This thesis examines the development of the cult of the Dioscuri in Rome from the mid-Republic to the end of the Julio-Claudian dynasty. This was a period of great political and social upheaval and of religious change. Through a detailed examination of the cult of the Dioscuri, I trace how the cult developed and adapted in conjunction with religious, political and cultural changes within Roman society. I furthermore examine how the cult changed and explore the reasons why those changes occurred at that time and in that place. Chapter One surveys the two temples of Castor and Pollux in Rome, focusing in particular on their temple in the Roman Forum. Using archaeological and literary evidence, I argue that this temple was a central stage for many of the pivotal events and speeches of the late Republic. Chapter Two examines the epiphanies of the Dioscuri, most commonly associated with battles and their aftermath, although later appearing to commemorate the deaths of prominent individuals such as Julius Caesar and Drusus the Elder. I examine how the epiphanic tradition of the Dioscuri changed over time and ask why it was these gods in particular who rode to aid Rome. Chapter Three turns to exploring the relationships Castor and Pollux were said to possess with groups in Roman society, in particular horsemen, boxers and sailors. I examine how these relationships were formed and publicised and how they benefitted both the mortals and the gods. Chapter Four explores how a different aspect of the Dioscuri became prominent in the imperial period: their fraternal harmony. Castor and Pollux were linked to and compared with pairs of potential imperial successors. I explore the purposes of this comparison and how apt it was for the different pairings. Throughout this thesis, I examine some of the most prominent aspects of the cult of the Dioscuri in Rome within the wider context of history, culture and politics, arguing that the cult was a fully integrated part of Roman society as a whole.

This diploma thesis deals with possibilities of the use of the Nordic mythology in the lower-secondary schools through project teaching. The target of this diploma thesis is to introduce the legends, culture and history of Nordic nations to the 6th form pupils through project teaching. Furthemore, using the legends, the thesis aims at introducing the best known fantasy and science-fiction literature, which might encourage the pupils of this age category to show some interest for reading. The theoretical part of this thesis is divided into two basic sections. The first section introduces a concise history of project teaching, its principles, teacher´s role and pupil´s position in project teaching. The second section of the theoretical part outlines general problems of mythological stories with orientation at the Nordic mythology. Furthemore, the thesis contains an outline of culture and history of Germanic tribes, with which some of the important heroic Nordic sagas are firmly connected, and the following connection with modern literature. The empiric part of the thesis contains designed Art lessons for the project teaching, which also contain a reflection of implemented lessons.

The main topic of Femme Fatale as a Cultural Construct: The Fatal Womanhood Phenomenon in a Historical and Transcultural Perspective is to describe, compare and interpret "femme fatale" in the context of the belly dancer, geisha and salonnière phenomena. The thesis objective, and subsequently its main research question, is to perform a comparative analysis of femme fatale as a unique cultural construct that is projected into various roles of a woman in an original manner. Special attention is paid to make note of concrete cultural and historical attributes related to the profession, knowledge, skills and social roles of belly dancers, geishas and salonnières. Among secondary objectives, the thesis intends to take an interdisciplinary stance in order to elaborate the problems of emancipation and sexuality in historical attitudes toward women, and to identify fatal womanhood motives in fine arts. Last, but not least, the plan is to study cultural and aesthetic contribution of women regarded as femmes fatales. The thesis consists of four relatively standalone chapters, each of which take different interdisciplinary angles to analyze the fatal womanhood phenomenon. The first chapter, a historical exposé of the thesis, investigates the femme fatale through the eyes of mythology and religion. The second chapter,...

Religious Studies and Arabic / D.Litt. et Phil. (Religious Studies)

