Depuis le début de la crise des réfugiés en Europe en 2014, nous observons une montée du nationalisme au sein de l’Union européenne. L’apparition de groupes nationalistes et anti-migrants nous montre cette tendance, puisque même en Allemagne, l’Alternativ für Deutschland, un parti d’extrême droite s’est implanté dans l’espace politique. L’Union européenne fait présentement face à une crise d’identité, selon Thierry Chopin de la fondation Robert Schuman et Gérard Bouchard, de l’institut Jacques-Delors. Selon eux, l’Union devrait puiser dans les différents mythes nationaux ayant déjà une forte résonnance au sein des différents pays-membres plutôt que d’en inventer de nouveaux. Le mythe d’Andreas Hofer est un bon exemple de ce phénomène. Le héros de la rébellion de 1809 contre l’occupation bavaroise au Tyrol jouit d’une forte popularité au Tyrol et au Tyrol du Sud, en Italie. Son nom se retrouve sur des enseignes d’auberge, sur des panneaux de rue, et de multiples statues peuplent le paysage tyrolien. Depuis 1984, le mythe de ce héros est entré dans une phase de changement : il est désormais possible de remettre en question la trame du mythe et des événements y étant liés, bref, de douter. À l’aide d’articles de journaux concernant le mythe et ses diverses manifestations (événements culturels, expositions dans divers musées, célébrations, débats politiques, etc.), nous tracerons l’évolution du mythe d’Andreas Hofer depuis l’entrée de l’Autriche au sein de l’Union européenne. Nous observons l’évolution du mythe en trois phases : celle de la modernisation, de la consolidation lors des célébrations du 200ième anniversaire de la rébellion de 1809, et, finalement, celle de l’européanisation. Nous démontrerons ainsi que, contrairement à ce que pensaient plusieurs chercheurs sur le sujet, le mythe est encore très présent aujourd’hui. / Since the European refugee and migrant crisis began in January 2015, nationalism has grown in popularity again across Europe. The number of nationalist parties and anti- migrant movements have increased to a point where there is once again a far-right movement, the Alternativ für Deutschland, in Germany; something thought impossible until recently. The EU itself is facing an identity crisis, as identified by Thierry Chopin of the Robert-Schuman Foundation and Gérard Bouchard of the Jacques-Delors Institute. Both scholars have argued that, instead of creating new national myths to bolster its political support, the EU should exploit existing ones, and indicated that they might already be doing so. Still, the extant literature does not explain how this mythological reframing influences local, mediated discourses and policies. Therefore, the Euroregion of Tyrol- South-Tyrol-Trentino’s Andreas Hofer mythology and its impacts are still strong candidates for study. Indeed, Hofer, who was called the “rebel of the Alps” during the Napoleonic wars, has always enjoyed high popularity in both Tyrol and South-Tyrol in Italy, where his name is on street signs, hotels, and the many statues dedicated to him. Since 1984, Hofer mythology shifted in ways that challenged its traditional narratives. This shift was accomplished, in part, by newspaper articles covering the myth and its various manifestations (e.g., museums, cultural events, and other celebrations). Therefore, the current study traces the myth’s evolution back to Austria’s entry into the EU in 1995 to demonstrate that this folk-hero mythology underwent three stages of development: 1) Modernization, where the myth took on new forms to fit its current local contexts; 2) consolidation, where this new Hofer-imagery coalesced during the rebellion’s 200th-year celebrations in 2009, and, finally; 3) Europeanization. We conclude that, in this final stage, contrary to popular scholarly belief, Hofer and his mythology are still very salient topics and political tools in, not only the Euroregion, but now, also across the whole of Europe.

Ce mémoire porte sur l’instrumentalisation politique de la figure du compositeur Giacomo Puccini (1858-1924) et de ses œuvres, plus spécifiquement Turandot (1926), pendant la période fasciste en Italie (1922-1945). Il traite de la dichotomie entre tradition et modernité présente dans la propagande culturelle fasciste, notamment dans la réappropriation du mythe de Puccini à la suite de son décès en 1924, puis de façon exacerbée dans l’utilisation politique de Turandot, plus particulièrement au moment de la création de l’opéra en 1926. Cette recherche repose sur l’étude de la presse italienne et des revues culturelles de l’époque afin d’analyser la manipulation du discours entourant la figure de Puccini. L’exploitation de son statut de compositeur national, le développement de son image d’homme du peuple et l’exaltation de son génie musical, vu à la fois comme universel et italien, ont permis aux représentants du régime d’héroïser Puccini selon les divers idéaux fascistes. Ultimement, ce mémoire vise à montrer comment Puccini a fait l’objet d’une récupération idéologique afin de favoriser un consensus populaire et une consolidation identitaire permettant la légitimation du pouvoir mussolinien. Ce cas de figure exemplifie les effets de la rhétorique et des mécanismes culturels d’une hégémonie totalitaire dans la vie musicale d’une nation. / This thesis explores the political appropriation of composer Giacomo Puccini (1858-1924) and his operas during the fascist period in Italy (1922-1945). It highlights the dichotomy created by the regime’s insistence on both tradition and modernity in its cultural propaganda, as mirrored in the reinterpretation of the myth surrounding Puccini after his death in 1924—particularly in the political use of Turandot after the opera’s 1926 premiere. Based on a detailed study of the Italian press of the time and of cultural magazines controlled by the regime, this research analyzes the manipulation of the discourse surrounding Puccini’s image in fascist Italy. Party members exploited Puccini’s myth by insisting on his status as a national Italian composer, his image as a man of the people, and his musical genius, considered as both universal and quintessentially Italian. Through this rhetoric, Puccini became a standard-bearer of fascist ideology, praised both as a composer of the great Italian opera tradition and as a highly modern creator. Ultimately, the aim of this thesis is to understand how Puccini was subjected to an ideological appropriation that legitimized fascist authority by fostering social consensus and establishing a strong Italian collective identity. Puccini’s case exemplifies the effects of a totalitarian regime’s rhetoric and cultural mechanisms on the musical life of a nation.

