Made available in DSpace on 2016-04-26T18:18:42Z (GMT). No. of bitstreams: 1 Rodrigo de Godoy.pdf: 4078997 bytes, checksum: 03b8b257db20e1471bb5c567ca1fc469 (MD5) Previous issue date: 2010-05-24 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The objective of this study is to catch the "myth" in action through the representation of the family in some brazilian ads. Its corpus is made up of a selection of ads taken from two nationwide publications, chosen for the diversity and the representativeness of the target audience: Seleções de Reader's Digest and Veja. The theoretical basis comprises two main fronts: Barthes semiology and the concept of myth that it develops, on one side; the history and structure of the bourgeois nuclear family, in an arc that goes from Engels to Philippe Ariès, and the changes in advertising in Brazil, on the other side. We hypothesized that, despite the new roles that men and women now play in brazilian society, with few exceptions, the ads remain stuck to an old family model with its old function distribution. This is consistent with the central assertion of Barthes on the subject of mythological discourse: the "myth" takes the nature by culture and cancels history / O objetivo deste trabalho é surpreender o mito em ação na representação da família em certa publicidade brasileira. Seu corpus constitui-se de uma seleção de anúncios recortados de duas publicações de abrangência nacional, escolhidas pela diversidade e, logo, pela representatividade do público-alvo: Seleções de Reader s Digest e Veja. As bases teóricas da pesquisa compreendem duas frentes principais: a semiologia barthesiana e o conceito de mito que ela desenvolve, de um lado, e as histórias e a estruturação da família nuclear burguesa, num arco que vai de Engels a Philippe Ariès, e as transformações da publicidade no Brasil, de outro. Trabalhamos com a hipótese de que, malgrado os novos papéis que homens e mulheres desempenham hoje, na sociedade brasileira, salvo raras exceções, a publicidade impressa segue presa a um antigo modelo familiar, com sua velha distribuição de funções. Isso coaduna-se com a afirmação central de Barthes a propósito do discurso mitológico: o mito toma a cultura por natureza e cancela a História

Classé, en 1988, parmi les quatre pédagogues les plus influents du XXe siècle par l’UNESCO, Anton Makarenko demeure paradoxalement un « illustre inconnu » dans la recherche pédagogique francophone. Là où les études russes et allemandes abondent et, depuis plusieurs décennies déjà, contribuent à remettre en question la figure mythifiée de Makarenko diffusée par la propagande soviétique, la recherche francophone semble s’en être arrêtée au portrait « officiel » du pédagogue et, plus étonnamment encore, à l’image fictionnelle qu’en délivre son chef-d’œuvre : le Poème pédagogique. Partant de ce constat, notre recherche se propose d’examiner, en deux temps — « un pédagogue de fiction ? » et « une fiction de pédagogue ? » — les divers usages de la fiction inhérents à la vie et l’œuvre d’Anton Makarenko. Quand la première partie de notre thèse s’attache à comprendre les enjeux de la constitution, de la propagation et de la réception d’une représentation magnifiée du pédagogue soviétique — tâchant, à son terme, d’en reconstruire une biographie critique —, la seconde, elle, s’intéresse à l’œuvre fictionnelle de Makarenko et s’interroge, en particulier, sur les logiques présidant au choix de la fiction pour son Poème. Si elle prétend en éclairer les raisons contextuelles en présentant une traduction inédite de la correspondance entre le pédagogue et son mentor Maxime Gorki, en procédant à une analyse rhétorique du Poème, elle cherche à préciser les rouages et les effets escomptés de ce choix. Mais à travers la figure paradigmatique d’Anton Makarenko et son œuvre phare, ce que souhaite interroger plus généralement notre recherche c’est la nature des rapports inextricables qui lient fiction et pédagogie. La fiction n’est-elle d’ailleurs pas nécessaire à la pédagogie ? Tour à tour révélation, exaltation, mobilisation, contestation, anticipation, elle est aussi, comme ce qu’elle relate, une édification. / In 1988, due to UNESCO decision Anton Makarenko was recognized as one of the four most influential pedagogues in the 20th century, however he paradoxically remains as a «man of mystery » in french pedagogical research. If russian and german studies abound and help to question, since decades, the mythical figure of Makarenko disseminated by Soviet propaganda, the french research seems to have stopped at the "official" portrait of the pedagogue and, even more surprisingly, at his fictional picture that delivers his masterpiece: The Pedagogical Poem. Based on this previous observation, our research propose to examine in two parts — « a fictional pedagogue? » and « a pedagogue of fiction ? » — the various uses of fiction in the life and the work of Anton Makarenko.The first part of our thesis attempts to understand the issues of the creation, the propagation and the reception of a mythologized representation of the soviet pedagogue and to rebuild a critical biography of Makarenko. The second part focuses on the fictional work of Makarenko and questions particularly the logic behind the choice of the fiction for his Poem. It claims, on one hand, to explain the contextual reasons for this choice with a new translation of correspondence between the pedagogue and his mentor Maxim Gorky. Secondly, it seeks to clarify the arcana and the expected effects of this choice through a rhetorical analysis of the Poem.But behind the paradigmatic figure of Anton Makarenko and his masterpiece, this research tries to question, more generally, the nature of the inextricable links between fiction and pedagogy. In a way, isn’t the fiction necessary to pedagogy ? Revelation, exaltation, mobilization, protest, anticipation, it is also an edification.

