Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Notre étude porte le western crépusculaire et cherche plus précisément à extraire le « crépusculaire » du genre. L'épithète « crépusculaire », héritée du vocabulaire critique des années 1960 et 1970, définit généralement un nombre relativement restreint d'œuvres dont le récit met en scène des cowboys vieillissants dans un style qui privilégie un réalisme esthétique et psychologique, fréquemment associé à un révisionnisme historique, voire au « western pro-indien », mais qui se démarque par sa propension à filmer des protagonistes fatigués et dépassés par la marche de l'Histoire. Par un détour sur les formes littéraires ayant comme contexte diégétique l’Ouest américain (dime-novel et romans de la frontière), nous effectuons des allers et retours entre les formes épique et romanesque, entre l’Histoire et son mythe, entre le littéraire et le filmique pour mieux saisir la relation dyadique qu’entretient le western avec l’écriture, d’une part monumentale et d’autre part critique, de l’Histoire. Moins intéressée à l’esthétique des images qu’aux aspects narratologiques du film pris comme texte, notre approche tire profit des analyses littéraires pour remettre en cause les classifications étanches qui ont marqué l’évolution du western cinématographique. Nous étudions, à partir des intuitions d’André Bazin au sujet du sur-western, les modulations narratives du western ainsi que l’émergence d’une conscience critique à partir de ses héros mythologiques (notamment le cow-boy). Notre approche est à la fois épistémologique et transhistorique en ce qu’elle cherche à dégager du western crépusculaire un genre au-delà des genres, fondé sur une incitation à la narrativisation crépusculaire de la part du spectateur. Cette dernière, concentrée par une approche deleuzienne de l’image-cristal, renvoie non plus seulement à une conception existentialiste du personnage dans l’Histoire, mais aussi à une mise en relief pointue du hors-cadre du cinéma, moment de clairvoyance à la fois pragmatique et historicisant que nous définissons comme une image-fin, une image chronogénétique relevant de la contemporanéité de ses figures et de leurs auteurs. / Our study is centered on the “Twilight western” (western crépusculaire) and is more precisely concerned with the “Twilight” aspect of the genre. The "Twilight" epithet, inherited from the French critical vocabulary of the 1960s and 1970s, encompasses a relatively restrained number of works whose stories, often associated with revisionist discourses, or as “pro-indian westerns”, are dedicated to aging cowboys with a style where aesthetical and psychological realism is put forward in favor of showing how these tired protagonists feel outdated and outmarched by History. By a turn on the literary forms that have for their diegetic background the American West (dime-novels and novels more generally contextualized at the border), our research is structured by a back and forth between the epic and romantic forms of narration, between History and its myths, and moreover between the literary form and the filmic form for a better grasp of the dyadic relationship that the West entertain with its writing of History, both with its more monumental and critical approaches. Less interested towards the aesthetic of these “Twilight” images than the narratological aspects of the film considered as text, our approach is founded on literary analysis to better challenge the classifications which have marked the evolution of the Western film. Based on the intuitions of film critic André Bazin on the “sur-western” (high western), we study the narrative modulations of the genre as much as the emergence of a critical awareness from its mythological heroes (mostly the cowboy). Our approach is epistemological as it is transhistorical since it seeks to conceptualize “Twilight western” as a genre beyond genres, not established on a collection of semantical observations, but on the incitement of a twilight narrativization that emerges from the viewer. We concentrate this narrativization alongside the deleuzian crystal-image as not only an existentialist conception of the western genre in regards to History, but also as a highlighting of cinema’s “hors-cadre” (beyond-frame) perceived as an enlightenment that is both pragmatic and historicizing. We define this precise kind of historiographical image as an “image-fin” (end-image), a chronogenetic image axed on the contemporaneity of theses mythological figures and their authors.

