À la fois mythique constructeur ou destructeur de Mondes, incarnation du Malin pour l'Église au Moyen-âge, monstre lové sur un trésor au fond d'une grotte, qu'un héros doit tuer pour prouver sa bravoure dans les légendes et les contes, le dragon revient périodiquement exprimer les peurs et les fantasmes les plus profonds. Au XXème siècle, la Fantasy a ramené le dragon en littérature et la Dragon Fantasy récente (DragonLance de M. Weis et T. Hickman comme point de départ en 1984) a fait évoluer son image en lui offrant le rôle de personnage principal ou de héros, contribuant à l'amplification de la figure mythique du dragon et à son renouveau. Le dragon vole, crache du feu, pense, parle, raisonne, se métamorphose, possède des pouvoirs magiques, aime et se bat. Il existe également au féminin. Si le dragon ancien était représenté aux pieds de l'homme, en position d'infériorité d'animal dompté, le dragon de Fantasy se situe dans le ciel, libre et supérieur à l'homme. Il ouvre la voie d'une sagesse ancestrale au dragonnier qu'il se choisit. Les combats des dragons symbolisent les éternelles luttes du Bien et du Mal présentes dans toutes les sociétés humaines et en l'homme lui-même, les forces qui s'affrontent pour le rétablissement de l'ordre et de l'équilibre universel en danger. / A mythic builder or destroyer of Worlds, the embodiment of Evil for the Roman Catholic Church in the Middle Agesd, a monster to kill in order to take its treasure in legends or tales, the dragon periodically comes back expressing one's fears or diseases. Fantasy has brought the dragon back to twentieth century literature and Dragon Fantasy offers him the leading role in fights to keep order and and hold the world balanced. The new dragon, male or female, thinks, speaks, loves, fights, has magical powers, can fly, breathe fire, transform himself/herself. He shows human beings the way to ancestral wisdom.

Há, entre educação e música, uma relação profunda que ultrapassa o ensino da arte. Partindo de uma perspectiva fenomenológica da interpretação e da escuta, encontramos na música estruturas míticas que permitem sustentá-la como chave metafórica para uma compreensão da atividade educacional, mediante a centralidade do ENCONTRO para ambas. A música compartilha com as outras formas de arte a capacidade mobilizadora do imaginário. Sua função simbólica retira-lhe do mundo da linguagem convencional e denotativa; sua manifestação está continuamente prenhe de sentido, desenrolando a expressão de maneira intraduzível na descrição científica. O artista oferece através de seus símbolos um devaneio cósmico, a possibilidade da descoberta de novos mundos que incrementam o Ser de seu interlocutor. Como imagem sonora, a música integra, na arquetipologia antropológica de Gilbert Durand, o conjunto de símbolos que possuem em seu âmago estruturas dramáticas, marcadas pela dialética e pelo ritmo. Acaba por se configurar, portanto, como prática crepuscular e mestiça que atrai para si reflexões variadas sob o eixo da coincidentia oppositorum (coerência dos contrários). Para se efetuar, depende da mobilização dos dois polos psíquicos complementares do animus e da anima, conforme trabalhadas por Gaston Bachelard. Os instrumentos musicais (animus) não passam de potência se não colocados em movimento pelo sopro da anima, pelo envolvimento da sensibilidade devaneante da pessoa. A abertura de um Ser selvagem (Merleau-Ponty) ao arrebatamento da música coloca-o em contato com a própria existência encarnada de quem a produziu: o sentido inaudível de um extrato audível está marcado pela presença do outro neste mundo sonoro que compartilham ouvinte e cantor. A música, assim, permite a comunicabilidade das subjetividades, um diálogo transubjetivo que escancara as vias de acesso do homem ao homem justamente o que de mais fundamental se busca em educação. Nesse sentido, pode-se afirmar que há uma dimensão educativa da música (uma vez que ela colabora para o diálogo, para uma afirmação da humanidade no homem), assim como há uma dimensão musical da educação (a construção de pessoas lentamente talhadas no tempo, a partir de uma consonância propiciada pelo acerto