La Mitteleuropa a été façonnée, déformée, instrumentalisée autant par les protagonistes que par les figurants des rebonds stochastiques de l'Histoire. Ainsi, dans son incessante métamorphose mythisante, dans son existentiel être flou, dans sa tension entre centre et périphérie, entre littérature "majeure" et littérature "mineure", entre Occident et Orient, s'est manifestée une confusion plus profonde et plus enracinée que la sémantique : une confusion ontologique. Cela est encore plus évident là où l'atomisation de la Vielfalt, de la multiplicité kafkanienne, a atteint son acmé – c’est-à-dire dans les régions frontalières des nations qui sont nées sur le territoire de la Double Monarchie austro-hongroise. Cette étude l'a vérifié suivant les sentiers littéraires centro-européens, un parcours qui, à partir du mythe habsbourgeois, de la saga k.u.k de Joseph Roth, a conflué dans la Mitteleuropa des confins et des frontières. C'est la labilité riche et dépaysée de l' "être du milieu", pénétrant dans les espaces métaphysiques de la nappe danubienne, dans les espaces du mythe (d'un Empire qui fut). / The Mitteleuropa has been molded, deformed, exploited as much by the protagonists as by the crowd people of our history. Therefore, in its incessant metamorphosis, in its flou existential being, in its tension between center and periphery, between "major" end "minor" literature, between West and East, it's showed itself as a deep-rooted confusion: an ontological confusion. This study has found such disarray along a walk among the literary paths of central Europe, a way that, from the Habsburg myth, from the saga k.u.k of Joseph Roth, meets the Mitteleuropa of the borders, the Mitteleuropa of the frontiers.

Ce travail propose une étude du caractère «libéral» et «national» accordé à Jean-Marie Mastaï Ferretti, le pape Pie IX, pendant ses premières trois années de pontificat. Par les biais d'une documentation hétérogène (sources d'archives, pamphlets, tracts, journaux, lithographies populaires, correspondances privées, mémoires et journaux intimes), l'étude fournit une reconstruction de la naissance de ce caractère avec l'amnistie pontificale de 1846; de ses métamorphoses complexes qui croisent la politique papale, le statut des images et des dévotions aux XIX siècle et la propagande politique et religieuse, aussi que l'imagerie du complot; et de sa partielle dissolution après les révolutions de 1848. L'enquête, tout en se confrontant avec le concept de «mythe» – outil avec lequel le phénomène a été souvent interprété – procède par une mise en question de cette catégorie et parvient à la remplacer par le concept plus opératoire d'«investissement émotif»: la figure d'un pape «libéral» et «national» serait alors le produit d'un travail culturel collectif – auquel Pie IX lui-même n'a pas été étranger – qui relève des préoccupations théologico-politiques de la société post-révolutionnaire européenne: résoudre les dilemmes de l'époque, en conciliant des concepts logiquement (et apparemment) incompatibles comme liberté et ordre, nationalité et théologie catholique. La méthode choisie est celle de l'histoire comparée: il s'agit en effet de reconstruire un contexte pluriel, relevant d'un entrelacement de sources, de deux côté des Alpes, afin de parvenir à une connaissance plus pointue d'une grande utopie vécue à la moitié du XIX siècle. / This dissertation offers a study of the «liberal» and «national» nature attributed to John-Mary Mastai Ferretti, the pope Pius IX, during his first three years of pontificate. Exploiting an heterogeneous mass of sources (archival items, typing and handwritten papers, pamphlets, posters, newspapers, popular engravings and etchings, private letters, journals), this study retraces the origins of the phenomenon since the papal amnisty of 1846; its mixed transformations which come across papal policy, the status of images and devotional practices in 19th century, political as well as religious propaganda, and conspiracy theory besides; finally, its partial dissolution after the revolutions of 1848. Facing the concept of «myth» – a tool uncritically used for a long time to interpret the phenomenon –this study proceeds on questioning this category and it attains to the most operational concept of «emotional investment»: hence the figure of a «liberal» and «national» pope would be the product of a collective work – to whom Pius himself was not extraneous – which was a matter for the theologico-political worries of post-revolutional european society: namely to solve the religious and political dylemmas of modern age, in order to appeasing some ideas which are not logically (and apparently) compatible, such as freedom and order, nationalism and catholic theology. The method choised to investigate this phenomenon is the comparative one: in retracing a plural context (that is a network of sources) between the two sides of Alps, it will be possible to have a more deep knowledge of a great living utopia in the middle of 19th century.

