Quelles sont les caractéristiques d’une théologie issue de la mystique ? Telle est la question à laquelle nous tenterons de répondre à partir d’un cas particulier, celui des Showings de Julian de Norwich (XIVe-XVe s.). La version longue de cet opus nous permet d’observer un phénomène d’amplification et d’élaboration qui touche les domaines de l’anthropologie, de la christologie et de la théologie trinitaire. Puisant dans l’expérience vive, le propos théologique de Julian est traversé des affects liés à ce vécu. Julian parle de Dieu en ne cessant de parler à Dieu et en établissant avec ses « semblables dans le Christ » une communauté émotionnelle et noétique. Mais une expérience mystique ne donne pas forcément lieu à une théologie mystique au sens où l’entendent le Pseudo-Denys et Jean Gerson. C’est plutôt à une théologie prophétique et visionnaire que nous avons à faire, qui assume pleinement son caractère partiel, situé. Nous nous trouvons ici à un tournant de l’histoire de la théologie et de la spiritualité qui voit l’émergence de deux domaines séparés, celui de la théologie scolastique ou universitaire et celui de la spiritualité, là où la patristique témoignait d’une profonde unité. Les différentes méthodologies mises en œuvre dans cette recherche sont au service d’une étude qui se situe tout à la fois dans le champ de la théologie et de l’histoire de la spiritualité. / What are the main characteristics of a theology stemming from a mystic experience ? This thesis attempts to answer this question by examining an individual case, that of The Showings of Julian of Norwich (C14th- C15th). The Long Text of this opus enables us to observe a development in the fields of anthropology, Christology and Trinitarian theology. Firmly rooted in her experience of life, Julian’s theological discourse is interwoven with the emotions drawn from that experience. Julian speaks about God in speaking to God and in establishing with her « fellow Christians » an emotional and noetic community. But a mystical experience does not automatically give birth to a mystical theology as understood by Pseudo-Dionysius and Jean Gerson. We are rather in the presence of a prophetical and visionary theology that is fully conscious of its partial, limited, and contextualised nature. We find ourselves at a turning-point in the history of theology and spirituality, which sees the emergence of two separate fields that of scholastic theology and that of spirituality, where previously patristic theology bore witness to a profound unity. The different methodologies used in this research are in the service of a study within two distinct fields : those of theology and the history of spirituality.

Made available in DSpace on 2016-04-25T19:20:32Z (GMT). No. of bitstreams: 1 Krzysztof Dworak.pdf: 5339943 bytes, checksum: 514a354a82500f3677a723f2031b21ee (MD5) Previous issue date: 2014-09-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis intends to demonstrate that Christian pilgrimages to the sanctuary of Bom Jesus da Lapa, in Bom Jesus da Lapa, Bahia, Brazil, are experiences of religious encounter, occurred in the context of this shrine lytic, understood as calling and response. The sanctuary of Bom Jesus, situated on the right bank of the River São Francisco, in the Midwest of the State of Bahia, founded more than 320 years by Francisco de Mendonça Mar, is considered today, one of the largest sanctuaries in the northeast of Brazil, and one of the most important, among more than 260 existing sanctuaries in Brazil. This sanctuary, as a place of pilgrimages connected to the various phenomena of popular Catholicism, holder of values and internal forces, demonstrates an extraordinary liveliness in a modern society in constant changes and conflicts, and presents itself as a vast field of scientific research. For elaborating our thesis, we left from definition of religion, presented by Gustav Mensching, who considers a phenomena of religion, as an experiential encounter with the sacred, and the active response of the human being, affected by the