La nouvelle géographie symbolique de la santé mentale en Italie, étayant une prise en charge du bien-être psychique et social de l’individu par lui-même et la communauté, pourvoit une recomposition de la relation du corps en souffrance avec le corps social. Le désir de la reliance nourrit ainsi la création esthétique de soi par l’art autobiographique de personnes ordinaires, dévoilant des sujets en souffrance confrontés avec une nouvelle présence à eux-mêmes, les autres et le monde. La triangulation et l’analyse d’un corpus autobiographique d’écritures déposées auprès de la Fondation Archive National Journal Intime (Pieve Santo Stefano, Arezzo-Italie), et le corpus d’images, textes et autobiographies, réalisées dans le cadres des activités des Ateliers de l’Imaginaire Autobiographique (Catania-Italie), soutiennent une compréhension approfondie du désir d’autobiographie. L’analyse des syntaxes sensibles et des formes de sensibilités et consciences poétiques et mythiques collectives, découvre un imaginaire nocturne synthétique et dramatique étayant des corps autobiographiques qui prennent sens et support métaphorique et symbolique. Une sociologie de l’écriture de soi questionne ainsi des formes spécifiques de textualisation de l’imaginaire symbolique et social, nous montrant une société souhaitant d’être révélée à elle-même par ses errances dans la quête mythobiographique, découvrant le sens de notre existence et de notre époque. L’objet social et culturel mythanalysé des écritures de soi en souffrance, nous questionne en dernière analyse au sujet des transformations du système symbolique et des mutations des valeurs sociales. / The new symbolic geography of mental health in Italy, which sustains the psychic and social well-being of the individual through himself and the community, also favors the restructuring of the relationship of the body in distress with the social body. The desire of reliance feeds the aesthetic self-creation, the art of autobiography practiced by ordinary people, revealing suffering persons in relation with a new presence to themselves, others and the world. The triangulation and analysis of a autobiographical corpus of writing stored at the Fondazione Nazionale Archivio Diaristico (Pieve Santo Stefano, Arezzo-Italia), and the corpus of images, texts and autobiographies, carried out during the activities of the Ateliers dell’Immaginario Autobiografico (Catania-Italia), support a deep comprehension of the desire of autobiography. The analysis of sensitive syntax, the forms of sensitiveness and of the poetical, mythic and collective consciousness, discovers a synthetic and dramatic nocturnal imagery, revealing autobiographic body which acquires meaning and metaphorical and symbolic support. Therefore a sociology of the self-writing questions the specific forms of textualization of the symbolic and social imagery, showing us a society which tries to show itself through its wanderings of autobiographic research, discovering the meaning of our existence and of our time. The social and cultural subject myth-analyzed of the self-writings in suffering questions us finally regards the transformation of the symbolic system and the changings of social values.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-03-30T12:06:42Z No. of bitstreams: 1 CILMA LAURINDA FREITAS.pdf: 17585790 bytes, checksum: e5517f59d43d8ca95e09224d716ab706 (MD5) / Made available in DSpace on 2017-03-30T12:06:42Z (GMT). No. of bitstreams: 1 CILMA LAURINDA FREITAS.pdf: 17585790 bytes, checksum: e5517f59d43d8ca95e09224d716ab706 (MD5) Previous issue date: 2016-12-20 / According to some concepts of Gilbert Durand (sociocultural topic of the imaginary, semantic basin, mythanalysis, day and night regimes of the imaginary), this doctoral thesis searches for two cultural topics from the religious: the mythology of orixás (African) and the Umbanda (Brazilian). Both considered having the same semantic basins and typified as belonging to the same night regime of the imaginary (however, Umbanda is in a phase of transition of regime). In the imaginary study of several populations, Durand organized the mythological expression in two different regimes: the night and the day regimes. The first is the regime of antithesis, the Manichaeism, the universe divided in opposites (the good versus the evil, darkness versus light), the tormented man, polemic, dual, divided in his psyche and his needs to put in order the chaos. The second is the one that unifies and synthesizes the opposites of the universe, the regime of the integral human and allayed with himself. The great family of the orixás, with its thematic unity, his habitus and the euphemic ideology, it is the example of the night regime. This reveals the ethos of a population psychically allayed with itself that solves all of the existential problems by the oracle of Ifá and the offering of gifts to the orixás that answers the demands for happiness, welfare and fortune. Created by the oral collective tradition, memorized by the balalaôs and repassed generation by generation, the mythology of the orixás is the set of narratives