo brasileiro. O encontro inicial entre portugueses e índios foi determinante para que histórias que fazem parte deste trabalho, como a da Curupira, da Yara e da Cobra Grande se constituíssem. Autores da psicologia analítica, em que se destaca Roberto Gambini, permitiram tal retomada, ao desenvolverem trabalhos que se inserem de modo mais amplo dentro do tema pesquisado. Por fim, é apresentada uma contribuição que se insere no âmbito da psicologia analítica ao considerar dimensões da cultura brasileira que podem ser aproveitados para refletir sobre aspectos simbólicos do coletivo e da cultura, e estabelecendo algumas relações com outras áreas do conhecimento / In searching of stories related to brazilian mythology in some communities in north of Brazil, the present research accomplishes to gather narratives that allows them to be related with ways of life and creates a parallel between the context of the field experience and São Paulos contemporary life context, which is the researcher is immersed. The Analytical psychology is taken as the theoretical background which contributes both to comprehension and symbolic analysis of the myths and your relevance in each context, as well as to the elaboration of the field experience. Another relevant aspect of the reasearch is to capture views/features of the brasilian history in which the brazilian people was originated. The initial encounter between Portuguese an Indians was decisive for the existence of stories that form part of this work, such as curupira, yara and the big snake. Analytical psychologys authors, in which Roberto Gambini stands out, allowed this point, by developing a line of work which partake in this reasearchs theme in a wider sense. Finally, this research hopes to have contributed, within the field of analytical psychology, in considering dimensions of Brazilian culture that can be taken into consideration to reflect on symbolic aspects of the collective and the culture, and establishing some relations with other areas of knowledge

If, as author Toni Morrison believes, we tell stories about what we find most terrifying, then our cultural narratives suggest an overwhelming preoccupation with the murderous mother ??? the monster in our minds. This dissertation examines some of the most powerful and enduring stories told about the murderous mother and considers how these stories are shaped by the unconscious fears and fantasies that dominate the cultural psyche. Revolving around the idea of infanticide as an ???imaginary??? crime, this dissertation uncovers the psychoanalytic foundations of the obsessive telling and consumption of stories of maternal child-murder in Western culture and contends that infanticide narratives can be read as symptoms of psychocultural dis(-)ease. Underlying all stories about the murderous mother is an unconscious fear of infanticide and fantasy of maternal destructiveness that is repressed in the individual psyche. These fears and fantasies are expressed in our cultural narratives. Chapter 1 examines fairytales as the literary form that most clearly elaborates individual fears and psychic conflict and locates the phantasmic murderous mother within psychoanalytic narratives of individuation. Chapter 2 shows how individual fears and fantasies of maternal monstrosity are transferred to society and revealed in the myths through which our culture is transmitted. Chapters 3 and 4 focus on the particular neuroses of ancient Greek society and early modern culture and consider stories of the murderous mother that most powerfully reflect anxieties of maternal origin and fantasies of maternal power. Chapters 5 and 6 shift to a contemporary setting and consider stories that reveal, in differing ways, how the murderous mother haunts the cultural psyche. Examining a variety of texts and drawing material from a spectrum of disciplines, including law, literature, criminology, theology, philosophy, and medicine, this dissertation concludes that it is only by exposing the underpinnings of our cultural stories about the murderous mother that we can hope to break free from the unconscious attitudes that imprison us. Emerging from this study is an original and important theoretical framework concerning conceptualisations of infanticide, the ways in which we imagine maternal child-murder and the limits of that imagination, and how we might escape the murderous maternal monster buried deep in the labyrinths of the mind.