sacred. The main elements in this definition, that is, the sacred, the religious experience, the called and the response, provided the lifting of various issues and allowed structuring our thesis in four chapters: 1-The shrine of Bom Jesus da Lapa: lytic locus of religious experiences; 2nd-The pilgrimages to Lapa do Bom Jesus as experiences of the call; 3rd-The pilgrimages to Bom Jesus da Lapa as experiences of the response; and, 4-The mystique of the pilgrimage forged in the experience of encounter. So, after walking through all stages of scientific research, we have come to the conclusion, that the pilgrimages to this Sanctuary can be considered as encounters based on spiritual and personal experience with the Bom Jesus, and on the action whereby the pilgrim touching and called by Bom Jesus, answers to him through an act of pilgrimage. These sacred journeys, often repeated cyclically, and expressed in multiplicity of rites, sustain the spirituality of pilgrims and impart deeper sense of their existence. These experiences practiced in the context of this sacred place, marked in a special way by its rock formation, provide for the pilgrims a personal and collective experience of intense and deep encounter with Jesus. Peregrinations, withdraws them from the world for a while, transfigures, transcends and transforms their lives, directing them to areas of everyday life, which is lived in waiting for a new pilgrimage toward sacred home of Bom Jesus, who on the riverbank all can (Guimarães Rosa) / Esta tese objetiva apresentar as romarias ao Santuário do Bom Jesus da Lapa, em Bom Jesus da Lapa, BA, como experiências do encontro com o Bom Jesus, no contexto lítico deste lugar de romagem, entendidas como chamado e resposta. O Santuário do Bom Jesus, situado na margem direita do Rio São Francisco, no centro-oeste do Estado da Bahia, fundado há mais de 320 anos por Francisco de Mendonça Mar, é considerado hoje um dos maiores do Nordeste Brasileiro e um dos mais importantes, entre mais de 260 santuários existentes no Brasil. Como lugar de peregrinações que está ligado ao complexo fenômeno do catolicismo popular, portador de valores e forças internas, ele demonstra uma extraordinária vivacidade em uma sociedade em constantes mudanças e conflitos, e se apresenta como um vasto campo de investigações científicas. Na elaboração da tese partimos da definição menschinguiana da religião, que considera o fenômeno religioso um encontro experiencial com o sagrado e a resposta ativa do ser humano, afetado pelo sagrado. Os principais elementos presentes nesta definição, isto é, o sagrado, a experiência religiosa, o chamado e a resposta, proporcionaram o levantamento de diversas questões e permitiram estruturar a nossa tese em quatro capítulos, sendo: 1º - O Santuário do Bom Jesus da Lapa: locus lítico de experiências religiosas; 2º - As romarias à Lapa do Bom Jesus como experiências do chamado; 3º - As romarias do Bom Jesus como experiências da resposta; e por fim, 4º - A mística da romaria forjada na experiência do encontro. Assim, depois de percorrer todas as etapas da investigação científica, chegamos à conclusão, de que as romarias ao Santuário do Bom Jesus da Lapa podem ser consideradas como encontros baseados na experiência vivida com o Bom Jesus e na ação mediante a qual, os romeiros de alguma maneira, sentindo-se tocados e chamados pelo Bom Jesus, respondem a este chamado peregrinando e relacionando-se intensamente com ele através de sinais visíveis e sensíveis, expressos na multiplicidade de ritos, alimentando assim, sua mística e sua existência. Estas experiências vivenciadas no contexto desse lugar sagrado, marcado de maneira especial pela sua formação rochosa, proporcionam aos romeiros uma experiência pessoal e coletiva singular, intensa e profunda do encontro com o Bom Jesus, que os retira do seu mundo por um tempo, transfigura, transcende e transforma as suas vidas, direcionando-as para âmbitos do cotidiano, que é vivido na espera de uma nova romaria ao Bom Jesus da Lapa, que na beira do rio tudo pode (Guimarães Rosa)

