[pt] O presente trabalho tem como objetivo investigar as diversas temporalidades da psicanálise a partir de três eixos temáticos prioritários sobre os quais se apoiam muitos dos conceitos freudianos. Dentre as dimensões temporais da teoria psicanalítica, destacamos essencialmente a noção de tempo mítico, o a posteriori e a atemporalidade do inconsciente. As abordagens que serão discutidas neste trabalho não esgotam os tempos de Freud, nem buscam um fechamento conceitual em torno da questão, mas vislumbram – com alguma parceria com a filosofia de Deleuze – identificar eixos temporais importantes no campo psicanalítico que se abrem à perspectiva de uma compreensão plural do tempo. / [en] This study aims to investigate the different temporalities of psychoanalysis based on three priority themes which support many of the freudian concepts. Among the temporal dimensions of psychoanalytic theory, we choose to highlight essentially the notion of mythic time, the a posteriori and the timelessness from the unconscious. The approaches that are discussed in this work do not extinguish the times of Freud, nor even seek a conceptual closure around the issue, but pursue – with a partnership with Deleuze s philosophy – to identify important temporal axes in the psychoanalytic field that opens itself for a plural perspective of the time.

As writer, essayist, environmentalist, and westerner, Wallace Earle Stegner (1909-1993) confronted what he understood to be an imagined and literal American West constructed by myths of frontier conquest, pioneer settlement in and transformation of the western landscape, and cowboy exceptionalism that erased an historical legacy of hardship, failure, and destruction of land and people, and also a West constructed by Eastern publishers and literary critics who diminished western American literature to local color writing. In Wolf Willow: A History, a Story, and a Memory of the Last Plains Frontier (1962), Stegner uses fiction, history, and memoir to engage the mythic West's silencing of his family's failed homesteading experiences in a specific western place and the relationship of his childhood and adult selves to this place, to its history, to experiences there, and to the cultural myths that characterize his western past and present and position the West as a symbolic container of hope, opportunity, and reward for the individual and America. In an historicized western place and from childhood experiences, Stegner locates an Other western narrative and an authentic western voice that disrupts the monomythic voice and values that are out of touch not only with a modern, multicultural, urban West but also with a rural West. <br>Coming after Wolf Willow, a series of essays--"Born a Square" (1964), "On the Writing of History" (1965), and "History, Myth, and the Western Writer" (1967), reprinted in the popular The Sound of Mountain Water (1969)-- present Stegner's new theory of western American literature that re-visions the West's literary heritage and reclaims the western story, what he called "another kind of western story-telling" that engages both the present and the past Wests, acknowledges past crimes against racial others and against western lands, promotes a sense of hope for a native western art, and raises America's consciousness of the personal, environmental, and cultural costs of adhering to the metanarratives of the culturally dominant mythic West of formula fiction, Hollywood films, and television series of the 1940s through 1960s. While Stegner scholars have examined the essays independently and deem them important to Stegner's works and to the trajectory of western American literature in the 1970s forward, no study has undertaken an extended analysis of these three essays in relation to Wolf Willow to argue, as this dissertation does, that Wolf Willow contains in germinal form the foundation of Stegner's realist, place-based, and historicist theoretical construct for western American literature he advocated for in the 1960's essays. / McAnulty College and Graduate School of Liberal Arts / English / PhD / Dissertation

