Made available in DSpace on 2016-07-27T13:46:39Z (GMT). No. of bitstreams: 1 MARIA JOSE MODESTO SILVA.pdf: 1400103 bytes, checksum: b7399dd8b358b7198e43c55c1c12c8dd (MD5) Previous issue date: 2015-06-09 / This thesis has as its object the biblical book Song of Songs in discourse analysis, allegorical and semiotics. It is proposed to study the Sacred Literature in bias of discourse analysis and in this particular case, the guiding principle is the dialogic speech. The production of the thesis uses the following order: In the first chapter, address to allegory, the metaphor, semiotics as a generative model of discourse analysis and also the imaginary theory. In the second chapter, the approaches are presented about the female voices present in the poetic text of the Song of Songs. In the third chapter, the emphasis will be given to a reading of the Song of Songs in the context of human relationships that go beyond the rigor of the law as it is given the voice empower women and can be expected to build an alliance between man and woman, between God and the people, between Jesus and the church. The study of symbolism and allegorical aspect will be observed. The method used in this thesis is the literature and in the course of the exhibition, are consulted translators and biblical exegeses to form a proper understanding of the research object, Song of Songs, always paying attention to the proposed bias that is dialogical discourse. It discussed Solomon s role in the work on the study. Whose voices present in the lyrical text? It is a set of voices (the woman, the beloved, the man, the beloved, women of Jerusalem, the I-lyricist-poet). At what time of discourse appears the female perspective? / Esta tese tem como objeto o livro bíblico Cântico dos Cânticos em análise discursiva, alegórica e semiótica. Propõe-se estudar a Literatura Sagrada no viés da análise do discurso e, neste caso específico, o eixo norteador é o discurso dialógico. A produção da tese utiliza a seguinte ordem: No primeiro capítulo, abordam-se a metáfora, a alegoria, a semiótica como modelo gerativo de análise do discurso e, também, a teoria do imaginário. No segundo capítulo, a ênfase será dada a uma leitura do Cântico dos Cânticos na perspectiva das relações humanas que vão para além do rigor da lei já que é dado o poder de voz às mulheres, neste caso, Sulamita e as mulheres de Jerusalém, e pode-se prever a construção de uma aliança entre o homem e a mulher, entre Deus e o povo, entre Jesus e a igreja. No terceiro capítulo, o estudo da simbologia e o aspecto alegórico serão observados. O método utilizado nesta tese é o bibliográfico e, no decorrer da exposição, são consultados tradutores e as exegeses bíblicas para formar um entendimento adequado a respeito do objeto de pesquisa, Cântico dos Cânticos, sempre atentando ao viés proposto que é o discurso dialógico. É discutida a função de Salomão na obra em estudo. De quem são as vozes presentes no texto lírico? Trata-se de um conjunto de vozes, a da mulher, a amada; a do homem, o amado; a das mulheres de Jerusalém e a do eulírico- poeta? Em que momento do discurso aparece a perspectiva feminina?

Made available in DSpace on 2016-07-27T13:48:10Z (GMT). No. of bitstreams: 1 ALINE JARDIM LOBO.pdf: 2407962 bytes, checksum: 84db7e610d6dcd72ae27bdf7a5923425 (MD5) Previous issue date: 2012-06-14 / Este texto é o resultado do trabalho de pesquisa bibliográfica do curso de pósgraduação stricto sensu em Ciências da Religião da Pontifícia Universidade Católica de Goiás. Apresenta uma interpretação feminista e ecofeminista de Cântico dos Cânticos, livro sagrado pertencente à Bíblia judaico-cristã. A pesquisa oferece uma possibilidade de resgate e de ressignificação das corporeidades presentes no texto e contribui para um diálogo sobre possíveis conscientizações ético-relacionais e éticoambientais. Resgatar e ressignificar, nos textos bíblicos, corpos de mulheres e suas relações com o corpo vivo da Terra, suprimidos por interpretações patriarcais, representam ressignificar o princípio feminino em sua interdependência com questões humanas e ambientais atuais a fim de despertar um novo olhar que visa a uma consciência sustentável e ética consigo mesmo(a), com o outro(a) e com a Terra. Quando nos conscientizarmos da necessidade de libertarmo-nos de amarras opressoras e absolutistas, estaremos aptos à uma consciência co-evolutiva e sinérgica com a Terra.