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-11-14T11:12:40Z No. of bitstreams: 1 Rodrigo Adriano Machado.pdf: 799679 bytes, checksum: 8cd73033349c183a961e32a33fed892e (MD5) / Made available in DSpace on 2017-11-14T11:12:40Z (GMT). No. of bitstreams: 1 Rodrigo Adriano Machado.pdf: 799679 bytes, checksum: 8cd73033349c183a961e32a33fed892e (MD5) Previous issue date: 2017-10-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / To work with the thought of who self-entitled as “a foreign to himself, to God and to the police”, the Romanian who was settled in France, Emil Cioran (1911 – 1995) is such as complex challenge – sometimes an exhausting, obscure one –, as dangerous. We have to remember that this writer confessed not to have ideas but obsessions, which give us the clue to a tension and hurt written by the despair. His dangerous thought is not dealing with ideas with a neutral sense in the abstraction, but with a livingness experience: Cioran’s written seems to us a burning confession, which falls apart. Those written on fire have the own darkness as a fuel. However, what darkness? Issues such as despair, loneliness, suicide, pain, failure, insomnia, exile, cause in us this kind of written of which we concern. Written that not only sew its form to its substance but also rub in the exercise of its practicing. It is by the writing that Cioran launch us to the heart of the darkness that he peered. Not asserting himself as philosopher – in the most convenient sense of the philosophy history – and, by the way, wanting a lonely walk in the margins, the risk of relating Cioran in a straight dialogue with the tradition would be the ‘ghost’ that walk around any serious approach. However, it would be exactly this tenuous line, namely, between the philosophy and the margin of the philosophy that matters in our work. We mistrust, here, that this problematic relationship the author presents with all the noise of a fracture and this would be one of his precious singularities in his intellectual production. Cioran, in the most part of his written, oblige us to an active-interpretative reading and this means not to proceed at any teaching which lead the reader gradually to his own thought, but advancing step by step from a conclusion to another one, letting us the hard task of creating, inventing, guessing the way of which his feather trailed. The notion of ‘a fall in the time’ as the centre of his thought allow us to get closer of his own philosophic intentions through a somatospychological written, where he shows his notion of history and a violent attack to the substitute of the fanaticism, the philosophic issue which is the urgent current confrontation / Trabalhar como pensamento daquele que se auto intitulou “um estrangeiro para si mesmo, para Deus e para a polícia”, o romeno radicado na França, Emil Cioran (1911 – 1995), é um desafio tão complexo, por vezes exaustivo, obscuro, quanto perigoso. Lembremos que este escritor confessou não possuir ideias e sim obsessões, o que nos coloca na pista de uma escrita tensionada e ferida pelo desespero. Pensamento perigoso porque não tratando de ideias no sentido de uma neutralidade na abstração, mas uma vivência, a escrita de Cioran nos parece uma confissão em chamas e aos pedaços; chamas estas cujo combustível é a própria escuridão. Mas que escuridão? Temas como desespero, solidão, suicídio, dor, fracasso, insônia, exílio; nos provocam a experiência desta escrita qual nos referimos, escrita que não apenas costura sua forma ao seu conteúdo, mas fricciona no exercício de sua feitura. É pela escrita que Cioran nos atira no centro desta escuridão que perscrutou. Não afirmando-se enquanto filósofo – no sentido mais conveniente da história da filosofia – e, aliás, preferindo um passeio solitário nas margens, o risco de relacionar Cioran em um diálogo direto com a tradição seria o “fantasma” que ronda qualquer abordagem que se queira séria. Todavia, seria justamente esta linha tênue, isto é, entre filosofia e margem da filosofia, o que importa em nosso