Instagramkonton där föräldrar exponerar sina barn blir allt vanligare och allt mer populära. Detta kräver att barnen framställs på ett vis som är tilltalande för mottagarna. Denna uppsats ämnar att påvisa detta fenomen genom att granska hur två av de mer uppmärksammade svenska Instagrampersonligheterna i form av Penny Schulman respektive Naomi Ljungqvist framställs på Instagram. Målet är att genomföra studien med hjälp av en kvalitativ innehållsanalys som är grundad i semiotiska teorier. Genom dessa teorier vill vi utläsa hur framställningen av dessa barn ser ut samt hur de förhåller sig till de enligt Barthes (1973) rådande mytbildningar som existerar kring barn och familjeliv. För att kunna genomföra analysen kommer vi utgå från Hallidays teorier kring agent och aktion, konnotationer och denotationer samt mytbildningar. Resultatet vi fann var att de bägge barnen innehar liknande karaktärsdrag men med olika förhållningar till de kulturellt rådande myterna kring barn och familjeliv. Penny Schulman upplever vi som mer avvikande från den traditionella myten om barn då hon har ett självständigt agerande och inte är en passiv agent. Naomi Ljungqvist samspelar desto oftare med sin mor Johanna och stämmer därmed bättre in på den traditionella uppfattningen om barn som en del av en familj och inte en självständig individ. Utifrån vår analys kan vi se tydliga skillnader i hur analysobjekten bryter sig ifrån den klassiska bilden om barn som en passiv agent. I det analyserade materialet ser vi istället en nybildad familjemyt där barnet och dess utveckling samt anpassning till vuxenlivet presenteras. / Instagram accounts where parents are exposing their children are in today’s society a common sight as well as a popular phenomenon. This requires a depiction where the children are appealing in the eyes of the recipients. Our thesis will examining the phenomenon through an analysis of two well known swedish Instagram personalities being Penny Schulman and Naomi Ljungqvist and how they are depicted on Instagram. The goal is to implement the study with the help of a qualitative content analysis which has its base in semiotic theories. Through these theories we want to study the depiction of these children and how they relate to the - according to Barthes (1973), existing mythologies regarding children and family life. To be able to perform this study we will originate from Hallidays theories regarding agency in action, connotations and denotations and finally mythologies. The conclusion we reached was that both of the children have similar traits of character but with different suspension to the prevailing myths of children and family life. We find Penny Schulman to be more divergent from the traditional myth of children since she is acting more independent and not as a passive agent. Naomi Ljungqvist on the other hand is seemingly more dependent of her mother and therefore fit better into the traditional perception of children in a family context. Based on our analysis we can see clear differences in how the analyzed children are breaking from the traditional view of children as passive agents. In the analysed material we can see a new myth regarding family taking form where the children and their development is presented together with their adaption to adulthood.

Esta dissertação consiste em um estudo dos agenciamentos indígenas acerca da questão da diferença, mais especificamente, dos processos de diferenciação entre os vários sujeitos que compõem os \"mundos vividos\" na região das Guianas. Parto de uma análise de variações míticas sobre a origem das cores dos pássaros, a origem dos grafismos e as sócio-gêneses, para em seguida lançar um olhar sobre a centralidade da produção de diferenças nas práticas sociais da região. Ao enfocar o tema da oscilação permanente entre contínuo e descontínuo, reúno em uma mesma geometria as mitologias e as sociocosmologias. / This study concerns indigenous agency around the question of difference, and more specifically, around processes of differentiation among the various persons that make up the \"lived worlds\" found in the region of the Guianas. The study takes as its starting point an analysis of variations in myths concerning the origins of the colours of birds, graphic patterns and human collectives, and goes on to explore the importance of the production of difference within social practices seen throughout the region. In focussing on the theme of permanent oscillation between the continuous and the discontinuous, the study brings together mythologies and sociocosmologies within a single frame of reference.