Este trabalho tem como objetivo analisar as concepções sobre ciência, biodiversidade e desenvolvimento sustentável presentes no discurso de um programa do Globo Repórter intitulado Parque do Tumucumaque, que trata de uma expedição científica ao Parque localizado no Amapá. A abordagem das referidas concepções é realizada por meio de algumas questões direcionadoras: Qual a relação entre o conhecimento científico e o não científico? Quais os mitos que embasam a abordagem da biodiversidade? Quais os mitos que embasam a abordagem do desenvolvimento sustentável? A ciência é apresentada de forma a corroborar as concepções sobre biodiversidade e desenvolvimento sustentável sugeridas no programa? Tais concepções sobre esses temas se aproximam mais da visão disseminada pelos países desenvolvidos e grupos dominantes, baseadas de forma geral, no pensamento neoliberal e no mainstream econômico, ou se aproximam mais dos grupos dissidentes que se preocupam com a pluralidade cultural e com a organização de fóruns sociais? A fundamentação teórica é oriunda da filosofia e da sociologia incluindo autores que não necessariamente concordam entre si. Alguns exemplos são: Adorno, Bakhtin, Barthes, Habermas, Foucault, Ellias, Bauman, Giddens, Boaventura, Rorty, Berlin, Chalmers, Lyotard, Cassirer, Rouanet, Cambi, Castells. O método utilizado é de cunho qualitativo em que três características são básicas: visão holística, abordagem indutiva e investigação naturalística. A teoria é fundamental para dar sustentação e validade ao estudo por atribuir significados aos dados. A análise demonstrou que o discurso do programa é polifônico, pois ecoa vozes contraditórias, ao mesmo tempo em que reforça as vozes dos grupos dominantes que disseminam o neoliberalismo e o primado da ciência sobre outras formas de produção do conhecimento. Considerando o aspecto educativo da televisão, e o esvaziamento do monopólio educativo da escola, é importante valorizar a capacidade do \"distanciamento\" tão necessária para a percepção do que está por trás das aparências, do que é mitificado e apresentado como verdade indiscutível. Na era da comunicação e da sociedade de risco, em que os problemas são globais e os discursos se entrelaçam de forma a obscurecer fronteiras claramente definidas, a escola deve repensar o seu papel / The current work aims to analyze the conceptions of science, biodiversity and sustainable development present in the speech of one episode of the television program \"Globo Reporter\" entitled \"Tumucumaque Park\", which portrays a scientific expedition to this Park, located at the Brazilian State of Amapá. The approach used to analyze these conceptions is based on some guiding questions: what is the relationship between scientific and non-scientific knowledge? Which are the myths underlying the biodiversity approach? Which are the myths that support the idea of sustainable development? Is science presented so as to corroborate the conceptions of biodiversity and sustainable development suggested in the program? Do the conceptions underlying these issues resembles more the approaches adopted by developed countries and dominant groups, based generally on the neoliberal thinking and economic mainstream, or do they resemble more closely the ideas of dissident groups that are concerned with the cultural plurality and with the organization of social forums? The theoretical foundation of the work comes from philosophy and sociology, including authors who do not necessarily share the same views. Some examples are: Adorno, Bakhtin, Barthes, Habermas, Foucault, Ellias, Bauman, Giddens, Boaventura, Rorty, Berlin, Chalmers, Lyotard, Cassirer, Rouanet, Cambi, Castells. The method applied is of a qualitative nature, in which three features are basic: holistic vision, intuitive approach and naturalistic research. The theory is fundamental to provide support and validation to the study by attributing meaning to the data. The analysis showed that the discourse of the program is polyphonic, because it echoes contradictory voices, while reinforcing the voices of the dominant groups that disseminate the neoliberalism and the primacy of science over other forms of knowledge. Considering the educational aspect of the television, and the progressively decreasing monopolistic role of the school, it is important to value the capacity of \"widening the gap\" so needed for the perception of what is behind the appearances, of what is mythized and presented as undisputable truth. In the age of communication and of a society based on risk, in which the problems are global and the discourses are intertwined so to obscure clearly defined boundaries, schools must rethink their role.