trabalho. Desconfiamos aqui que esta problemática relação o autor nos apresenta com todos os ruídos de uma fratura e esta seria uma de suas preciosidades singulares em sua produção intelectual. Cioran, na maior parte de seus escritos, obriga-nos a uma leitura ativa-interpretativa-, isto quer dizer o seguinte: não procedendo em nenhuma didática do tipo que conduz o leitor paulatinamente até seu pensamento, mas, “avançando” aos saltos, de uma conclusão a outra conclusão, deixa-nos na árdua tarefa de criar, inventar, adivinhar, o caminho o qual sua pena trilhou. A noção de queda no tempo como núcleo de seu pensamento nos permite aproximação de seus intentos filosóficos através de uma escrita somatopsíquica onde se apresenta sua noção de história e um violento ataque aos sucedâneos do fanatismo, problemática filosófica que é urgente o enfrentamento atual

Ce travail, première monographie consacrée à Roger Munier et à l'ensemble de son œuvre, se propose de penser conjointement poésie et philosophie autour de la question des processus de désubjec

Si le rapport entre Derrida et Bergson n’a pas fait l’objet de nombreuses études, les commentaires existants témoignent à peu près tous d’une vision commune : entre les deux philosophes, les divergences peuvent être atténuées, voire dissoutes, par la considération de convergences plus fondamentales. Les pages qui suivent seront l’occasion pour nous de faire contrepoids à cette vulgate interprétative. Sans nier l’existence de points de contact entre Derrida et Bergson, nous voudrions en effet montrer qu’un important désaccord subsiste entre eux au sujet de la possibilité de l’intuition. Alors que Derrida met en cause les doctrines intuitionnistes, Bergson érige l’intuition en méthode philosophique. Le présent mémoire prendra pour fil conducteur les motifs de cette discorde. Réduit à sa plus simple expression, l’objectif que nous y poursuivrons sera de montrer que les pensées bergsonienne et derridienne, lorsque mises en dialogue, révèlent un désaccord partiel qui permet de réfléchir de façon féconde sur la possibilité de l’intuition. Pour être plus exact, nous caresserons ici une triple ambition : i/ cerner étroitement l’objet du litige entre Derrida et Bergson, trop peu souligné par les commentateurs, et dont nous montrons qu’il s’articule à une entente partielle ; ii/ tirer au clair les diverses raisons qui amènent l’un à s’en prendre à l’intuition, l’autre à embrasser la méthode intuitive ; iii/ établir que certains arguments de Bergson, bien qu’ils connaissent un regain d’intérêt depuis quelques années, paraissent lacunaires lorsqu’on les confronte à différentes objections. / Although studies of the relation between Derrida and Bergson are few and far between, they nearly all share a common vision: that of attenuating – or even altogether eliminating – the divisions between the two philosophers’ thought, by considering their more fundamental convergences. The following pages will allow us to counterbalance this common interpretation. Without denying the points that Derrida and Bergson do have in common, we will show an important divergence in opinion between the two on the idea that intuition is possible and founded. While Derrida lays doubt on intuitionist doctrine, Bergson establishes intuition as a philosophical method. This thesis examines the motives behind this divergence. Put simply, a comparison of Derridian and Bergsonian thought reveals a partial disagreement that enables fruitful reflection about whether or not intuition is possible. More precisely, we pursue three objectives here: i/ to clearly identify the scope of the disagreement between Derrida and Bergson, often overlooked by previous commentaries, showing that it includes a partial agreement; ii/ to clarify the diverse reasons leading Derrida to deny the very existence of intuition while Bergson embraces intuition as a philosophical method; and iii/ to show that certain Bergsonian arguments, although enjoying a resurge in interest in recent years, appear unable to stand up to several different objections.