rítmico entre um mestre e um aprendiz). Harmonia, ritmo, ressonância são palavras que, herdadas do universo sonoro, contribuem para a compreensão da docência. Quer-se, pela educação, encontrar um andamento comum que permita transformar o conflito em diálogo e, então, que não se olvide na trajetória de professores e estudantes o fato de que ali, no cruzamento improvável, no tempo de um instante, dois caminhos se encontraram. A partir dessa troca de substâncias, no cuidado de mãos habilidosas e ouvido atento de um mestre, o discípulo edifica sua própria formação. O preparo do professor que espreita o encontro não se limita ao domínio do conteúdo lecionado nem à familiaridade com um arsenal de métodos pedagógicos que exijam que se ponha de lado a pessoa e suas especificidades. É preciso que o mestre saiba escutar o canto de um canto, o sopro do lugar que se inscreve na voz do aprendiz, e que se empenhe em sempre fortalecê-lo no encontro iniciático. / There is a deep relationship between education and music, one that surpasses the teaching of art. From a phenomenological approach to playing and listening, there can be found mythical structures in music that sustain it as a metaphor for the comprehension of educational activity, through the centrality of an encounter in both fields. Music shares with other forms of art imaginarys mobilizing ability. Its symbolic function withdraws it from the reign of conventional and denotative language; musical manifestation is continuously pregnant of meaning, unveiling expressions impossible to translate in scientific description. With symbols, the artist offers his cosmic reveries to an interlocutor who can discover new worlds that enhance his own Being. Taken as a sonorous image, music belongs to a group of symbols (according to Gilbert Durands anthropological archetypology) that holds dramatic structures in its core, which embeds it with dialectics and rhythm. Therefore, it configures itself as a crepuscular and mixed practice that attracts various reflections through the principles of coincidentia oppositorum (coherence of opposites). To be effective, it depends on the mobilization of two complementary poles of the psyche, animus and anima, as worked out by Gaston Bachelard. Musical instruments (animus) are only potency if not put in motion by a breath of anima, by the involvement of the persons dreaming sensibility. The openness of a Savage Being (Merleau-Ponty) to the enchantment of music puts him in contact with the incarnated existence of its composer: the inaudible meaning of an audible substance is engraved with the presence of an other in this sounding world shared by singer and listener. Music, thus, permit the communicability of subjects, a transubjective dialogue that opens access to man by man precisely what education pursuits as its most fundamental aspect. Accordingly, it can be argued that there is an educational dimension to music (since it favors dialogue and the affirmation of humanity in man), as wells as a musical dimension to education (the construction of persons, slowly carved through time, by a consonance created through a rhythmic agreement of a master and his apprentice). Harmony, rhythm, resonance are all words that, inherited from the universe of sound, contribute to the comprehension of teaching. One hopes to find through education a common tempo that can turn conflict into dialogue this way, throughout the lives of teachers and students, it will not be forgotten that there, in an improbable crossroad, in the fragile time of an instant, two paths met each other. From this exchange of substance, with the caring hands and diligent ears of a master, the disciple builds up his own development. The preparation of a teacher who carefully looks for an encounter is not limited to the mastery of a disciplines content, nor to the familiarity with an arsenal of teaching methods that demands putting aside the real student and his specificities. It is mandatory that the master knows how to listen to the singing of his apprentice, which holds the whisper of his birthplace. Doing so, he will be able to strengthen it throughout this initiatic meeting.