Cette thèse de doctorat met en oeuvre une analyse transverse au long cours des figures représentant le loup garou à travers les siècles. L’objet de cette enquête est multiple : trouver les fondements du mythe, voir dans quelle mesure il s’est transmis par le biais des élites, comprendre la valeur de la créature d’un point de vue sociologique. Pour résumer l’ensemble, il s’agit de voir comment, depuis l’Antiquité jusqu’à nos jours, ce mythe a traversé les époques, perdant ou gagnant des éléments d’identité mais se rechargeant toujours assez pour rester évocateur de la société qui l’entoure. Malgré la difficile prise en compte des sources très anciennes, celles de la mythologie par exemple – un travail de mise en perspective s’est construit autour de la perception, de la représentation du loup garou comme moyen de questionner l’homme et sa valeur au cours des différentes périodes historiques qui voient évoluer sa valeur de manière tantôt positive, tantôt négative. Ces changements s’expliquent par le poids des guerres, par celui des institutions, mais aussi par la pression, parfois terrible, de canis lupus sur le territoire français. Ce mythe, international et très populaire aujourd’hui, offre de nombreuses possibilités de questionner nos comportements, peurs et attentes, au travers de versions plus ou moins romantiques, plus ou moins réalistes, en fonction des médias choisis, comme nous le montrent les différentes œuvres étudiées depuis l’Antiquité jusqu’à nos jours. / This PhD thesis aims to put emphasis on a long course analysis of werewolves depictions through centuries. This investigation has several aspects : finding the werewolf myth foundations, seeing how it could have spread via elite society, understanding creature’s value on a sociologic way… This thesis involves seeing how, from Antiquity to now, the myth has traveled through times and centuries, gaining or losing identity elements, but always recharging itself in order to stay evocative of the society surrounding it. In spite of the difficulty in trusting very ancient sources, as mythology for example, serious standpoint creation has grown on perceptions, depictions of werewolf as a mean to question human being and his value through different historical periods specific to it, and where its value changes from positive to negative and inversely. Those changes can be explained by the weight of wars, institutions, but also by the pressure, sometimes terrible, of canis lupus on European and French territories. This myth of werewolf, international and very popular today, offers many ways of questioning our habits, fears, hopes through different versions, more or less romantic, more or less realistic depending on the chosen media, as we can notice in the different masterpieces from Antiquity until today.

