Se presenta un ensayo de interpretación semiótica del mito como forma simbólica. El adverbio de modo es la clave misma de nuestra pertinencia semiótica: nos ceñimos o circunscribimos a ese modo de leer el mito iniciado en el pensamiento moderno por Cassirer, pero se quiere también encontrar en esa fenomenología crítica de la conciencia algunas pistas esenciales de lo que hoy se forja como fenomenología semiótica del discurso mítico. ¿En qué medida hay o no hay en ese desplazamiento (del…al) un cambio de paradigma? La hermenéutica semiótica del discurso mítico que aquí se propone forja otro modo de leer la forma simbólica pero, a la vez, busca mantenerse fiel a algunos de sus presupuestos fenomenológicos más consistentes. Se reconocen dos grandes paradigmas que articulan el marco teórico-filosófico del presente estudio: por un lado, la corriente fenomenológica, en sus vertientes crítica, existencial y hermenéutica; por otro lado, el estructuralismo y el postestructuralismo. De algún modo, estos dos grandes paradigmas expresan una tensión al interior de la filosofía semiótica entre aquel ‘humanismo’ y este ‘antihumanismo’. Desde el punto de vista metodológico entrarán también en tensión, en discusión y en diálogo, la perspectiva no metódica de la hermenéutica y la perspectiva metódica de la semiótica. / Tesis

La déportation des Acadiens de leurs terres en 1755 est un évènement sur lequel se fonde cette communauté. Le Grand Dérangement, comme on l’appelle fréquemment, n’est pas un simple évènement historique. Il aura passé de l’histoire à la mémoire et de la mémoire au mythe. Élevé officiellement au rang de mythe fondateur lors de la première Convention nationale acadienne de 1881, le Grand Dérangement subira par la suite de nombreuses réinterprétations dans les discours politiques. Reprenant la théorie de Gérard Bouchard sur les mythes et les imaginaires collectifs, cette thèse vise à comprendre quelles ont été les interprétations historiques du mythe du Grand Dérangement dans le discours national des élites acadiennes entre 1763 et 2005. Retourner au mythe, c’est retourner à l’imaginaire d’un peuple et de son importance dans ses processus de conciliation des conflits. L’objectif est donc de comprendre les nombreuses réinterprétations du Grand Dérangement issues des discours des élites politiques acadiennes, mais aussi de démontrer le rôle structurant du mythe dans la construction de l’identité acadienne. The expulsion of the Acadians from their land in 1755 is an event which defined this community. The “Grand Dérangement”, or Great Upheaval, long ago made the passage from historical event to collective memory and from collective memory to myth. Officially raised to the level of a founding myth during the first Acadian National Convention of 1881, the Great Upheaval has been subject to several political reinterpretations. Using Gérard Bouchard’s theory of collective myths and imaginaries, this thesis aims to understand the historical reinterpretations of the Great Upheaval myth within the Acadian elite national discourse between 1763 and 2005. To appreciate the power of the myth is to appreciate the power of a people’s imagination and its potential for resolving conflict. The objective of this thesis is to understand the many reinterpretations of the Great Upheaval through the Acadian elite political discourses, and also to demonstrate the role of the myth in constructing the Acadian identity.

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This thesis focuses on Christine de Pizan’s mythological allegoric work entitled Epistre Othéa, written around 1400. True to the beliefs she portrays in many of her later seminal works, such as The Book of the City of Ladies, or The Treasure of the City of Ladies, Christine displays in this piece a strong didactic vision. The crucial pairing of text and image in the two manuscripts that I chose to focus on prove the power she exerted as a woman and as an artist but also mark her intention to strengthen her moral and political message through the use of different media. The purpose of this thesis will be to analyze the polyphonic voice that emerges from both the textual and pictorial elements of the Epistre in order to decipher Christine de Pizan’s distinctive ideology. I propose to examine the re-interpretation of two mythological figures, Medea and Minerva, in the Epistre and investigate the impact of this conscious manipulation of sources on Christine de Pizan’s overall works. Furthermore, the comparison between the figures of Othea and Christine herself is analyzed as a way to affirm the author’s idiosyncratic stance and delineate the scope of her proto-feminist views.