Made available in DSpace on 2016-03-15T19:45:06Z (GMT). No. of bitstreams: 1 Karen Stephanie Melo.pdf: 1928912 bytes, checksum: 4589da5d0a8f555ca70574488a1c76a7 (MD5) Previous issue date: 2010-08-09 / The Scottish writer James Matthew Barrie wrote for the first time about Peter Pan in a book called The Little White Bird, in 1902. In 1904, the writer enlarged the character s universe making, this time, a stage play called Peter Pan or The Boy that Wouldn t Grow up; however, the romance as we know it would only be constructed in 1911, when Barrie decided to rewrite and extend his original play. That is how one of the best well known classics of children s literature was born: Peter Pan and Wendy, a book that, today, is part of many people s childhood and life; the story has even created a myth: the myth of the boy who never grows up, the myth of the eternal and adventurous youth. This way, the romance gave origin to many post-texts, gaining numbers of adaptations since it was first published. By making analysis based on Mikhail Bakhtin s dialogism theory, on Julia Kristeva s intertextuality theory and on Gerard Genette transtextuality theory, the present essay intends to study three different readings and/or adaptations of the base-text Peter Pan and Wendy, in order to verify how the historical/cultural context modifies, increases or contradicts this 1911 version.The texts chosen for the proposed analysis are: Peter Pan, by Monteiro Lobato (1930); Peter Pan the animation from Walt Disney Pictures (1950); and Peter Pan the movie, from the Australian director P. J. Hogan (2003). / O autor escocês James Matthew Barrie escreveu sobre Peter Pan pela primeira vez em uma obra intitulada The Little White Bird, em 1902. No ano de 1904, o escritor ampliou o universo de seu personagem, dessa vez, com uma peça teatral de nome Peter Pan ou O Menino que não Queria Crescer; o romance tal qual o conhecemos só seria concebido, no entanto, em 1911, quando o diretor decidiu reescrever e prolongar sua peça teatral. Era assim que surgia, então, um dos clássicos da literatura infantil mais conhecidos atualmente: Peter Pan and Wendy, obra que, hoje, faz parte da infância e da vida de muitas pessoas, tendo até mesmo criado um mito: o mito do menino que nunca cresce, da eterna e venturosa infância. Sendo assim, a obra daria margem a diversos pós-textos, ganhando inúmeras continuações e adaptações desde seu lançamento. Partindo de análises baseadas nas teorias de Dialogismo de Mikhail Bakhtin, de Intertextualidade de Julia Kristeva e de Transtextualidade de Gerard Genette, o presente trabalho visa ao estudo de três releituras e/ou adaptações do texto-fonte Peter Pan and Wendy a fim de se verificar em que medida o contexto histórico-cultural de produção dessas versões modifica, amplia ou contradiz o texto de 1911. Os textos escolhidos para a análise proposta são: Peter Pan, de Monteiro Lobato (1930); Peter Pan a animação dos Estúdios Walt Disney (1950) e Peter Pan o filme, do diretor australiano P. J. Hogan (2003).

Made available in DSpace on 2016-03-15T19:45:42Z (GMT). No. of bitstreams: 1 Nahina de Almeida Rosa Barbosa.pdf: 4546645 bytes, checksum: 5947eac026f0083b3e264f55dd40e6aa (MD5) Previous issue date: 2012-08-13 / This thesis aims to examine the update that the myth of Orpheus has suffered in the movie "Coraline" an adaptation of the British Neil Gaiman s novel "Coraline" (2003) , through a comparative and dialogic analysis, based on Bakhtin s concepts of dialogism, carnivalization and grotesque, between the original myth and its degradation in the film work. The proposal of a dialogic study between the myth of Orpheus and the movie happens not only because of the dessacralization that the myth has suffered, but also for the common theme of the katabasis, since Coraline and Orpheu made it to rescue something that was taken from them, whether it was the loved one or the recognition of the family and own values. After this analysis, based on Mircea Eliade s, Pierre Brunel s and João Batista de Brito s studies, the double was shown as an increase that the myth has suffered on this update and the reason why there was the manifestation of the double in this work was elucidated. / A presente dissertação tem como objetivo examinar a atualização que o mito de Orfeu sofreu no filme Coraline e o Mundo Secreto uma adaptação do romance Coraline (2003), do britânico Neil Gaiman -, por meio da análise comparativa e dialógica, de acordo com os conceitos bakhtinianos de dialogismo, carnavalização e grotesco, entre o mito original e o seu rebaixamento na obra fílmica. A proposta de um estudo dialógico entre o mito de Orfeu e o filme ocorre não somente pela dessacralização que o mito sofreu, mas também pela presença, em comum, do tema da catábase, já que Coraline e Orfeu a realizaram para resgatarem algo que lhes foi tomado, seja a amada ou o reconhecimento de valores próprios e familiares. A partir desta análise, baseada nos estudos de Mircea Eliade, Pierre Brunel e João Batista de Brito, elencou-se o duplo como um acréscimo que o mito sofreu nessa atualização e elucidou-se a razão pela qual houve a manifestação do duplo nesta obra.