Cette thèse a pour objectif de questionner la présence de la figure napoléonienne, près de deux cents ans après la disparition de Napoléon Bonaparte (1769-1821), dans la production culturelle populaire francophone (littérature, bande dessinée, jeux vidéo, publicité) de la fin du XXe siècle et du début du XXIe siècle, sous l’angle de la mythocritique.Dans une démarche diachronique, sont préalablement évoquées les représentations de l’image napoléonienne aux XIXe et XXe siècles, à travers la littérature et la culture populaires (caricatures, chansons, images d’Épinal) afin de mettre en lumière la création du mythe de Napoléon et son évolution à travers les siècles. Nous avons fait le choix de suivre une approche synchronique, tout d'abord, en privilégiant l’étude comparée de romans francophones (uchronies, pastiches…) évoquant le personnage napoléonien. Notre corpus prend aussi en compte l’imagerie contemporaine, par le biais de divers exemples de bandes dessinées et de mangas japonais utilisant la figure de Napoléon Bonaparte, depuis les années 1969 (bicentenaire de sa naissance). Nous nous sommes donnés pour tâche d’illustrer et de documenter, le plus exhaustivement possible, cette présence du mythe afin de l’analyser et de pouvoir en dégager les mythèmes et motifs postmodernes qui la nourrissent.D’autres supports que la littérature populaire sont également convoqués car ils en constituent le vecteur : en effet, nous avons souhaité intégrer à nos travaux l’analyse de publicités ; l’image et la vidéo constituant indéniablement aujourd’hui, une des sources principales des représentations collectives et des mythes de la postmodernité. Dans le but de réaliser des recherches les plus exhaustives possibles, nous avons également souhaité, dans l’ultime chapitre de notre étude, interroger la présence (ou l’absence) de la figure napoléonienne dans les programmes de l’Éducation nationale ou encore les collections et expositions des musées. A travers l’étude approfondie de ce corpus, accompagnée d’un large panorama comprenant notamment l’analyse de la présence de la figure historique de Napoléon Bonaparte dans les jeux vidéo et sa représentation sur de nombreux sites internet, il a été question de mettre au jour les mythèmes-motifs-valeurs contemporains qui émergent aujourd’hui du personnage demeurant mythe, en France, deux cents ans après sa disparition. / The aim of this thesis is to question the presence of Napoleonic figure, nearly two hundred years after the death of Napoleon Bonaparte (1769-1821), in the popular and francophone cultural production (literature, comics, video games, advertising) of the late twentieth century and early twenty-first century, in terms of mythocritique.In a diachronic approach, are previously mentioned representations of Napoleonic image in the nineteenth and twentieth centuries through literature and popular culture (cartoons, songs, images of Epinal) to highlight the creation of the myth of Napoleon and its evolution through the centuries.In a synchronic approach through, first of all, by the comparative study of French novels (uchronies, pastiches...) evoking the figure of Napoleon and then, at the heart of contemporary imagery, through various examples of comics and Japanese manga using the figure of Napoleon Bonaparte, from the years 1969 (bicentenary of his birth), we set ourselves the task of illustrating and documenting as thoroughly as possible the presence of myth in order to analyze and identify the postmodern mythemes that nourish.We are interested not only by popular literature but also other materials which constitute the vector of myth : in fact, we wanted to integrate into our work the advertising analysis; image and video undeniably constitute today a major source of collective representations and myths of postmodernity.In order to make possible the most extensive research, we also wanted in the final chapter of our study, questioning the presence (or absence) of Napoleonic figure in national Education programs or museum collections and exhibitions.Through in-depth study of this corpus, along with a wide panorama including in particular the analysis of the presence of the historical figure of Napoleon Bonaparte in video games and its representation on many websites, the matter was to expose contemporary mythemes and values emerging of the character, which is a myth today, in France, two hundred years after his death.

'The Yangtze is China’s Mother River. It is my Mother River.’ This practice-based PhD research was initially motivated by the researcher’s personal search for The Mother River and a critical question in finding her own vision of the river. As the field experiences contradicted the researcher’s expectation of The Mother River, the research methodology changed and led to a new, critical understanding: The Mother River is mythic. This thesis examines the politics and characters of such a myth. It also asks with what research methods and visual strategy can landscape photography interrogate The Mother River myth’s complexities. Between 2010 and 2014, the author conducted eight field trips to the Yangtze River. Initially working observationally, it soon became apparent that this method alone was insufficient in reaching an original understanding of the physical and cultural Yangtze landscapes. A series of tactile interventions within the landscapes were then performed and critically evaluated prior to the next phase of the research, in which the entire 6,211 km of the Yangtze River was photographed at precise 100 km intervals. A new body of photographic work titled Mother River was produced as a result. To test its effect in challenging the myth, Mother River has been staged in 12 international exhibitions and printed in one complete catalogue. Over 80,000 people visited the shows in China. Deep mapping, which combines experiential and contextual research with multi-sensorial emplacement as a key method, emerged from this research process and is argued as a new contribution to the field of photographic research. Meanwhile, the artistic output of this research, Mother River, is the most systematic documentation of the entire river made by one person since the 1840s. Furthermore, it is argued that using the Y Points System as a physical framework and storytelling a visual strategy, Mother River challenges the mythic Yangtze The Mother River with a scale and complexity rarely employed by other photographers.