Increasingly, cultural workers and artists from many disciplines are finding themselves involved in the creation of public and private rituals, ceremonies and celebrations. Focusing on ritual and celebration in Australian contexts, this thesis posits a new categorisation of the types of event that might be encountered, grouping and examining them according to their action upon participants with the aim of enabling a more practical methodology of design in contemporary societal conditions. Existing categories, which have defined these age-old activities in terms of anthropological observation or social intention, must now be regarded as obsolete because they take no account of rapid and widespread changes in degrees of adherence to traditional belief systems, in social orientation and in Western cultural practices. There is a need to reappraise why individuals and communities might continue to hold rituals and celebrations, and how these can be designed, managed and operated most effectively. The thesis identifies four major categories of ritual: Transformation, Reinforcement, Transcendence and Catharsis. It argues that, by recognising the differences between how each category operates for participants and also certain commonalities across categories, effectiveness of design is facilitated. In developing parameters for each category and giving examples of contemporary praxis, the writer stresses the importance of understanding traditional ceremonies so that elements of a rich repertoire of techniques developed over long periods can be planned into new rituals for contemporary application, despite the dissipation of shared, coherent belief systems in a highly secularised culture. This impels consideration of questions of cultural sensitivity, raises the need for close community involvement in design, and requires exploration of managing the challenges of multiple signification. Contemporary cultural contexts for ritual and celebratory events are marked by plurality, multi-vocalism and multicultural experience. Designers thus need to achieve, out of difference, an event that produces coherence, deep effects for each participant and a sense of shared experience. The thesis demonstrates means to this end through informed praxis, that is, by practitioners ensuring that theory and practice are working together in these complex contexts that involve the well being of individuals and communities. The categories have been identified through investigations into the literature of myth, ritual and celebration, helpful frameworks developed in cognitive science, and extensive research provided by thirty years of practice in the field. As a designer and director of rituals and celebrations, the writer seeks both to confirm the importance of the artist within the process and to demonstrate a new, practical, ethically located and effective approach for the education of intending practitioners. No claim is made that the four categories are definitive or mutually exclusive of one another. It is accepted that in many situations the categories might coalesce, be added to and/or fragment. However, the categorisation provides a fresh vantage point from which to view the potentially powerful effects of ritual experience, an effective tool of construction for the use of artists and cultural activists working in this field, and an informed basis for praxis. In developing this new categorisation the writer argues an ongoing need for rituals and celebrations to clarify and enrich the lives of individuals and the community while stressing the importance of careful and appropriate design of such events.

What lies beneath Our cultured constructions? The wild lies beneath. The mud and the mad, the bunyip Other, lies beneath. It echoes through our layered metaphors We hear its memories Through animal mythology in wilder places Through emotive imagination of landscape memoir Through mythic archaeologies of object art. Not the Nation, but the land has active influence. In festivals of bioregion, communities re-member its voice. Our creativity goes to what lies beneath. This thesis explores the ways we develop deeper and wilder connections to specific regional and local landscapes using art, festival, mythology and memoir. It argues that we inhabit and understand the specific nature of our locale when we plan space for the non-human and creatively celebrate culture-nature coalitions. A wilder and more active sense of place relies upon community cultural conversations with the mythic, represented in the Australian exemplar of the bunyip. The bunyip acts as a metaphor for the subaltern or hidden culture of a place. The bunyip is land incarnate. No matter how pristine the wilderness or how concrete the urban, every region has its localised bunyip-equivalent that defines, and is shaped by, its community and their environmental relationships. Human/non-human cohabitations might be actively expressed through art and cultural experience to form a wilder, more emotive landscape memoir. This thesis discusses a diverse range of landstories, mythologies, environmental art, and bioregional festivities from around Australasia with a special focus on the Sunshine Coast or Gubbi-Gubbi region. It suggests a subaltern indigenous influence in how we imagine, plan and celebrate place. The cultural discourses of metaphor, memoir, mythology and memory shape land into landscapes. When the metaphor is wild, the memoir celebratory, the mythology animal, the memory creative and complex, our ways of being are ecocentric and grounded. The distinctions between nature and culture become less defined; we become native to country. Our multi-cultured histories are written upon the earth; our community identities shape and are shaped by the land. Together, monsters and festivals remind us of the active land.