Made available in DSpace on 2016-08-03T12:19:29Z (GMT). No. of bitstreams: 1 A Busca do Sagrado1 [Nelson Gomes].pdf: 517707 bytes, checksum: 75037509d44f3d96ef34d7caded4f27a (MD5) Previous issue date: 2013-09-27 / Richard Wagner conceived the artwork as an activity similar to religion that should lead the human being to reflection about essential questions of his existence and conduct him to perfection. Wagner was always obsessed with the idea of redemption and his apprehension about regeneration of human being passed over of all his works. Wagner religious concepts has always been presented in his musical works and his literary essays, combining Christian and Buddhist traditions, political ideas and mythological principles that delineate his personal credo, a kind of syncretic religion in which the artwork has its place as a transcendence element, fulfilling the function to interpret the mythical symbols and making them comprehensible to human spirit perceptions. Wagner artistic ideals goes at the encounter of Paul Tillich thoughts and his Theology of Culture. Tillich states that religion is not restricted to the limits of religious temples or institutional domains, but could be found in any human expression that can manifest the ultimate concern . It can be recognized at any situation where one can find the unconditional element, in human manifestations of creativity and in culture, in honest searching for the truth or pursuing solutions to the existence adversities. Therefore, the purpose of this study is to search in Tillichian thoughts a theological correlation to redemption anxiety evidenced in Wagnerian artwork. / Richard Wagner concebia a arte como uma atividade similar à religião, que deveria conduzir o ser humano à reflexão sobre as questões principais de sua existência e levá-lo ao aperfeiçoamento. Wagner sempre foi obcecado pela ideia da redenção e a preocupação do compositor com a regeneração do ser humano perpassa toda a sua obra. Os conceitos religiosos de Wagner, presentes em sua obra musical e em seus ensaios literários, reúnem tradições cristãs e budistas, ideias políticas e preceitos mitológicos que delineiam o seu credo pessoal, uma forma de religião sincrética na qual a arte tem o seu lugar como elemento de transcendência, cumprindo a função de interpretar os símbolos míticos para torna-los compreensíveis à percepção do espírito humano. Os ideais artísticos de Wagner vão ao encontro do pensamento de Paul Tillich e a sua Teologia da Cultura. Tillich afirma que a religião não está restrita aos limites dos templos religiosos ou aos domínios institucionais, mas encontra-se em qualquer expressão humana na qual se manifeste a preocupação suprema . Ela pode ser reconhecida em qualquer situação onde se encontre o elemento incondicional, nas manifestações da criatividade humana e na cultura, na busca honesta da verdade ou na procura de solução para as adversidades da existência. Portanto, o objetivo desse estudo é buscar no pensamento tillichiano uma correlação teológica para os anseios de redenção evidenciados na obra de arte wagneriana.

Hans Jonas (1903-1993) foi um filósofo judeu-alemão que sob os auspícios de Martin Heidegger desenvolveu uma leitura existencialista do fenômeno do gnosticismo, visto por ele como uma religião dualista cujos contornos antecedem e influenciam o Cristianismo Primitivo. Esta leitura tem ecos ainda hoje na reconstrução histórica do gnosticismo, ainda que alguns autores modernos como Michael Williams (1996) e Karen King (2001) tenham feito duras críticas. Na presente dissertação, verificamos que a análise de Jonas é permeada por conceitos antitéticos na formulação do problema gnóstico. São eles: oriente e ocidente, mito e misticismo, mitologia e filosofia, conhecimento e fé, princípio gnóstico e princípio de responsabilidade. Os conceitos antitéticos são limitativos, pois são assimétricos, isto é, a contraparte que pretendem definir é inferiorizada. (KOSELLECK, 2006) Embora Jonas tenha se voltado ao problema do organismo como ontologia após a experiência traumática da Segunda Guerra Mundial, o princípio gnóstico foi a pedra de toque para a formulação de outro princípio em seu período de maturidade: o princípio responsabilidade. Portanto, concordamos com Wadelstein (2000) quando afirma que a franca hostilidade ao princípio gnóstico do Jonas filósofo da natureza e da responsabilidade não permitiu que sua leitura do gnosticismo avançasse, não obstante a possibilidade de contato com os novos documentos de Nag Hammadi. / Hans Jonas (1903-1993) was a German-Jew philosopher who developed an existentialist view to the gnostic phenomena under the scope and orientation of Martin Heidegger, which is a dualistic religion which boundaries had preceded and influenced the Early Christians. Such understanding has yet today played an important role on the historical reconstruction of Gnosticism, even though it has gathered heavy criticism from current scholars such as Michael Williams (1996) and Karen King (2001). In this dissertation is verified that Jonas‘analysis over Gnosticism is trespassed by non-ethical concepts in the basis to the development of the Gnostic construct. So they are: East and West; Myth and Mysticism; Mythology and Philosophy, Faith and Knowledge, Gnostic Principle and Responsibility Principle. Such non-ethical concepts are restrictive itselves since they are asymmetrical, namely, the counterpart they are supposed to define is diminished by them (KOSELLECK, 2006). Although Hans Jonas had turned to face the problem of the self as an ontological one, after World War II, it was the Gnostic Principle the linking point to the construction of his other Principle on his later days: the Responsibility Principle. So that, in accordance to Wadelstein (2000), it was due to the plain hostility towards Jonas’ construct on Gnostic Principle that prevented his understanding over gnosticism from advancing further, despite the possible conection of his ideas with the new-found Nag Hammadi papers.