This thesis traces the changing conceptions and uses of myth in the poetry and prose of Percy Shelley. Its main argument is framed from a critical-theoretical perspective inspired by Dialectic of Enlightenment by Theodor Adorno and Max Horkheimer. From this methodological standpoint, the study of myth can be related to other aspects of Shelley’s work, like his understanding of history and the problem of necessity and agency. The body of the dissertation is divided into three main parts, each of which is constituted by a series of shorter chapters. The first part deals with the mutually constituting negation of myth by enlightenment, where simultaneously several different but related conceptions of myth are produced and the preliminary principles of enlightenment advanced. Shelley’s earlier conceptions and uses of myth are identified (personification, euhemerism, and allegory), and compared to those of his probable sources as well as of useful analogues, among whom David Hume, William Godwin, the Baron d’Holbach, and John Frank Newton are given special attention. These conceptions of myth are also situated in their intellectual contexts in the fields of eighteenth- and early-nineteenth-century mythography and theological debate. At the same time, the philosophical underpinnings of Shelley’s earlier writings (naturalism, scientism, and necessitarianism) are brought to light, and interpreted as having been strategically advanced in his critique of myth and religion. The main subject of the second part is the partial reification of enlightenment as a narrative of natural history. The interaction of theological debate and natural history of religion is explored in the light of literary form and pragmatic situation. Shelley’s political and social writings are described as a natural history of civil society based on political economy, and are situated within the historiographical tradition developed in the Scottish Enlightenment by authors like William Robertson, Adam Smith, Adam Ferguson, and John Millar. These narratives contained embedded within themselves an early concept of sociological necessity, and developed in opposition not only to sacred history but also to the classical narratives of individual political agency. I argue that this historiographical framework became problematic for Shelley in the wake of the Manchester massacre, since it was at odds with his pacifist values and utopian expectations. The final part treats of the reincorporation of some elements originally suppressed in the critique of myth. Shelley’s later mythical dramas are read as an alternative representation of history to that of natural history, where a new conception of collective political agency was developed. Simultaneously, a new concept of truth as praxis is identified as emerging in some of Shelley’s political writings, whereby the truth value of myth and poetry could be reassessed as that of a guide for political action. Finally, I argue that Shelley’s debate with Thomas Love Peacock concerning the social function of poetry catalysed the process by which the attributes of myth were transferred to poetry, and the latter was set against science and other expressions of the calculating faculty.

O presente trabalho trata da poética oral mítica afro-gaúcha, analisando os processos de representação das narrativas míticas orais a respeito dos orixás, divindades do Batuque do Rio Grande do Sul. A partir de um registro realizado com oito sacerdotes de Porto Alegre e Região Metropolitana, realizamos uma análise de sua performance, estudando os artifícios que compõem esta poética, com ênfase nos aspectos estruturais e miméticos. Após a coleta, procedemos à transcrição, análise e decomposição das narrativas em mitemas, atentando para homologias e discrepâncias que nos permitissem o desenvolvimento de um quadro das representações de mundo dos povos dos terreiros afro-gaúchos, refletindo sobre os efeitos da diáspora africana e a subsequente reorganização de seus sujeitos na sociedade. / This study discusses the oral poetics related to the myths found in the Batuque do Rio Grande do Sul – an African-Brazilian religion practiced in the south of Brazil, providing an analysis of the process of representation of the oral narratives concerning the deities worshipped in these religions, known as orishas. The narratives were collected from interviews with eight African-Brazilian priests of Porto Alegre and Metropolitan Area and analyzed in terms of performance, poetic resources, and other features, emphasizing structural and mimetic aspects. The narratives were divided into mythemes, drawing attention to homologies and discrepancies that could guide the development of a framework of worldviews found in these religions, taking into consideration the effects of the African Diaspora and the reorganization of its subjects within society.