Cet dossier a pour but d’analyser la poésie de Mário Faustino, afin d’observer son intégration dans le contexte de la modernité, principalement par la façon dont il utilise l’élément du discours mythique. Avec la relecture qu’il élabore des mythes classiques – manifestation de l’inconscient collectif – l’auteur exprime le sentiment de son époque et par la définit un lyrisme qui rassemble intimisme et vision social. L’étude observe, dans ce contexte, la façon dont le poète donne au développement des principaux thèmes, choisis par lui, et les aspects de sa quête de renouveau poétique. Avec cet objectif, la recherche examine le texte poétique laissé par Faustino. La recherche examine les textes poétiques du poète, prenant en compte aussi bien ses écrits et essais concernant la poésie, pour essayer, à travers cela, d’atteindre son propre cheminement créatif. Dans les limites de l'analyse thématique, cette recherche tend à suivre la méthode descriptive exégétique ayant pour sources des livres, magazines, journaux, textes et des travaux et essais académiques trouves auprès de certaines publications électroniques. Une autre source ce furent des entretiens individuels avec un des plus grands érudits de l'oeuvre du poète, Benedito Nunes, et de Lilia Silvestre Chaves, responsable de la seule biographie de référence du poète. Un important apport théorique à cette étude a pour origine les études sur le mouvement poétique moderne de Walter Benjamin, Hugo Friedrich, Theodor Adorno et Alfredo Bosi. Par ailleurs les recherches sur les travaux des poètes de João Cabral de Melo Neto et T. S. Eliot; des études et essais sur les mythes littéraires par Pierre Brunel et Pierre Grimal et les travaux de Benedito Nunes sur la poétique Faustienne. A travers l’analyse d’ouvre de Mário Faustino, cette étude observe la façon dont le poète profite de son thème afin de favoriser le retour au temps mythique, aux saisons au cours desquelles. Homme et la nature sont parfaitement intégrés, et finalement intégrer l’homme moderne a son époque dans le contexte actuel. Cette approche originale tend à démontrer que son oeuvre réunit poésie et discours mythologique et remets l’homme au centre du quotidien moderne, dans une réaction contre la cote « modéliste »des temps actuels. / Este trabalho tem como objetivo analisar a poesia de Mário Faustino, para observar a sua integração ao contexto da modernidade, principalmente através do aproveitamento que faz de elementos do discurso mítico. A partir da releitura que elabora dos mitos clássicos – manifestações do pensamento coletivo –, o autor expressa o sentimento de sua época, definindo um lirismo que une intimismo e visão social. O estudo observa, dentro deste enfoque, a forma que o poeta dá ao tratamento dos principais temas por ele eleitos e aspectos de sua busca pela renovação poética. Com este fim, a pesquisa examina o texto poético deixado por Faustino, valendo-se também da sua escrita ensaística sobre poesia, para buscar perceber, através de seus estudos críticos, as reflexões que o encaminharam em seu processo criativo