This Thesis consists of two parts theoretical and practical. The theoretical part forms an integrated theoretical conception that seeks inspiration from Greek myths and offers creative starting points for the practical part which is the creative project of realization of an artist book. There are also described the origins and development of the mythical tradition in Greece. The main source of inspiration is found in the myths of origin by the epic poet Hésiodos. The mythical perspective on the origin in chaos is enhanced by the views of Pre-Socratic philosophers who influenced by the mythical tradition sought the rational origin, the primaeval existence. The artist book inspired by the myth of origin is produced in a shape of a folder of ten sheets in A2 format.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / As histórias em quadrinhos são um gênero narrativo que, nos últimos anos, alcançou enorme espaço. Este trabalho aborda, primeiramente, o problema da linguagem dos quadrinhos, a partir de sua articulação híbrida entre texto e imagem. Posteriormente, apresentamos alguns elementos que constituem a estética dos quadrinhos. Estudamos também as estruturas mitológicas imanentes ao gênero super-herói para desenvolver uma história arquetípica das histórias em quadrinhos. Assim, o problema dos arquétipos é abordado de forma mais abrangente, associada a conceitos filosóficos, propriamente narrativos e históricos com relação ao objeto de arte história em quadrinhos. Por último, fazemos uma análise de um caso particular, demonstrando como um arquétipo é trabalhado nesse gênero narrativo / The comic books are a narrative genre which in the last years have reached a wide repercussion. At first, this work approaches the comics language problem from its hybrid articulation between text and image. Later, we present some elements that may constitute the comics aesthetics. We also discuss the mythological structures immanent from the super hero genre, this discussion is undertaken in order to develop archetypical history of comic books. The archetypical issue is approached in a broad way, while relating with philosophical, properly narrative and historical concepts, as well as relating with the comic book as an object of art. At last, we venture the analysis of a particular case, demonstrating how an archetype is worked in this narrative genre

Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-02-27Bitstream added on 2014-06-13T19:12:06Z : No. of bitstreams: 1 marques_ps_me_arafcl.pdf: 1320179 bytes, checksum: a2ff537459aaf826ccd854f06800c7ae (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O tema desta pesquisa é a primazia do princípio arquetípico feminino no romance Maíra, do antropólogo e romancista mineiro Darcy Ribeiro. Ao ficcionalizar o Outro e a questão da alteridade, Darcy Ribeiro faz predominar, no romance indigenista Maíra, imagens e recursos narrativos característicos do imaginário antropológico feminino e alusivos a uma cosmovisão prépatriarcal. Por meio da tese de Humberto Maturana, sobre a existência de culturas matrilineares ou matrísticas antes do patriarcado, e da divisão do imaginário em dois regimes, nas teorias de Gilbert Durand, procura-se demonstrar como a ficção de Darcy Ribeiro inverte paradigmas da narrativa tradicionalmente elaborada pelo ocidente patriarcal. Apoiando-se numa poética que gravita em torno de símbolos e imagens do corpo, da morte pacificada e do caos, Maíra positiva valores que o patriarcado sempre negou. Para apoiar esta análise, recorre-se ainda a outros autores da crítica mítica e da abordagem antropológica, como E. M. Meletínski, Mircea Eliade, Joseph Campbell e Erich Neumann, bem como à abordagem temática desenvolvida nos trabalhos de Gaston Bachelard. / El tema de esta pesquisa es la primacía del principio arquetipico femenino en la novela Maíra, del antropólogo y romancista minero Darcy Ribeiro. Al ficcionalizar el Otro y la cuestión de la alteridad, Darcy Ribeiro hace predominar, en la novela indigenista Maíra, imágenes y recursos narrativos característicos del imaginario antropológico femenino y alusivos a una cosmovisión ante-patriarcal. A través de la tesis de Humberto Maturana, sobre la existencia de culturas matrilineares antes del patriarcado, y de la división del imaginario en dos regímenes, en las teorías de Gilbert Durand, busca-se demostrar como la ficción de Darcy Ribeiro invierte paradigmas de la narrativa tradicionalmente elaborada por el occidente patriarcal. Apoyándose en una poética que gravita en torno de símbolos y imágenes del cuerpo, de la muerte pacificada y del caos, Maíra positiva valores que el patriarcado siempre niego. Para apoyar esta análisis, recorre-se también a otros autores de la crítica mítica y de la abordaje antropológica, como Meletínski, Eliade, Campbell e Neumann, así como a la abordaje temática desarrollada por los trabajos de Gaston Bachelard.