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-31Bitstream added on 2014-06-13T19:22:24Z : No. of bitstreams: 1 mota_bc_dr_arafcl.pdf: 934513 bytes, checksum: 51ff35d337dde59990adb13292a30b27 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho é uma visada interpretativa sobre o romance Lavoura arcaica, do escritor paulista Raduan Nassar, uma leitura que parte de conceitos centrais desenvolvidos pelo chamado Círculo de Bakhtin, como dialogismo, gêneros discursivos, cronotopo e polifonia, para pensar a tessitura verbal do romance em toda a sua complexidade. Nossa hipótese é que vigas/vozes mestras da arquitetônica do romance ressoam dialogicamente a poesia do Cântico dos Cânticos – jardim metafórico que exala erotismo no coração das Escrituras – e a sintaxe enrijecida da lei (em)pregada nos Provérbios. Os discursos bíblicos, das tradições mediterrâneas, que foram paulatinamente edulcorados, submetidos aos posicionamentos ideológicos dos mais velhos, transformados em tábua de lei, tornam-se, em Lavoura arcaica, palco de luta. A apropriação que os personagens tentam fazer dessas palavras “para seu uso próprio” faz surgir entre eles relações dialógicas. A palavra passa a ter dupla orientação – uma direcionada para o objeto do discurso (um tema, uma ordem, um mandamento), outra para o discurso do outro; os tensos diálogos entre Pedro e André e deste com seu pai bem o confirmam. Reafirmamos que queremos investigar em profundidade como esse tensionamento se faz projetar em todas as camadas do discurso (lexical, sintática, sonora, imagética), visto que em Lavoura arcaica os discursos interpenetram-se, chocam-se, fundemse, polemizam entre si, criando por vezes a imagem de um remoinho, que é a vertigem mesma do sujeito-narrador (André) – seu purgatório em vida. A progressão de nossa análise revelou que a própria literatura sapiencial bíblica sofre uma espécie de crise na voz dos redatores de livros como Jó e Qohélet, colocando em xeque a teoria da retribuição preconizada em Provérbios e nos discursos de Iohána, o que permitiu uma reflexão, que fecha a análise, sobre a forma... / This work aims at interpreting the novel Lavoura arcaica , written by the Paulista author Raduan Nassar and is a project which makes use of key concepts such as Dialogism, Discourse genres, Chronotype and Polyphony developed by what is known as the Bakhtin Circle to consider the verbal texture of the novel in all its complexity. Our hypothesis is that master beams/voices of the architeture of the romance drum dialogically the poetry of The Song of Songs – metaphoric garden that reeks erotism in the center of the scriptures – and the hardened syntax of the law used in The Book of Proverbs. The Biblical discourses, of the Mediterranean traditions, which were gradually sweetened, submitted to the ideological positioning of the elderly ones, transforming into a table of the law, making Lavoura arcaica a stage of battles. The ownership that characters attempt to make of these words “for their own use” elicits dialogical relations between them. The word becomes doubly oriented – oriented to the object of the discourse (a theme, an order, a commandment), and also oriented to the discourse of others; the conflicted dialogs between Pedro and André and from this one with his father attests it. We ratify that we want to deeply investigate how this tensioning is projected in all the layers of the discourse (lexical, synthatic, sonorous, imagetic), once that in Lavoura arcaica different discourses interpenetrate, conflict, polemize and merge with each other, criating several times the image of a swirling pinwheel, which is the same disorder of the narrator-subject (André) – his purgatory in life. The progress of our analysis revealed that the Biblical sapiential literature itself suffers from a kind of crisis in the voice of the editors of the books like Job and Qohélet, jeopardizing the theory of retribution preconized in The Book of Proverbs and in the discourses of Iohána... (Complete abstract click electronic access below)