Esta dissertação consiste em um estudo dos agenciamentos indígenas acerca da questão da diferença, mais especificamente, dos processos de diferenciação entre os vários sujeitos que compõem os \"mundos vividos\" na região das Guianas. Parto de uma análise de variações míticas sobre a origem das cores dos pássaros, a origem dos grafismos e as sócio-gêneses, para em seguida lançar um olhar sobre a centralidade da produção de diferenças nas práticas sociais da região. Ao enfocar o tema da oscilação permanente entre contínuo e descontínuo, reúno em uma mesma geometria as mitologias e as sociocosmologias. / This study concerns indigenous agency around the question of difference, and more specifically, around processes of differentiation among the various persons that make up the \"lived worlds\" found in the region of the Guianas. The study takes as its starting point an analysis of variations in myths concerning the origins of the colours of birds, graphic patterns and human collectives, and goes on to explore the importance of the production of difference within social practices seen throughout the region. In focussing on the theme of permanent oscillation between the continuous and the discontinuous, the study brings together mythologies and sociocosmologies within a single frame of reference.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-16T19:13:55Z No. of bitstreams: 1 luizmarioferreiracosta.pdf: 905100 bytes, checksum: 17d1d1171ea0e5eb914120d6cc350cee (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-17T11:11:41Z (GMT) No. of bitstreams: 1 luizmarioferreiracosta.pdf: 905100 bytes, checksum: 17d1d1171ea0e5eb914120d6cc350cee (MD5) / Made available in DSpace on 2015-12-17T11:11:41Z (GMT). No. of bitstreams: 1 luizmarioferreiracosta.pdf: 905100 bytes, checksum: 17d1d1171ea0e5eb914120d6cc350cee (MD5) Previous issue date: 2015-07-17 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A proposta de pesquisa está na análise da relação transnacional estabelecida entre duas duplas de intelectuais luso-brasileiros, Alfredo Pimenta e Gustavo Barroso, Plínio Salgado e Rolão Preto, durante a primeira metade do século XX. Para isso, utilizaremos os recursos metodológicos da história transnacional, cujos enfoques centrais são os subsídios e as estruturas imaginárias que transbordavam as fronteiras dos seus respectivos países. Sendo assim, o primeiro propósito refere-se à escolha de momentos específicos em suas trajetórias político-ideológicas que melhor sintetizam o processo de construção do “intelectual-herói”, termo que, em última instância, revelava o sonho dos quatro intelectuais de construírem uma autoimagem imaculada, e que em muitas ocasiões se confundia com o modelo empregado nas histórias escritas sobre os heróis míticos, sagrados ou profanos. A investigação busca um exame do principal bem simbólico e/ou produto cultural elaborado por este tipo de intelectual, a palavra escrita, que foi consumada pela apropriação das essências narrativas do Caramuru e do Sebastianismo e (re)significada através dos mitos contemporâneos da Conspiração e da Salvação. Assim, busca-se, por um lado, realizar uma análise transnacional entre as categorias míticas lusitanas e brasileiras e, por outro, estabelecer um ponto de interseção entre os mitos políticos, que estiveram presentes nos projetos intelectuais autoritários de construção do Estado aquém e além mar. / The research proposal is the transnational relationship analysis established between two pairs of Luso-Brazilian intellectuals, Alfredo Pimenta and Gustavo Barroso, Plínio Salgado and Rolão Preto during the first half of the twentieth century. For this, we will use the methodological resources of transnational history, whose approaches main are the subsidies and the imaginary structures that overflowed the borders of their respective countries. So, the first purpose refers to the choice of specific moments in their political and ideological trajectories that best summarize the process of building "intellectual hero", a term that fundamentally revealed the dream of these four intellectuals of build an immaculate selfimage, that in several occasions was confused with the model used in the stories written about mythical heroes, sacred or profane. The investigation quest an examination of the main and symbolic and / or cultural product produced by this type of intellectual, the written word, which was consummated by the appropriation of narratives essences of Caramuru and Sebastianism and (re) signified through contemporary myths of Conspiracy and Salvation. Thus, we seek the one hand, hold a cross-country analysis of the Lusitanian and Brazilian mythical categories and on the other, establish a point of intersection between the political myths, which were present in authoritarian intellectual projects of state-building and short overseas.