Ce travail s'applique à éclairer les rapports qu'entretiennent la mort et la succession monarchique dans le théâtre tragique français du XVIIe siècle. Telle qu'elle est présentée par les textes théoriques et juridiques de l'époque moderne, la succession monarchique ne semble guère se prêter à la scène tragique. Dès lors, pourquoi et comment les dramaturges la représentent-ils ? C'est ce paradoxe que nous éclairons en adoptant une démarche pluridisciplinaire. Dans un premier temps, nous montrons que les dramaturges tragiques rejettent la mystique que la théorie politique contemporaine présente comme acquise, en particulier la fiction mystique des deux corps du roi. Cela ouvre la porte à toutes sortes de crises, ce qui ne signifie pas pour autant que la mort se produise toujours dans notre corpus. Selon les circonstances, un même motif (ambition, amour, liens du sang) peut mener à des issues strictement contraires. Aussi les dramaturges créent-ils des tragiques divers, qui vont du spectacle pathétique de la ruine des uns à la générosité sublime des autres. Il font donc preuve d'une grande liberté dans le traitement de la succession monarchique, ce qui pose problème. À une époque où le pouvoir royal s'absolutise, il peut sembler périlleux de présenter de tels désordres sur scène. C'est pourquoi nous nous attachons, dans un dernier temps, à prendre la mesure du potentiel subversif de notre corpus et à expliquer comment les dramaturges ont pu traiter un sujet aussi délicat de façon aussi variée. / This PhD dissertation focuses on the links between death and monarchic succession in Seventeenth Century French tragedies, tragi-comedies and heroic comedies. Since political philosophers and legal scholars of the Early Modern Era always present the monarch's death as natural and serene, succession did not seem to be of particular interest for tragic playwrights. One can therefore wonder why and how they staged succession crises. This is the question this dissertation answers in an interdisciplinary perspective. First, this dissertation shows that their plays did not present the mystical doctrine of the King's two bodies as valid. That is why playwrights could elaborate on all sorts of succession crises. This does not mean howewer that death always occurs in Seventeenth Century French Tragic Drama, even though it is often the case. Depending on the situations, similar patterns (ambition, love, blood ties) can lead to completely opposite endings. That is why playwrights sometimes aroused pity, horror, but also admiration in the spectator, which means they had great liberty when they staged succession. That can appear odd, as it is well-known that the Seventeenth Century saw the rising of absolutism in France. Why would the authorities allow such a fundamental issue to be questioned publicly? This is why this dissertation finally studies to what extent the French Tragic Drama of this period was subversive, and how playwrights could manage to stage such a delicate question as monarchic succession.

No description available.

Parallèlement au pur amour pour Dieu, c’est le rêve d’une pure écriture que Fénelon semble poursuivre lorsqu’il rédige ses œuvres dévotes. Pour le mystique, parvenir à l’amour pur suppose d’anéantir totalement sa volonté pour ne laisser place, en soi, qu’à la volonté de Dieu. De même, pour l’écrivain, la pure expression est celle qui fait parler le « Verbe », tout en faisant taire « le bruit des créatures » (Lettre à la sœur Charlotte de Saint-Cyprien, 10 mars 1696). Nous avons donc mis au jour une analogie entre la recherche d’une écriture idéalement transparente au Verbe et la doctrine du pur amour pour Dieu, par le même effacement du moi. L’enjeu de ce travail de thèse a été d’analyser les phénomènes linguistiques ressortissant à cette analogie, ainsi que leurs présupposés théologiques, philosophiques, et même parfois psychanalytiques. Pour ce faire, notre travail suit la trajectoire stylistique singulière de Fénelon dans ses œuvres dévotes : du paradoxe à la répétition. L’association des deux figures, qui ne va pas de soi à première vue, informe, en effet, une réflexion en acte sur la pure écriture. Si le paradoxe est le moyen d’expression le plus pur pour les poètes baroques et mystiques dont Fénelon a été vu comme un continuateur, il est un procédé ignoré ou condamné par les logiques, rhétoriques et grammaires classiques. En outre, lorsqu’il est brillant et incisif - ce que nous nommons paradoxe rhétorique - le procédé ne satisfait pas le nécessaire effacement du moi requis par le pur amour. C’est pourquoi, la quête de la pure écriture passe de la difficile reprise du paradoxe baroque par le mystique du Grand Siècle à son échappatoire dans la répétition.Dans une première partie, après avoir étudié les différentes définitions du paradoxe selon les temps, les