Orientador: Maria Celeste Tommasello Ramos / Resumo: Esta dissertação de mestrado investiga trechos de duas fases da revista Mulher-Maravilha roteirizadas por George Pérez (1987-1992) e Greg Rucka (2016-2017). O eixo teórico utilizado é o do maravilhoso como gênero narrativo identificado por Marinho. A autora estabelece alguns critérios de inserção de narrativas nesse grupo, sendo um deles o da intertextualidade com outras narrativas maravilhosas. Acreditando que esse seja o principal modo pelo qual Mulher-Maravilha se enquadra nesse gênero, utilizamos os pressupostos Samoyault para explorar a relação da revista com alguns mitos e contos de fadas. Também é feita uma categorização de um dos volumes analisados segundo as funções do conto maravilhoso de Vladimir Propp, outro critério estabelecido por Marinho. As análises são acompanhadas de ponderações a respeito do modo como as esferas mítica e maravilhosa interagem com a super-heroica, bem como uma reflexão que mostra os motivos pelos quais a superaventura em quadrinhos propicia o uso da intertextualidade. A conclusão mostra que a intertextualidade com o maravilhoso é ampla em Mulher-Maravilha, e sempre está atrelada à revisão dos valores presentes nos mitos e contos. Alinha-se, portanto, à tendência presente desde sua criação de usar histórias canônicas de forma revisionista, questionando-as, reinterpretando-as e atualizando seus valores para os novos tempos. / Abstract: This master thesis investigates excerpts of two runs of the Wonder Woman comic book: those written by George Pérez (1987-1992) and Greg Rucka (2016-2017). The theoretical guideline is Marinho’s view of the marvelous as a narrative genre. The author establishes a few criteria for classifying narratives as part of this group, one of them being the intertextuality with other marvelous narratives. This work uses Samoyault’s studies regarding intertextuality to explore how the comic book relates to both myths and fairy tales, as this seems to be the main mode of operation of the marvelous genre in Wonder Woman. One of the volumes of stories is also examined through Propp’s functions of the wonder tale since this method is another of Marinho’s parameters. The analyses are accompanied by discussions on how the mythic and marvelous spheres interact with the superhero one, as well as a reflection about why superhero comics encourage their study through the means of intertextuality. The conclusion shows that the dialogue with marvelous stories is broad in Wonder Woman and that it is always tied to the revision of their values. Therefore, the comic is aligned to a typical tendency of the character since her creation: using canonical stories in a revisionist fashion, questioning and reinterpreting them in a way that updates their values to the new times. / Mestre

Ce travail de thèse se focalise sur l'écrivain anglais John Ronald Reuel Tolkien et sur son oeuvre littéraire. Celle-ci est composée de plusieurs écrits et surtout des romans The Hobbit (1936) et The Lord of the Rings (1954-1955). L'intention que Tolkien avait au début de sa carrière littéraire était la création d'une mythologie pour son pays, l'Angleterre. Cette profonde ambition primaire s'unit à sa passion de jeunesse pour les langages imaginaires et à sa profession de philologue et d’enseignant d ’anglo-saxon à l’université d’Oxford. La Terre du Milieu, le monde que Tolkien dessine pour sa mythologie, devient alors le lieu où ses contes, qu'il définira de contes de fées, se déroulent et où ses langages peuvent se développer. Nous allons démontrer dans ce travail, qui est formé de trois parties, la pertinence de l’oeuvre de Tolkien dans le contexte de la littérature contemporaine et le fait que sa production littéraire implique plusieurs éléments qui relient mythologie, philologie, fantaisie et modernité. Nous nous concentrons sur certains aspects thématiques de la littérature européenne qui ont inspiré la création mythologique par Tolkien. La deuxième partie du travail encadre le point de vue linguistique au sein de l’oeuvre de Tolkien. Finalement, la troisième partie a la fonction de résumer les aspects précédents et d'analyser la théorisation des contes de fées par Tolkien, tout comme il la développe dans son célèbre essai "On Fairy-Stories", pour conclure avec la réception critique que notre auteur a reçue dans le monde moderne et contemporain, et qui lui a aussi permis d’être l’un des auteurs les plus lus et influents du XXe siècle. / This thesis focuses on the English writer John Ronald Reuel Tolkien (1892-1973), the famous author of The Lord of the Rings. Tolkien’s literary work gathers many writings, stories and two famous novels, such as The Hobbit (1936) and The Lord of the Rings (1954-1955), that achieved a great succes all over the world. At the beginning of his literary career Tolkien aimed at the creation of a mythology to his country, England. This ambition was matched with his juvenile passion of inventing languages and his profession as a philologist and Anglo-Saxon teacher at Oxford University. Middle-earth, Tolkien’s secondary world, becomes the place where his fairy tales occurs and his languages may develop. This work shows how Tolkien’s work fits in the context of contemporary literature and that his production involves many elements collecting mythology, philology, fantasy and modernity.It consists of three parts: in the first part, some of the themes and the mythological sources of Tolkien’s tales are analyzed, in particular the Finnish sources, the Medieval and poetic ones. Thesecond part, the linguistic matters concerning Tolkien's work are taken into consideration and, in particular, the way how languages may create a world and the relation between reality and the perception of such reality, which will inevitably influence the language referred to it.Finally, in the third part, the Fairy element, which is one of the bases of Tolkien’s work is discussed, as well as the reception of our author, both from the critique point of view and the audience one, so as to demonstrate why he may be considered as one of the greatest writers of the twentieth century.