L'expérience mystique n'est pas étrangère à la notion de plaisir spirituel. Mais quels sont lesmodes d'expression littéraire de ce plaisir à travers la diversité des écoles et des traditionsmystiques? On se propose, dans ce travail, d'interroger deux moments particulièrement richeset intenses dans l'histoire de la mystique universelle : la poésie mystique persane du XIIIesiècle, et la littérature spirituelle française du premier XVIIe siècle. Le corpus comprend unouvrage majeur de la poésie mystique persan, lu dans la langue originelle : le Dîvân de Djalalod-dîn Rûmî et une oeuvre emblématique de la mystique française: l'Épithalame de Jean deSaint-Samson. Bien qu'appartenant à des époques et à des sphères culturelles profondémentdifférentes, ces textes présentent des caractéristiques communes qu'il s'agira d'analyser, tantsur le plan de l'écriture que sur celui de la spiritualité. L’imaginaire du corps, en particulier,comme aussi le symbolisme métaphorique feront l'objet d'une enquête spécifique. Cette étudecomparative permettra d'élucider les courants souterrains d'un langage mystique qui s'inscritcertes dans telle ou telle tradition spirituelle, mais qui ignore, paradoxalement, les frontièresusuelles de l'orthodoxie confessionnelle. / The mystical experience is not foreign to the concept of spiritual pleasure. But what are themodes of the literary expression of pleasure amongst the diverse schools and mysticaltraditions? In this work, we examine two specific rich, and intense periods in the history ofuniversal mysticism: Persian mystical poetry of the thirteenth century and French spiritualliterature of the first half of the seventeenth century. The corpus includes a major work ofPersian mystical poetry, read in its original language, Divan of Jalal ad-Din Rumi and theemblematic work of the French mystic Jean de Saint-Samson, Epithalame. Although theybelong to profoundly different times and cultural enviroments, these texts have commonspiritual and literary characteristics. We will analyze these similarities, with particular focuson the fantasy of the body as metaphorical symbolism. This comparative study will elucidatethe undercurrents of a mystical language which exposes a unique spiritual tradition, butignores, paradoxically, the usual boundaries of religious orthodoxy.

[pt] Um olhar atento para toda a história da salvação revela que o fio condutor da mesma é precisamente a misericórdia, que é o principal atributo divino. Trata-se, portanto, de uma temática central para a fé cristã e sua reta compreensão do ponto de vista teológico é de enorme relevância para a pastoral e para a vida espiritual dos discípulos missionários de Jesus Cristo. O nosso enfoque deste tema é feito a partir da Obra aponiana, que apresenta uma originalidade em relação a outros comentários ao Cântico dos Cânticos. De fato, mais do que enfatizar a aliança esponsal entre Deus e o homem, Apônio vê na trama de amor entre os esposos do poema bíblico uma prefiguração da história da salvação. Por se tratar de um autor bastante desconhecido, a primeira parte da nossa pesquisa concentra a sua atenção na figura e na Obra de Apônio, bem como na influência que o seu Comentário exerceu sobre alguns autores posteriores. Em seguida, o nosso enfoque se volta para a hermenêutica do Cântico dos Cânticos, considerando o modo como este livro bíblico foi interpretado tanto pela tradição judaica quanto pelos Padres da Igreja. O objetivo desta parte é relevar as características da exegese aponiana, na qual o nosso autor insere as suas exposições doutrinais e espirituais. Por fim, a nossa tese se debruça sobre o tema escolhido, partindo da Trindade como fonte da misericórdia e enfatizando a ação do Cristo-Esposo misericordioso, o qual, no mistério Pascal desposa para sempre a Igreja, tornando-a sacramento da misericórdia. Como membro da Igreja-Esposa, cada cristão é chamado a experimentar em si mesmo este mistério nupcial e ser testemunha da misericórdia divina. / [en] A close look at the whole history of salvation reveals that mercy is precisely the common thread of salvation, because it is the main divine attribute. Therefore, it is a central theme for the Christian faith. From the theological point of view, its right understanding has an enormous relevance for the pastoral and spiritual life of the missionary disciples of Jesus Christ. Our focus on this theme is based on the Aponius work, which presents