Willy Kyrklund (1921–2009) anknyter i en betydande del av sina verk till såväl det gamla som det moderna Grekland. I avhandlingen gör nedslag i ett antal av dessa verk, men även Kyrklundforskningen i stort diskuteras. Med inspiration från Peter Szondis diskussion kring en specifikt litterär hermeneutik ställs textens estetiska verkningsmedel i centrum. Medan en ansenlig del av den tidigare forskningen strävat efter att fixera ett fåtal bärande tankar i Kyrklunds författarskap går denna undersökning i en annan riktning: det handlar om att visa på mångfalden och rikedomen i de olika verken. Den teoretiska diskussionen ligger till grund för en serie närläsningar, där såväl beröringspunkter som skillnader mellan de olika verken klarläggs. I de tre novellsamlingarna Ångvälten (1948), Hermelinens död (1954) och Den överdrivne älskaren (1957) väljs enskilda stycken ut, där grekiska element på ett eller annat sätt är närvarande. Ett återkommande drag är hur det förflutna framträder i nutiden, som något främmande. Hur de olika tidsplanen relaterar till varandra tematiseras ytterligare i Greklandsskildringen Aigaion (1957), på ett sätt som problematiserar bokens status av reseskildring. I det korta dramat Platanhårsdialog på en ö i Aigaion (1961) blir det våldsamma förhållandet mellan nuet och det förflutna avgörande för hela formspråket. Med exempel ur två senare prosaverk, Den rätta känslan (1974) och 8 variationer (1982), påvisas slutligen en underliggande logik bakom Kyrklunds angrepp på traditionen, en strategi som får namnet 'antimyt'.

This thesis is an exploratory examination of identity construction and children’s media, with a focus on the Palestinian political groups of Fatah and Hamas. It looks at how children’s media are framed within the context of the Arab-Israeli conflict. It examines how internal and external social factors contribute to identity formation and the interaction among these elements during times of conflict and war. This thesis hypothesizes that both Fatah and Hamas use various myths to differing degrees in order to frame their conception of a Palestinian identity. Specifically, it explores the use of the Myth of Battle, the Myth of Hero, the Myth of Victim, the Myth of Religion, the Myth of Land and the Myth of Other. It seeks to determine which of these myths each group emphasizes through a qualitative and quantitative visual ethnographic content analysis. The quantitative analysis uncovered interesting, albeit not statistically significant, differences between Fatah’s and Hamas’ use of all of the myths in their videos. Specifically it found that both groups made equal and great use of the Myth of Religion; that Hamas produced the videos with the greatest focus on the Myth of Battle and the Myth of Hero; and that neither group greatly emphasized the Myth of Victim, the Myth of Land or the Myth of Other. Finally, the analysis discovered positive correlations between the Myth of Hero and the Myth of Battle as well as between the Myth of Battle and the Myth of Other.

This study looks at how professional male athletes—particularly undersized athletes—are represented throughout televised sport. Based on the assumption that televised sport is a gendered and predominantly masculine genre, the focus of this analysis is to demonstrate whether or not professional male athletes are evaluated differently based on physical stature, and whether or not such representations reinforce a dominant—mythic—male ideology. Grounded mainly in Gramscian hegemony and Peircean semiotics, the subsequent analysis compares broadcast commentary and visuals taken from the 2010 men’s Olympic ice hockey tournament and the 2010 men’s FIFA World Cup. In both events, it was generally found that taller athletes were praised more positively than smaller athletes. These findings appear to support common sports-related stereotypes, such as, the apparent media-reinforced expectation that professional male athletes be almost inhuman, mythical representations of ordinary men, i.e., the best athletes should be large, intimidating, aggressive, and hyper-masculine symbols.

These poems tell lyrical stories primarily about violence, language, loss and love. Often with an edge of nightmare, they capture the voices of fringe characters in a variety of settings and circumstances. The poems also deal with books, history, family, ritual/myth and the natural world.

This essay examines The Myth of Sisyphus (1942), The Plague (1947), and The Rebel (1951). I have chosen these three works in an effort to triangulate Camus' intellectual development, his persistent interest in literature, and the historical background against which these take place. Sisyphus and The Rebel are Camus' two major philosophical essays. The former belongs to Camus' "First Cycle" of writing, in which he focused on the concept of "the Absurd"; the latter belongs to Camus' "Second Cycle", in which he focused on the theme of "revolt." Camus wrote The Myth of Sisyphus during the Nazi occupation of Paris, an event which he witnessed and experienced and which also served as the inspiration for his novel The Plague. Though the two books are connected by this event, thematically The Plague belongs to Camus' Second Cycle. For this reason, it serves as an illuminating work, demonstrating the importance of fiction to Camus' intellectual process and his particular way of thinking. From Sisyphus to The Rebel, Camus' argument for fiction comes down to the opportunity it offers to describe life rather than explain it. In his opinion, the best novelists exhibit the very philosophy that should generally govern human behavior. These novelists limit themselves to what they can be sure of – namely, their personal experiences; they patiently explore what it is like to live on this earth – how human beings deal with each other, manage their environments, and cope with the often tremendous complexities of life. Not co-incidentally, Camus' fiction took special interest in death of all kinds – from murder to sickness to suicide – in order to remind his readers that life is finite. According to Camus, writing fiction is a way to keep the reader conscious of the human condition, because good fiction plainly exhibits life as it is and death as our common fate. By reflecting on good literature, readers may form their own life ethic.