This thesis focuses primarily on the iconographic analysis of ten medals made by Antonio Abondio, a court medallist at the court of Emperor Maximilian II and his son Rudolf II. The introductory part of the thesis dedicated to the biography of Antonio Abondio is followed by a short outline of the development of art medals production in Italy and in Central Europe and of the factors which had an impact on Abondio's work. The core of my study is an actual analysis of some selected pieces made on commission for prominent individuals of the said period. A particular emphasis is put on the images found on the reverse side of the medals and on theirs paradigm detecting.

In this diploma thesis I will deal with symbolism and meanings of exotic cat beasts in different spheres of the Roman Empire. First part will emphasize cat beasts in general. Familiarization with species and subspecies of these beasts and their appearance in time of the greatest territorial expansion of the Roman Empire. In the next main chapter, which contain several sections, I will look into their effect on different parts of people's life (art, funerary context, entertainment etc.). Part of these chapters will be also comparation of the impact of cat beasts on cultures around Roman Empire, on the basis of which I want to evaluate which parts of this impact Romans could adopt and which part are their own. In the end part of thesis, I will focus on archaeological findings related directly with exotic cat beasts. In the very end this work contain also bibliography list of used literature and list of illustrations. Key words Cat beasts, Roman Empire, culture, art, propaganda, arena, gladiator, lion, leopard, tiger, impact.

This diploma thesis examines the relationship between the Old Testament Saviour Samson and the ancient Greek hero Heracles. Their connection is firstly analysed from a literary point of view. The story of each hero is explored separately and, subsequently, common themes are compared. Furthermore, thesis addresses the historical context of the stories and deals with the history of their possible interaction. The aim of this thesis is to ascertain whether there is a connection between Samson and Heracles, and if so, what this connection is and to what extent we can observe it and trace it down.

I focus on four operas premiered in Europe and the United States between 2009 and 2016 in which elements of the medieval, ritual, ancient, religious, and mystic emerge through their source material: _Adam and Eve: A Divine Comedy_ (2015, Norway), by Cecilie Ore and Bibbi Moslet; _Kalîla wa Dimna_ (2016, France), by Moneim Adwan and Fady Jomar; _Lilith_ (2009, USA) by Anthony Davis and Allan Havis, and _Paradise Reloaded (Lilith)_ (2013, Austria), by Peter Eötvös and Albert Ostermaier. This dissertation argues that these operas, rather than seeking a renaissance or rebirth of the mythic, draw inspiration and narratives from what I am calling “distant pasts,” reimagining universal or “timeless” narratives of humanity through a specific contemporary lens in an explicit and deliberate interrogation of the political present. Mapping out different modes of staging these distant pasts in response to cultural and political change in the twenty-first century, I suggest new modes of conceiving adaptable operatic “networks of comprehension” that encompass the multiple subject positions and geographical and cultural contexts that shape opera today. Each opera is presented as a case study in a single chapter, balancing musical analyses with political, historical, and cultural critique. Interviews with “stakeholders” (composers, librettists, singers, directors), many of which I conducted, form an integral part of this process. My analyses explore these four operas’ unconventional attitudes towards time, narrative, and drama, and in probing each opera’s idiosyncratic relationship with its distant pasts, I chart the complex manifestations of recent political discourse in Europe and the United States, especially concerning the intersection of feminism, race, religion, and secularism.