de poesia. Dentro dos limites da análise temática, esta pesquisa busca seguir o método descritivo-exegético usando como fontes livros, revistas, jornais, trabalhos acadêmicos e periódicos em meio eletrônico, bem como entrevistas pessoais ao maior estudioso da obra do poeta, Benedito Nunes, e à sua única biógrafa, Lilia Silvestre Chaves. Darão aporte teórico ao trabalho, os estudos sobre poesia moderna de Walter Benjamin, Hugo Friedrich, Theodor Adorno e Alfredo Bosi, assim como as pesquisas sobre o ofício dos poetas, de João Cabral de Melo Neto e T. S. Eliot; dos mitos literários por Pierrre Brunel e Pierrre Grimal e os estudos de Benedito Nunes sobre a poética faustiniana. Através da análise da obra de Mário Faustino, este estudo observa como o poeta tira proveito de sua temática para promover o retorno ao tempo mítico, época em que o homem e a natureza eram perfeitamente integrados, para tentar harmonizar o homem hodierno com o seu tempo. Tal exame chega a constatar que sua obra apresenta o encontro da poesia com o discurso mitológico como um recurso de que o poeta se apropria para propor uma reação ao cotidiano reificador da modernidade. / This research is aimed at analyzing Mário Faustino’s poetry, to observe its insert in the modern milieu, mainly through its incorporation of elements from mythic discourse. From the point of view of his reinterpretation of classic myth – gathering of collective thought – the author expresses his feelings about the time he lives in, and succeeds in determining a lyric that assembles intimism and society’s analysis. The present work observes, from that focalization, the treatment which the poet dispenses to his major themes, and still, his search for revitalization in poetry. For this purpose, this work investigates Faustino’s poems and his essays about poetry, pursuing to find in his critical texts, some indication of his creative process. Considering the limits of thematic analysis, this research aims to accomplish an interpretative-descriptive mode, consulting books, magazines, newspapers, academic papers and periodical publications on electronic ambience, as well as, personally interviewing the main interpreter of the poet’s work, Benedito Nunes, and his only biographer, Lilia Silvestre Chaves. The theoretical bases are supported by the studies about modern poetry, from Walter Benjamin, Hugo Friedrich, Theodor Adorno and Alfredo Bosi; the research about poets’ craft, from João Cabral de Melo Neto and T. S. Eliot; the writings about literary myths, from Pierre Brunel e Pierre Grimal; and the studies from Benedito Nunes about Mário Faustino’s poetry. Through the analysis of Mário Faustino’s work, it is observed how the poet takes advantage of his themes to promote the return to the mythological age, when man and nature were perfectly integrated, to harmonize men and modern era. This exam reaches the conclusion that his work presents the junction of poetry and mythological speech, as the poet’s way of recollecting resources to present a reaction against the materialism imposed by modernity.