a peculiarity in relation to other comments about the biblical book of the Song of Songs. In fact, more than emphasizing the spousal covenant between God and humanity, in the web of love between the spouses of the biblical poem, Aponius sees a prefiguration of the history of salvation. As a very unknown author, our first part of the research focuses mainly on the Aponius person and his work. Similarly, we also focus on the influence that his Commentary had on some later authors. Then, we turn to the hermeneutics of the Song of Songs, considering the way in which this biblical book was interpreted both by Jewish tradition and by the Fathers of the Church. The purpose of this part is to reveal the characteristics of Aponius exegesis, in which our author inserts his doctrinal and spiritual expositions. Finally, our thesis focuses on the chosen theme, starting from the Trinity as a source of mercy and emphasizing the action of the merciful Christ-Spouse, who, in the Pascal mystery, marries the Church forever, making it a sacrament of mercy. As a member of the Bride Church, each Christian is called to experience this nuptial mystery in himself and to be a witness of divine mercy.

The purpose of the present study is to discuss which relationships and images of God exist between the Lovers in the Song of Songs. Theologian Sallie McFague's thoughts on the image of God as lover from Models of God: Theology for an Ecological, Nuclear Age form the framework from which I conduct my analysis. Since my primary material is of a biblical historical nature, my method is to read the texts with both modern idea-analytical methods, but also to read the narrative with a dialogic interpretation of history that enables a conversation with our contemporaries. Being that the Song of Song is a poetic text; questions of form and content are also applied as they are suitable for analyzing poetic philosophical texts. To nuance my discussion, I also bring in the feminist theologians Janet Soskice and Marcella Althaus-Reid as interlocutors. My essay shows that the relationships between the Lovers are egalitarian and poignantly sexual and include God in a triad of love. It also shows how images of God can become bigger if we dare to mirror both bodily and spiritual love not only horizontally towards each other, but also vertically towards God. This gives us the opportunity not to reduce or limit God, and neither ourselves as beings in reflection of Imago Dei.

Cette thèse pense la place des figures littéraires (le Cantique des cantiques, Kierkegaard, Hofmannsthal) et cinématographiques (Matador d'Almodóvar) de la séduction dans la relation entre le soi et l'autre. Elle interroge le rapport au sacré et à la transcendance que pose l'écriture de la séduction. Dans le premier chapitre, les frontières établies entre littérature et philosophie (personnage conceptuel, figure esthétique) sont interrogées à travers les figures de la séduction. À ces figures sont associées les figures de matadors, qui permettent de penser la violence extrême de la séduction et l'instant au cours duquel la conscience ne peut plus se dédoubler. Le deuxième chapitre est une réflexion, à partir des figures du maître et de l'esclave, sur le désir et la conscience de soi et de l'autre dans la séduction. Les figures tauromachiques exposent le sacrifice à l'œuvre dans la séduction. Le dialogue est ici pensé au sein de la séduction, pour saisir la place de celle-ci dans la formation de la pensée. Le troisième chapitre développe le rapport entre le soi, l'autre et le monde qu'établit la séduction. Le dandysme permet d'approcher la tension entre la matière et l'esprit que posent la séduction et son écriture. Le dialogue à l'œuvre dans la séduction est présenté comme un espace de formation. La séduction est envisagée comme séduction éthique, quête de la bonne distance, exercice spirituel. La syncope, le duende, l'extase sont décrits comme des états de conscience où la distance entre le soi et le monde, le soi et l'autre, l'esprit et la matière s'abolit. À partir de ces états, l'ouverture vers l'infini et vers la transcendance que peut poser la séduction est exposée. Dans le quatrième chapitre, la séduction est pensée comme le parfum du sacré, à