Made available in DSpace on 2014-06-11T19:26:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-02-26Bitstream added on 2014-06-13T20:15:46Z : No. of bitstreams: 1 baquiao_rc_me_arafcl.pdf: 5215556 bytes, checksum: a2fdcf7d57bb7e364ca82a9148ed9cc6 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação visa compreender os sistemas de significação da mídia popular contemporânea. São destacados, como corpus, textos sincréticos produzidos pela indústria cultural norteamericana: Comic books (chamados de histórias em quadrinhos – HQs – no Brasil). Como a proposta é examinar textos que apresentam o plano de expressão verbal conjugado ao plano de expressão visual (textos sincréticos), o arcabouço teórico baseia-se na teoria Semiótica francesa proposta por A. J. Greimas, uma vez que ocorrem desenvolvimentos consideráveis nos estudos semióticos de textos visuais, realizados a partir da teoria greimasiana. Percebe-se que as HQs, em sua maioria, continham temas infantis e que hoje existem várias HQs direcionadas para o público adulto. Com o objetivo de entender a estrutura e o contexto de produção das HQs produzidas para adultos destaca-se a série Sandman (que é produzida para leitores adultos) para análise. As personagens da série são figurativizações de mitos da Antigüidade Clássica. A dissertação pretende estudar a estrutura narrativa e discursiva do texto, e também a figuratividade e as categorias semi-simbólicas e tensivas no plano de expressão visual. Será discutida a intertextualidade que há entre a série Sandman e a literatura. Este trabalho também tenciona entender como os mitos da Antigüidade, com toda sua carga de significados, são projetados em simulacros passionais e reconstruídos pela indústria cultural contemporânea. A respeito dos mitos, é possível formular uma configuração semântica de natureza patêmica que instaura uma nova mitologia e influi tanto no campo cognitivo quanto no campo afetivo do leitor / This dissertation intends to comprehend the systems of signification of the contemporary cultural industry about the point of view of greimasian semiotic theory. The objects selected, as corpus, are the syncretic texts produced for the north-american cultural industry: Comic books. The propose is to examine texts that presents the verbal plan of expression united with the visual plan of expression (syncretic texts), the theory choosed are the French semiotic propose by A. J. Greimas, because the studies about visual texts, realized for the greimasian theory, are in great development. The comic books, in great part, are characterized by infantile themes, but, nowadays, there are many comic books produced for mature readers. With the objective of to understand the structure and the production context of the comic books produced by mature readers, this work detaches, as corpus, the Sandman series (produced for mature readers), to the analysis. The characters of the series are figurative creations of myths of Classical Antiquity. The dissertation intends to study the narrative and the discursive structure of the text, and also the figurativity and the semi-symbolic categories and the tensive semiotics concepts in the visual plan of expression. Will be discussed the intertextuality between the Sandman series and the literature. This work aims to understand how the ancient myths, with all their content of meanings, are projected in passional simulacrums and reconstructed for the contemporary cultural industry. Concerning the myths, is possible to formulate a semantic configuration of passional nature that establishes a new mythology and influences in the cognition dimensions and also in the affection dimensions of the reader