Dans les Droits antérieurs à la codification de 1804, les conventions ne suffisaient pas, en principe, à constituer et à transférer les droits réels : pour atteindre ce résultat, un mode acquisitif, comme la tradition de la chose, était nécessaire. Quand ce n’était exceptionnellement pas le cas, le droit réel, qui était constitué ou transféré par la seule convention, était néanmoins constitué et transféré erga omnes. Or, à partir du code civil et des réformes législatives postérieures, il n’en va plus ainsi : le principe adopté est celui de la constitution et de la translation des droits réels sola conventione.Mais l’étude des textes législatifs et réglementaires ainsi que des opinions doctrinales du XIXe siècle révèle que le changement initié en 1804 est bien plus profond : si la convention suffit à constituer et à transférer les droits réels, ces droits ne sont constitués et transférés qu’à l’égard des parties.Ainsi, en Droit français actuel, la vente d’un bateau en transfère la propriété à l’égard du vendeur, mais non à l’égard des tiers et, en particulier, des créanciers chirographaires du vendeur ou de l’État. Tant que l’inscription de l’acte de vente n’est pas accomplie, ces tiers peuvent ignorer le transfert de la propriété causé par la vente. Dès lors, certaines questions se posent inévitablement : la vente a-t-elle réellement transféré la propriété ? Une propriété à l’égard du seul vendeur est-elle encore réellement une propriété ? De même, en Droit français actuel, une convention peut constituer une hypothèque, mais ce droit n’est pas opposable aux tiers tant que cet acte n’a pas été inscrit. Ainsi, les créanciers chirographaires du constituant peuvent ignorer le droit du créancier hypothécaire. Mais une hypothèque qui n’est pas un droit de préférence n’est-elle pas un concept absurde ? Cette thèse explique comment le législateur et la doctrine du XIXe siècle, en réduisant le mode acquisitif au titre acquisitif et en distinguant entre effet inter partes et effet extra partes, ont construit un mythe : celui des conventions constitutives et translatives de droits réels. Contrairement aux formules généralement retenues par la loi et les manuels, en Droit français actuel, les droits réels sont constitués et transférés par la convention et la tradition ou l’inscription. / The Law prior to the 1804 codification is ruled by the principle that agreements are not sufficient to establish and transfer real rights: in order to reach this result, an additional modus of acquisition, like the delivery of the thing, is required. When it is not the case, the real right, established or transferred by mere agreement, is nevertheless established and transferred erga omnes. However, since the civil code and the successive legislative reforms, the situation is no longer the same: the principle adopted is the establishment and the transference of real rights sola conventione. Nonetheless, the study of laws and regulations as well as the nineteenth century scholars’ opinions reveals that the change initiated in 1804 is much deeper: if the agreement is sufficient to establish and transfer real rights, these rights are established and transferred to the parties only. For example, in current French Law, the sale of a boat transfers its property regarding to the seller, but not towards to third parties and, in particular, not regarding to the seller’s unsecured creditors or to the State. As long as the registration of the deed of sale is not completed, these third parties may ignore the transfer of property resulting from the sale. A lot of questions can be raised: has the sale really settled a transfer of property? Is a property regarding only to the seller still really a property? Similarly, in current French Law, an agreement may establish a mortgage, but this right is not enforceable against third parties as long as this act has not been registered. Thus, the unsecured creditors of the settlor may ignore the right of the mortgagee. But does it make sense to consider a mortgage without a preference right?This thesis describes how the legislator and nineteenth century scholars, in reducing the acquisitive modus into the acquisitive titulus and in distinguishing between inter partes effect and extra partes effect, have built a myth : the one of the agreements establishing and transferring real rights. Unlike formulas generally used by law and textbooks, in current French Law, real rights are established and transferred by agreement and delivery or registration.

Há, entre educação e música, uma relação profunda que ultrapassa o ensino da arte. Partindo de uma perspectiva fenomenológica da interpretação e da escuta, encontramos na música estruturas míticas que permitem sustentá-la como chave metafórica para uma compreensão da atividade educacional, mediante a centralidade do ENCONTRO para ambas. A música compartilha com as outras formas de arte a capacidade mobilizadora do imaginário. Sua função simbólica retira-lhe do mundo da linguagem convencional e denotativa; sua manifestação está continuamente prenhe de sentido, desenrolando a expressão de maneira intraduzível na descrição científica. O artista oferece através de seus símbolos um devaneio cósmico, a possibilidade da descoberta de novos mundos que incrementam o Ser de seu interlocutor. Como imagem sonora, a música integra, na arquetipologia antropológica de Gilbert Durand, o conjunto de símbolos que possuem em seu âmago estruturas dramáticas, marcadas