of the orixás, the gods of the iorubá African people. The believers receiving their gods in rituals typified with drum sounds, songs, dancing and parties characterize the mediumistic phenomenon of possession, during the celebrations. This is the tradition that arrived in Brazil with the slaves in the XVI century, syncretized with the Catholicism, as a mechanism to avoid the discrimination that the blacks have suffered from their white lords, therefore, resulting in many celebrations of African matrices, which Candomblé and Umbanda stand out. In the present work, the mythanalysis of orixás shows separately the meaning and significance (the two parts of the linguistic sign and symbolic signs). To this reason, the significance is the sensitive part, figurative, concrete and linked to the imaginary with narratives and their contexts (characters, plot, action, time and space); the meaning is the thematic aspect, abstract with some approaches of interpretation: anthropological, historical, social, psychoanalytical and archetypical. The Umbanda, that was born in this semantic basin, in modern times, in the XX century, is a Brazilian religion, which was raised from the synthesis among these celebrations of African matrices, Catholicism, Kardecism and the native indigenous rites, creating, yet, recent myths according to the Brazilian reality. The Umbanda inherited many traces of the basin-mother and the most remarkable of this religion is the practice of the mediumistic appointments with mediums incorporated by spiritual entities that are similar to the oracles of the orixás, taking care of people in existential difficulties, solving magically all the problems they present. Thus, the discourse of legitimation and social acceptance is set, the Umbanda follows its moral principles; practice the good and the good through charity, like the Christian principles. / Com base em alguns conceitos de Gilbert Durand (tópica sociocultural do imaginário, bacia semântica, mitoanálise, regimes diurno e noturno do imaginário), esta tese de doutorado investiga duas tópicas socioculturais do campo religioso, a mitologia dos orixás (africana) e a Umbanda (brasileira), ambas consideradas como bacias semânticas e tipificadas como pertencentes ao regime noturno do imaginário (estando, porém, a Umbanda em fase de transição de regime). No estudo do imaginário de diversos povos, Durand organizou a expressão mitológica em dois regimes diferentes, o regime diurno e o regime noturno, sendo o primeiro o regime das antíteses, do maniqueísmo, do universo dividido em opostos (bem versus mal, trevas versus luz), do homem atormentado, polêmico, dual, dividido em seu psiquismo e que precisa colocar ordem no caos; e o segundo aquele que unifica e sintetiza os opostos do universo, o regime do homem uno e apaziguado consigo mesmo. A grande família dos orixás, com sua unidade temática, seu habitus e ideologia eufemizante, é exemplo do regime noturno, revelando o ethos de um povo psiquicamente apaziguado consigo mesmo, que resolve todos os seus problemas existenciais por meio do oráculo de Ifá mediante oferendas aos orixás, que atendem sempre aos pedidos por felicidade, bem-estar e fortuna. Fruto de criação coletiva oral, memorizada pelos babalaôs e repassada de geração a geração, a mitologia dos orixás é o conjunto das narrativas sobre os orixás, os deuses do povo africano iorubá. Pelo fenômeno mediúnico da possessão, nos cultos os fiéis recebem seus deuses em rituais marcados com sons de tambores, músicas, danças e festas, tradição que chegou ao Brasil com os escravos a partir do século XVI, sincretizando- se com o Catolicismo, como mecanismo para se evitar a discriminação que os negros sofriam dos seus senhores brancos, e dando origem a diversos cultos de matriz africana, dos quais se destacam hoje o Candomblé e a Umbanda. Em nosso trabalho, a mitoanálise dos orixás vem com exposição separada em significante e significado (as duas partes componentes do signo linguístico e dos signos simbólicos), sendo o significante a parte sensível, figurativa, concreta e imagética, com as narrativas e seus contextos (personagens, enredo, ação, tempo, espaço); já o significado é o aspecto temático, abstrato, com algumas abordagens de interpretação: antropológica, histórica, social, psicanalítica e arquetípica. Filha dessa bacia semântica, a Umbanda, religião brasileira, nascida já em tempos modernos, no século XX, é fruto da síntese entre esses cultos de matriz africana, Catolicismo, Kardecismo e ritos indígenas nativos, criando ainda mitos recentes de acordo com a realidade brasileira. A Umbanda herdou muitos dos traços da bacia-mãe, sendo o mais marcante a prática de consultas em sessões mediúnicas, com médiuns incorporados por entidades espirituais, que, à semelhança dos oráculos dos orixás, atendem as pessoas em suas dificuldades existenciais, resolvendo magicamente todos os problemas que se apresentem. Assim, constituindo um discurso de legitimação e aceitação social, a Umbanda segue princípios morais, pratica o bem e faz caridade, como indicam os preceitos cristãos, sendo essa a sua feição atual.