types de paradoxe, les disciplines de référence et selon les théoriciens, nous situons la position de Fénelon en le replaçant dans son contexte historique. Puis nous mettons au jour, dans une seconde partie, l’effort de Fénelon pour parvenir à une pure écriture, effort qui est pris dans une ambiguïté entre condamnation du paradoxe rhétorique comme instrument mondain de langage et expression du paradoxe mystique. Fénelon tente d’atténuer le paradoxe, soit qu’il essaie, en le transformant en pseudo-paradoxe, d’éliminer l’effet de violente surprise qu’il comporte, soit même qu’il cherche à prendre une distance avec le paradoxe mystique en le réduisant par l’abondance des explications, tout en cultivant l’effacement énonciatif. La dernière partie démontre comment cette abondance s’exprime à travers l’usage infiniment développé de la répétition, au sein duquel nous distinguons ce qui vient d’une pulsion de mort et ce qui s’origine dans une pulsion de vie, dans le pur amour d’un Dieu infini, foncièrement équivoque. / Besides pure love for God, Fénelon searches pure writing in his devout works.For the mystic, reaching pure love means to completely annihilate one’s will to leave room wholly to the will of God. Similarly, for the writer, the pure expression is the one that allows God to speak while silencing “the noise of creatures" (Letter to the sister Charlotte of Saint-Cyprien, 10 March 1696). Thus, we underlined the parallel between a writing perfectly transparent to God and the pure love for God, as the same deletion of the self is required in both. The aim of this thesis was to reveal and analyze the linguistic phenomena generated by this parallel between pure love and pure writing, and to review their theological, philosophical, and sometimes psychoanalysis presuppositions.To do so, our study follows the singular stylistic trajectory of Fénelon’s devout works: from paradox to repetition. The combination of the two figures - which is not obvious at first -, informs, indeed, a reflection on pure writing. As a matter of fact, the paradox is the purest expression for baroque and mystic poets among which Fénelon has been seen as a successor. It is, however, a process ignored or condemned by the classical theorists. Furthermore, when it is bright and sharp - what we call rhetorical paradox - the process does not meet the necessary erasing of the self, required by pure love. Therefore, Fénelon’s quest for pure writing moves from the difficult resumption of baroque paradox to his escape in repetition.In the first part, after considering the different definitions of paradox amongst times, types of paradox, fields and theorists, we situate Fénelon in his historical context. Then we study Fénelon’s effort to achieve a pure writing through the use of paradox. This effort lies in an ambiguity between the condemnation of the rhetorical paradox as a mundane instrument of language and the expression of the mystical paradox. Fénelon attempts to mitigate the paradox in two ways. On the one hand, he tries to turn it into a pseudo-paradox, by eliminating his effect of violent surprise. On the other hand, he seeks to distance himself from the mystical paradox by an abundance of explanations. The last part shows how this abundance is expressed through the infinite use of repetition. In that part, we distinguish between the repetition coming from a pulse of death – because of the mystical asceticism, and what was originally a pulse of life - because of the pure love of an infinite God.

Thesis In the Light of Kabbalah: Jewish Mystique in Polish Literature in the Interwar Period deals with different models of reflection of Jewish religious and mystical tradition in the Polish interwar literature (on the example of three authors representing different ways of perceiving their own Jewish roots as well as the processing of themes based on the tradition of Jewish mysticism). Aleksander Wat, originally a futurist, was critical of the Jewish religious tradition - but still cannot his own "Jewishness" escape; prose writer Bruno Schulz offers an unique vision of cosmogony and eschatology reminiscent of - besides other things - selected concepts of Kabbalah; Bolesław Leśmianʼs relationship to this tradition is the looses, but on the other hand his method of working with motives which can interpreted in the context of the Jewish religious tradition is very original. Literary work of all three - as the heirs to the "people of the Book" - is marked by a specific relationship to language and the written word. In addition to this theme we deal with e.g. the Golem motive, the idea of the creation of the world or the idea of God. These analytical chapters are preceded by a theoretical and methodological introduction based on the traditions of literary hermeneutics, but also on selected concepts of...