pela dialética e pelo ritmo. Acaba por se configurar, portanto, como prática crepuscular e mestiça que atrai para si reflexões variadas sob o eixo da coincidentia oppositorum (coerência dos contrários). Para se efetuar, depende da mobilização dos dois polos psíquicos complementares do animus e da anima, conforme trabalhadas por Gaston Bachelard. Os instrumentos musicais (animus) não passam de potência se não colocados em movimento pelo sopro da anima, pelo envolvimento da sensibilidade devaneante da pessoa. A abertura de um Ser selvagem (Merleau-Ponty) ao arrebatamento da música coloca-o em contato com a própria existência encarnada de quem a produziu: o sentido inaudível de um extrato audível está marcado pela presença do outro neste mundo sonoro que compartilham ouvinte e cantor. A música, assim, permite a comunicabilidade das subjetividades, um diálogo transubjetivo que escancara as vias de acesso do homem ao homem justamente o que de mais fundamental se busca em educação. Nesse sentido, pode-se afirmar que há uma dimensão educativa da música (uma vez que ela colabora para o diálogo, para uma afirmação da humanidade no homem), assim como há uma dimensão musical da educação (a construção de pessoas lentamente talhadas no tempo, a partir de uma consonância propiciada pelo acerto rítmico entre um mestre e um aprendiz). Harmonia, ritmo, ressonância são palavras que, herdadas do universo sonoro, contribuem para a compreensão da docência. Quer-se, pela educação, encontrar um andamento comum que permita transformar o conflito em diálogo e, então, que não se olvide na trajetória de professores e estudantes o fato de que ali, no cruzamento improvável, no tempo de um instante, dois caminhos se encontraram. A partir dessa troca de substâncias, no cuidado de mãos habilidosas e ouvido atento de um mestre, o discípulo edifica sua própria formação. O preparo do professor que espreita o encontro não se limita ao domínio do conteúdo lecionado nem à familiaridade com um arsenal de métodos pedagógicos que exijam que se ponha de lado a pessoa e suas especificidades. É preciso que o mestre saiba escutar o canto de um canto, o sopro do lugar que se inscreve na voz do aprendiz, e que se empenhe em sempre fortalecê-lo no encontro iniciático. / There is a deep relationship between education and music, one that surpasses the teaching of art. From a phenomenological approach to playing and listening, there can be found mythical structures in music that sustain it as a metaphor for the comprehension of educational activity, through the centrality of an encounter in both fields. Music shares with other forms of art imaginarys mobilizing ability. Its symbolic function withdraws it from the reign of conventional and denotative language; musical manifestation is continuously pregnant of meaning, unveiling expressions impossible to translate in scientific description. With symbols, the artist offers his cosmic reveries to an interlocutor who can discover new worlds that enhance his own Being. Taken as a sonorous image, music belongs to a group of symbols (according to Gilbert Durands anthropological archetypology) that holds dramatic structures in its core, which embeds it with dialectics and rhythm. Therefore, it configures itself as a crepuscular and mixed practice that attracts various reflections through the principles of coincidentia oppositorum (coherence of opposites). To be effective, it depends on the mobilization of two complementary poles of the psyche, animus and anima, as worked out by Gaston Bachelard. Musical instruments (animus) are only potency if not put in motion by a breath of anima, by the involvement of the persons dreaming sensibility. The openness of a Savage Being (Merleau-Ponty) to the enchantment of music puts him in contact with the incarnated existence of its composer: the inaudible meaning of an audible substance is engraved with the presence of an other in this sounding world shared by singer and listener. Music, thus, permit the communicability of subjects, a transubjective dialogue that opens access to man by man precisely what education pursuits as its most fundamental aspect. Accordingly, it can be argued that there is an educational dimension to music (since it favors dialogue and the affirmation of humanity in man), as wells as a musical dimension to education (the construction of persons, slowly carved through time, by a consonance created through a rhythmic agreement of a master and his apprentice). Harmony, rhythm, resonance are all words that, inherited from the universe of sound, contribute to the comprehension of teaching. One hopes to find through education a common tempo that can turn conflict into dialogue this way, throughout the lives of teachers and students, it will not be forgotten that there, in an improbable crossroad, in the fragile time of an instant, two paths met each other. From this exchange of substance, with the caring hands and diligent ears of a master, the disciple builds up his own development. The preparation of a teacher who carefully looks for an encounter is not limited to the mastery of a disciplines content, nor to the familiarity with an arsenal of teaching methods that demands putting aside the real student and his specificities. It is mandatory that the master knows how to listen to the singing of his apprentice, which holds the whisper of his birthplace. Doing so, he will be able to strengthen it throughout this initiatic meeting.