travers une lecture du Cantique des cantiques. Par la séduction, l'importance du corps dans le sacré est soulignée. La place du secret et de la foi dans la séduction, dans le sacré et dans le littéraire est étudiée. La séduction permet une plongée érotique dans le monde et dans le réel, par les figures et par les images qu'elle déploie. Le savoir de la séduction est un parcours, savoir du corps et de l'esprit. / This thesis reflects on the place of literary (Kierkegaard, Hofmannsthal, The Song of Songs) and cinematic (Matador d'Almodóvar) figures of seduction in the relation between the self and the other. It explores the connection to transcendence and the sacred inscribed in writings on seduction. In the first chapter, the figures of seduction help us put into question the boundaries between literature and philosophy (conceptual persona and aesthetic figure). The figures of bullfighters, associated with the figures of seducers, present the extreme violence of seduction and the instant when consciousness can no longer be split in two. The second chapter is a reflexion, through the figures of the master and the slave, on desire, consciousness of the self and the other in the relationship of seduction. The figures of bullfighters manifest the sacrifice in seduction. Dialogue, considered at the heart of seduction itself, reveals the importance of seduction in the process of thinking. The third chapter develops the bond established by seduction between the self, the other and the world. In the writings of seduction, dandyism shows the tension between mind and matter. The dialogue at work in seduction opens a space of education. Seduction is viewed as an ethical process, the search for an appropriate distance, a spiritual exercise. Loss of consciousness, duende and ecstasy are described as states of consciousness that abolish the distance between self and world, self and other, and mind and matter. Through these states, seduction brings about an opening to the infinite and transcendence. Finally, seduction is defined as the perfume of the sacred through a reading of The Song of Songs. Through seduction, the importance of the body in the sacred is underscored. The place of secrecy and faith in seduction, the sacred and literature is examined. Seduction enables an erotic immersion in the world, in the real, through the figures and images of seduction. The knowledge of seduction is a process, a knowledge of body and mind.

Made available in DSpace on 2016-04-29T14:27:28Z (GMT). No. of bitstreams: 1 Susana Aparecida da Silva.pdf: 2277221 bytes, checksum: 9d74e7ccb72f35d3c4d7df842a7aed32 (MD5) Previous issue date: 2016-02-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to exegetical analysis on Ct 5,9-16. This section contains a description of the female beloved by the male beloved. To the question of Jerusalem's daughters about the male beloved superiority (v. 9), the female beloved responds with a song, a wasf in which exalts your loved above all men (v. 10). For this, she describes some physical traits (vv. 10-15), starting from the head (v. 11), holding up in the face of some details (vv. 12-13), passes through the hands, trunk and legs (vv. 14-15) and concludes with an exclamation affection and admiration (v. 16). As a canon and considered inspired book, the words written in language and poetic style seems to contain not only a description of the erotic male figure, but also contains images with a theological symbolism referring to the God of the Old Israel. It is therefore specific purpose of this study to understand and interpret Ct 5.9 to 16, in order to understand how the Israel of God is revealed through the loving description of the beloved, not only exalts the figure of the male human body, but also refers the poetic symbols of the divine character / A presente pesquisa tem como finalidade a análise exegética de Ct 5,9-16. Este trecho contém uma descrição do amado por parte da amada. À questão das filhas de Jerusalém a respeito da superioridade do amado (v. 9), a amada responde com um cântico, um wasf, no qual exalta o seu amado acima de todos os homens (v. 10). Para isto, ela descreve alguns traços corporais (vv. 10-15), partindo da cabeça (v. 11), detendo-se em alguns