Este trabalho sustenta que o teólogo cristão do início do século VI conhecido como Pseudo Dionísio Areopagita exerce profunda influência no pensamento do teólogo e filósofo medieval Tomás de Aquino (1225-1274). Essa influência se dá principalmente em dois temas fundamentais da filosofia tomasiana: negatividade e participação. Negatividade diz respeito ao caráter de mistério que envolve as essências mais íntimas dos seres desde a natureza visível e o homem até o princípio de todas as coisas, Deus e que, portanto, não são plenamente compreensíveis para o entendimento humano. Participação se refere ao fato de que, por outro lado, o mundo participa do ser de Deus e, por isso, revela traços do divino, ainda que de modo deficiente e remoto. Dada essa influência de Dionísio, Tomás de Aquino não pode ser considerado um pensador racionalista, com respostas definitivas para todos os problemas da existência, como costuma ser visto por epígonos o que constitui uma deturpação do pensamento tomasiano, marcado pela consciência da insuficiência da razão. Para Tomás, não é possível aos homens ter clareza absoluta sobre qualquer assunto, daí, por exemplo, a necessidade de eles se conduzirem segundo a clássica doutrina cristã da prudência a virtude de agir corretamente, com base no límpido conhecimento da situação presente. Tendo em vista a negatividade e a participação, para o acesso às realidades mais profundas impõe-se o uso de metáforas, alegorias e símbolos, capazes de algum modo de se aproximar do que, afinal, é incognoscível. No que se refere ao conhecimento de Deus, a via de acesso é a mística entendida como uma experiência com o Absoluto que se dá num plano além da razão, e não aquém , uma vez que todo discurso racional, afinal, fala mais do homem do que de Deus. Como conclusão, este trabalho propõe que o pensamento negativo do Pseudo Dionísio Areopagita e de Tomás de Aquino precisa ser mais conhecido também por educadores, pois ele permite uma visão diferente da realidade, uma visão menos lógico-racionalista que tantos problemas tem trazido à sociedade contemporânea e mais sensível, lúdica e profunda, portanto, mais humana. No anexo, é apresentada a tradução, direta do original grego, do livro Da teologia mística, do Pseudo Dionísio Areopagita. / This dissertation argues that the Christian theologian of the early sixth century known as Pseudo-Dionysius Areopagite exerts profound influence on the thought of medieval theologian and philosopher Thomas Aquinas (1225-1274). This influence is mainly on two major topics of Aquinas philosophy: negativity and participation. Negativity means the character of mystery that involves the most intimate essence of beings from the natural world and man to the cause of all things, God and therefore not fully comprehensible to human understanding. Participation refers to the fact that, on the other hand, the world participates in the being of God and, therefore, shows traces of the divine, even in a poor and remote way. Given the influence of Dionysius, Aquinas can not be regarded as a rationalist thinker, with definitive answers to all problems of existence, as is often seen by followers which is a perversion of Aquinass thought, marked by awareness of the insufficiency of reason. For Aquinas, it is not possible for men to have absolute clarity on any issue, then, for example, requiring them to conduct themselves according to the classical Christian doctrine of prudence the virtue of doing right, based on clear understanding of the current situation. Given the negativity and participation, accessing deeper realities requires the use of metaphors, allegories and symbols, which are able somehow to get closer to that, after all, is unknowable. With regard to knowledge of God, the way of access is the mystique understood as an experience of the Absolute that is given beyond reason, and not short , since all rational discourse, after all, speaks more about man than about God. In conclusion, this study suggests that the negative thought of Pseudo-Dionysius Areopagite and Thomas Aquinas should be more well known by educators, because it allows a different view of reality, less logical-rationalist that has brought many problems to contemporary society and more sensitive, playful and profound, therefore, more human. The annex includes a translation directly from the original Greek of The mystical theology, by Pseudo-Dionysius Areopagite.