This thesis is a study of constructions of home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon. Drawing on the work of postcolonial theorists, it examines ways in which the selected texts engage with national mythologies in the imagining of the Australian nation. It notes the deployment of racial discourses informing constructions of national identity that work to marginalise Indigenous Australians and other cultural minority groups. The texts are arranged in thematic rather than chronological order. White’s treatment of the overland journey, and his representations of Aboriginality, discussed in Chapter One, are contrasted with Carey’s revisiting of the overland journey motif in Oscar and Lucinda in Chapter Two. Whereas White’s representations of Indigenous culture in Voss are static and essentialised, as is the case in Riders in the Chariot and A Fringe of Leaves, Carey’s representation of Australia’s contact history is characterised by a cultural hybridity. In White’s texts, Indigenous culture is depicted as an anachronism in the contemporary Australian nation, while in Carey’s, the words of the coloniser are appropriated and employed to subvert the ideological colonial paradigm. Carey’s use of heteroglossia is examined further in the analysis of Illywhacker in Chapter Three. Whereas Carey treats Australian types ironically in Illywhacker’s pet emporium, the protagonist of Xavier Herbert’s Poor Fellow My Country, Jeremy Delacy, is depicted as an expert on Australian types. The intertextuality between Herbert’s novel and the work of social Darwinist anthropologists in the 1930s and 1940s is discussed in Chapter Four, providing a historical context to appreciate a shift from modernist to postmodernist narrative strategies in Carey’s fiction. James Bardon’s fictional treatment of the Papunya Tula painting movement in Revolution by Night is seen to continue to frame Indigenous culture in a modernist grammar of representation through its portrayal of the work of Papunya Tula artists in the terms of ‘the fourth dimension’. Bardon’s novel is nevertheless a fascinating postcolonial engagement with Sturt’s architectural construction of landscape in his maps and journals, a discussion of which leads to Tony Birch’s analysis of the politics of name reclamation in contemporary tourism discourses.

La Corne de l'Afrique comme le reste du continent noir possède une littérature orale traditionnelle riche et variée, qui va de la mythologie pastorale à la poésie en passant par la légende et le conte. Avec les bouleversements sociaux intervenus avec l'arrivée des colons européens et l'introduction de l'écriture, la chaîne de transmission de la tradition orale est menacée. De nombreux Européens ont cherché à décrire les us et coutumes de ces populations. D'autre part, les écrivains de la Corne de l'Afrique s'inspirent souvent de l'oralité en lui octroyant ainsi une nouvelle virginité. Le présent travail de recherche s'efforce de rendre compte des formes traditionnelles de l'oralité et de leur impact sur la littérature moderne.

Video games have become the highest grossing entertainment industry in the world, earning more than double that of the music and film industry combined. Many of these games contain political messages, intentional or not. Some game developers explicitly claim that the games they make are apolitical, and this thesis examines whether Call of Duty: Modern Warfare is as apolitical as its developers claim. The research is conducted with the aid of Barthes’ work on mythologies and semiology to analyse the various signs present in the game in relation to construction of myths and ideological messaging. This is aided by Bogost’s procedural rhetoric to enable the analysis of gameplay choices as a semiological sign. The main theories are supported by Murray’s writing on immersion and the first-person perspective. The analysis shows that Modern Warfare consistently uses signs and myths that construct an ideological message that coalesce into a mythical image of the special forces soldier as a sort of human but superhuman character that must be given free rein to perform their mission, while also displaying western politicians as incompetent, the threat of terrorism as omnipresent, and Russia as a dangerous threat. Regardless of intent, such a message is undeniably political.

This essay deals with combs typological developments in shape and apperance during the Migration period and Vendel period, 400 - 700 A.D. as well as their meaning and function in society. The importance of combs mentioned in folklore and mythologies, with focus on both life and death. The combs and their significance are put into an everyday context, from begin a functional object to be a social status carrying symbol in society.