Modern stories are the product of a recursive process influenced by elements of genre, outside content, medium, and more. These stories exist in a multitude of forms and are transmitted across multiple media. This article examines how those stories function as pieces of a broader narrative, as well as how that narrative acts as a world for the creation of stories. Through an examination of the polymediated nature of modern narratives, we explore the complicated nature of modern storytelling.

Au début du vingtième siècle, un nouveau média à la mesure de l’Amérique voit le jour : le cinéma. Forme d’expression visuelle nouvelle, divertissement populaire égalitaire, véhicule privilégié du modèle américain dans le pays et à l’étranger, le cinéma s’affirme, dès ses premières années d’existence, comme un acteur majeur de l’américanisation du monde. Un de ses thèmes de prédilections est l’espace américain, et par extension ses paysages, qui ravit et fascine les spectateurs d’un bout à l’autre de la planète. Les mises en scène du territoire national et de sa géographie spécifique sont complexes car elles intègrent des éléments réalistes et une dimension imaginaire. Cette représentation polymorphe des États-Unis permet de promouvoir les valeurs américaines dans une société internationale moderne, transformée par l’essor de l’urbanisation et de l’industrialisation. L’Amérique filmique, élaborée par l’industrie cinématographique des premières décennies, offre des repères à un spectateur quelque peu perdu dans le nouvel ordre du monde se dessinant alors. / At the dawn of the twentieth century, a new media, in tune with American goals, was born: the motion pictures. It was a new kind of visual expression, an egalitarian form of popular entertainment and the best vehicle to convey the American way of life in the US and abroad. Therefore, cinema became, from its inception, a key participant in the Americanization of the world. One of its favorite topics was American space and its landscapes, which pleased and amazed movie-goers around the world. The way in which national territory and its specific geography were staged in films was complex because it intertwined realistic elements and a mythical dimension. That kaleidoscopic representation of the United States enabled the promotion of American values in a modern international society, transformed by the rise of urbanization and industrialization. Cinematic America, as it was created by the early motion pictures industry, offered landmarks to the spectator, somewhat lost in the emerging new world order.

Sexual assault is a growing concern across college campuses in the United States. According to the Sexual Victimization of College Women study, the victimization rate is 27.7 rapes per 1,000 ­­­­women students (Fisher, Cullen, & Turner, 2000). In response to the high prevalence of sexual assault, college campuses are now mandated to implement various forms of sexual assault prevention programming. Sexual assault prevention programming is intended to promote awareness of sexual assault and reduce the prevalence of sexual assault on college campuses. Numerous studies have examined the short term effectiveness of sexual assault prevention programs (e.g., Anderson & Whiston, 2005). However, few studies have explored the effectiveness of repeated, annual prevention program participation on rape supportive beliefs. In addition, studies that have explored the efficacy of prevention programs have tended to rely exclusively on self-report measures and some have only focused on outcomes among men or women groups only. The purpose of the present study was to examine the impact of level of participation and gender in sexual assault prevention training on rape myth acceptance (RMA) and response latency to a hypothetical date rape scenario among a sample of Western college students. Results revealed no significant relationships between higher levels of sexual assault prevention programming participation and RMA scores and latency times. Additionally, there were no gender differences on IRMA scores or response latency. Findings have important implications for future sexual assault prevention programming efforts on college campuses and community settings.