detalhes da face (vv. 12-13), passa pelas mãos, o tronco e as pernas (vv. 14-15) e conclui com uma exclamação de afeto e admiração (v. 16). Como um livro canônico e considerado inspirado, o trecho escrito em linguagem e estilo poético parece conter não somente uma descrição erótica da figura masculina, mas também contém imagens com um simbolismo teológico referente ao Deus do Antigo Israel. Portanto, é objetivo específico do presente estudo compreender e interpretar Ct 5,9-16, no sentido de entender como o Deus de Israel se revela através da descrição amorosa da amada, que não somente exalta a figura do corpo humano masculino, mas também remete aos símbolos poéticos dos caracteres divinos

Made available in DSpace on 2016-03-15T19:48:34Z (GMT). No. of bitstreams: 1 Larissa de Macedo Raymundo.pdf: 1166838 bytes, checksum: 34ec265869df8faa06414d7da3cd5460 (MD5) Previous issue date: 2015-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The focus of this work is the symbology, using similes, allegories and metaphors, which Saint Teresa of Jesus used in her work, Meditaciones sobre los Cantares with a view to explain how she felt, experienced and sensed the love that God had for her and that she struggled to repay. For her, the main source for her inspiration was The Song of Songs, the "Shir Hashirim" of the Hebrews, "El Cantar de los Cantares" (in Teresa s language). In the text of Santa Teresa, she did not titled but that their editors have titled Meditaciones sobre los Cantares (SANTA TERESA, 1979, p. 333), the author described the love of God experienced as conflict (and it is perceived an influence of St. Augustine). God was felt as "missing" and experienced as desire, desire to be united to Him in body and soul. This duplicity, in turn, became a mystical love. It Teresa of Jesus is in the same line of some philosophers of antiquity, who understood love as "missing", that is, that we desire what we do not have and love for what we want (Plato, Origen and Augustine). In Meditaciones sobre los Cantares, Santa Teresa expressed their will (mystical, on the one hand, and body on the other) to find God and to be with Him in body and soul. Thus, Santa Teresa showed to be in tune with the more traditional and orthodox theology, which stated that in Christ there are two natures: fully human and fully divine (Council of Chalcedon, 451 AD). To report this desire of meeting, Teresa used symbols of The Song of Songs, expressing them and renewing them in his Meditations work on them Song, a central theme of our project. / O ponto central deste trabalho é a simbologia, usando-se de símiles, alegorias e metáforas, que Santa Teresa de Jesus usou em sua obra, Meditaciones sobre los Cantares, a fim de explicar como sentia, experimentava e intuía o amor que Deus tinha por ela e que ela se esforçava por retribuir. Para ela, a fonte privilegiada para sua inspiração estava em O Cântico dos Cânticos, o Shir Hashirim dos hebreus, El Cantar de los Cantares (na língua de Teresa). No texto de Santa Teresa, que ela não intitulou, mas que seus editores têm intitulado de Meditaciones sobre los Cantares (SANTA TERESA, 1979, p. 333), a autora descreveu o amor de Deus vivenciado como conflito (e nisso se percebe uma influência de Santo Agostinho). Deus foi sentido como falta e experimentado como desejo, desejo de se unir a Ele em corpo e alma. Essa duplicidade, por sua vez, transformou-se em amor místico. Nisso Teresa de Jesus está na mesma linha de alguns filósofos da Antiguidade, que entendiam o amor como ausência , isto é, desejo do que não temos e amor pelo que desejamos (Platão, Orígenes e Santo Agostinho). Em Meditaciones sobre los Cantares, Santa Teresa manifestou sua vontade (mística, por um lado, e corporal, por outro) de encontrar Deus e estar junto a Ele de corpo e alma. Dessa maneira, Santa Teresa mostrou estar em sintonia com a Teologia mais tradicional e ortodoxa, que afirmava que em Cristo existem as duas naturezas: completamente homem e completamente divino (Concílio de Calcedônia, 451 d.C.). Para relatar esse desejo de encontro, Teresa utilizou de símbolos de O Cântico dos Cânticos, expressando-os e renovando-os em sua obra Meditaciones sobre los Cantares, tema central de nosso projeto.