This thesis is an exploratory examination of identity construction and children’s media, with a focus on the Palestinian political groups of Fatah and Hamas. It looks at how children’s media are framed within the context of the Arab-Israeli conflict. It examines how internal and external social factors contribute to identity formation and the interaction among these elements during times of conflict and war. This thesis hypothesizes that both Fatah and Hamas use various myths to differing degrees in order to frame their conception of a Palestinian identity. Specifically, it explores the use of the Myth of Battle, the Myth of Hero, the Myth of Victim, the Myth of Religion, the Myth of Land and the Myth of Other. It seeks to determine which of these myths each group emphasizes through a qualitative and quantitative visual ethnographic content analysis. The quantitative analysis uncovered interesting, albeit not statistically significant, differences between Fatah’s and Hamas’ use of all of the myths in their videos. Specifically it found that both groups made equal and great use of the Myth of Religion; that Hamas produced the videos with the greatest focus on the Myth of Battle and the Myth of Hero; and that neither group greatly emphasized the Myth of Victim, the Myth of Land or the Myth of Other. Finally, the analysis discovered positive correlations between the Myth of Hero and the Myth of Battle as well as between the Myth of Battle and the Myth of Other.

This study looks at how professional male athletes—particularly undersized athletes—are represented throughout televised sport. Based on the assumption that televised sport is a gendered and predominantly masculine genre, the focus of this analysis is to demonstrate whether or not professional male athletes are evaluated differently based on physical stature, and whether or not such representations reinforce a dominant—mythic—male ideology. Grounded mainly in Gramscian hegemony and Peircean semiotics, the subsequent analysis compares broadcast commentary and visuals taken from the 2010 men’s Olympic ice hockey tournament and the 2010 men’s FIFA World Cup. In both events, it was generally found that taller athletes were praised more positively than smaller athletes. These findings appear to support common sports-related stereotypes, such as, the apparent media-reinforced expectation that professional male athletes be almost inhuman, mythical representations of ordinary men, i.e., the best athletes should be large, intimidating, aggressive, and hyper-masculine symbols.

This study is about quantum physics and the role it can play in a religious perspective. I intend to examine how moderna physics may be related and understood as New age and Myths. My material consists of two books in the new age genre: "The Tao of Physics" by Fritjof Capra and "The Quantum Self" by Danah Zohar. My first two question to these books are which 1) religious and 2) scientific content they have. My other questions are too 3) investigate and demonstrate how these books are new age and 4) to exanine how the books can function as myths and adopt mythical features. And last 5) to compare important content and ideas between the books. My methods are a simple hermeneutic close reading with a qualitative inductive analysis grounded in previous research and theory. My method is also inspired by a contextual analysis of ideas and an exploratory study. In the investigation I start by showing what religious and scientific materials the books contain. My conslusion is that these two books thoroughly fulfill many criteria for the New age genre. They should however not be counted as Myths becuse they do not meet the requirenents I have defined in the theory section. Moreover, the books share many similarities, such as many common references and resistance to some ideas from the Western tradition of ideas. But there are also some differences, mainly in how they use quantum physics. Firstly, a difference is that Capra primarily make parallels between quantum physics and Eastern philosophical tradition which Zohar does not. Secondly, Capra uses quantum physics to approach the mesage, that is primarily derived from Buddhism, which is that the reality is dynamic and in the end that the world is a "non-existing thing". Zohar is opposed to this and she would call it an extreme solipsism. She argues that the reality consists of both a particle and wave structure wich she applices at the consciousness.