Cette thèse pense la place des figures littéraires (le Cantique des cantiques, Kierkegaard, Hofmannsthal) et cinématographiques (Matador d'Almodóvar) de la séduction dans la relation entre le soi et l'autre. Elle interroge le rapport au sacré et à la transcendance que pose l'écriture de la séduction. Dans le premier chapitre, les frontières établies entre littérature et philosophie (personnage conceptuel, figure esthétique) sont interrogées à travers les figures de la séduction. À ces figures sont associées les figures de matadors, qui permettent de penser la violence extrême de la séduction et l'instant au cours duquel la conscience ne peut plus se dédoubler. Le deuxième chapitre est une réflexion, à partir des figures du maître et de l'esclave, sur le désir et la conscience de soi et de l'autre dans la séduction. Les figures tauromachiques exposent le sacrifice à l'œuvre dans la séduction. Le dialogue est ici pensé au sein de la séduction, pour saisir la place de celle-ci dans la formation de la pensée. Le troisième chapitre développe le rapport entre le soi, l'autre et le monde qu'établit la séduction. Le dandysme permet d'approcher la tension entre la matière et l'esprit que posent la séduction et son écriture. Le dialogue à l'œuvre dans la séduction est présenté comme un espace de formation. La séduction est envisagée comme séduction éthique, quête de la bonne distance, exercice spirituel. La syncope, le duende, l'extase sont décrits comme des états de conscience où la distance entre le soi et le monde, le soi et l'autre, l'esprit et la matière s'abolit. À partir de ces états, l'ouverture vers l'infini et vers la transcendance que peut poser la séduction est exposée. Dans le quatrième chapitre, la séduction est pensée comme le parfum du sacré, à travers une lecture du Cantique des cantiques. Par la séduction, l'importance du corps dans le sacré est soulignée. La place du secret et de la foi dans la séduction, dans le sacré et dans le littéraire est étudiée. La séduction permet une plongée érotique dans le monde et dans le réel, par les figures et par les images qu'elle déploie. Le savoir de la séduction est un parcours, savoir du corps et de l'esprit. / This thesis reflects on the place of literary (Kierkegaard, Hofmannsthal, The Song of Songs) and cinematic (Matador d'Almodóvar) figures of seduction in the relation between the self and the other. It explores the connection to transcendence and the sacred inscribed in writings on seduction. In the first chapter, the figures of seduction help us put into question the boundaries between literature and philosophy (conceptual persona and aesthetic figure). The figures of bullfighters, associated with the figures of seducers, present the extreme violence of seduction and the instant when consciousness can no longer be split in two. The second chapter is a reflexion, through the figures of the master and the slave, on desire, consciousness of the self and the other in the relationship of seduction. The figures of bullfighters manifest the sacrifice in seduction. Dialogue, considered at the heart of seduction itself, reveals the importance of seduction in the process of thinking. The third chapter develops the bond established by seduction between the self, the other and the world. In the writings of seduction, dandyism shows the tension between mind and matter. The dialogue at work in seduction opens a space of education. Seduction is viewed as an ethical process, the search for an appropriate distance, a spiritual exercise. Loss of consciousness, duende and ecstasy are described as states of consciousness that abolish the distance between self and world, self and other, and mind and matter. Through these states, seduction brings about an opening to the infinite and transcendence. Finally, seduction is defined as the perfume of the sacred through a reading of The Song of Songs. Through seduction, the importance of the body in the sacred is underscored. The place of secrecy and faith in seduction, the sacred and literature is examined. Seduction enables an erotic immersion in the world, in the real, through the figures and images of seduction. The knowledge of seduction is a process, a knowledge of body and mind.