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Cette thèse porte sur les codes sémantiques chez Ounsi el-Hajj et Georges Jurdaq en comparant leurs écrits entre le journalisme et la littérature. La thèse traite le rôle de la presse dans la propagation du symbole et du symbolisme dans le mouvement de la littérature. Ounsi el-Hajj et Georges Jurdaq se sont servi et ont profité de la presse pour pouvoir investir les symboles dans leurs essais. Ces symboles deviennent des moyens pour exprimer des intentions de traiter l’histoire, la religion, le mythe et le patrimoine. La thèse aborde les symboles et leurs significations chez les deux écrivains-journalistes ; le symbolisme ne se limite plus à la poésie uniquement en raison de l'ambiguïté qu’il entretient mais il la dépasse pour atteindre la littérature et en particulier la littérature de l’essai. / This thesis deals with the semantic codes used by Ounsi el-Hajj and Georges Jurdaq and it compares their writings between journalism and literature. The thesis deals with the influence of the press in the propagation of symbolism in the movement of literature. Ounsi el-Hajj and Goerges Jurdaq took advantage of the press to be able to invest symbols in their essays. These symbols become means of expressing intentions to deal with history, religion, myth and heritage. The thesis deals with the symbols and their meanings used by the two writers-journalists; symbolism is no longer restricted to poetry solely because of the ambiguity it maintains but it goes beyond it to reach literature and especially the literature of the essay.

La crise environnementale a bouleversé la vie de l’homme et toutes ses activités. L’écologie a essayé de trouver des solutions aux problèmes qui nous assaillent, mais elle reste toujours dans le même logos qui nous a mis dans ces difficultés. La théologie, quant-à elle, s’est intéressée depuis peu de temps à cette question. Elle a répondu aux reproches qui lui ont été adressés avec une théologie renouvelée de la création. Notre auteur, Raimon Panikkar, propose de compléter cette approche avec une nouvelle théologie trinitaire. C’est ce qu’il a appelé l’« intuition cosmothéandrique » qui établit une relation étroite et constitutive entre Dieu, l’homme et le cosmos. Cette intuition implique de prêter une attention particulière à la sagesse. Il s’avère donc urgent que l’écologie chemine de pair avec l’écosophie. Dans ce but, il conviendrait que l’homme cultive les vertus qui lui permettront de retrouver son lien avec les autres dimensions de la réalité. Cette nouvelle approche a deux corollaires fondamentaux : une éthique et une théologie politique écosophiques, que nous nous proposons de développer pour prolonger la pensée de Panikkar. / The environmental crisis has disrupted the lives and activities of man. The ecological movement has proposed solutions to the problems we face, but it always uses the same Logos that got us into these difficulties. Theology, however has focused on this question only recently. It answered to criticisms with a renewed theology of creation. Our author of interest, Raimon Panikkar, proposes to complement this approach with a new Trinitarian theology. What he called the “cosmotheandric intuition” establishes a constitutive close relationship between God, man and the cosmos. This intuition means paying special attention to wisdom. It is therefore urgent that ecology walks hand in hand with ecosophy. To this end, mankind ought to cultivates the virtues that will allow it to reconnect with the others dimensions of reality. This new approach has two fondamental corollaries : an ecosophical ethics and a ecosophical political theology, that we intend to develop in order to prolong on Panikkar’s thought.

Centrée sur l’analyse systématique de l’oeuvre poétique de Z. Gippius, la présente thèse tâche de démontrer que le mythe de l’androgyne sous-tend la poésie de cet auteur et permet de la lire comme une première mise en action d’un projet utopique d’humanité transfigurée. La thèse procède des points de convergence entre les thèmes propres aux réflexions utopiques (personne, amour et société) et les principales situations discursives de la poésie lyrique. Aussi se structure-t-elle en trois parties qui progressent de l’androgynie comme principe constitutif de la personne idéale (étudiée à travers le JE du sujet lyrique) vers la conception de l’amour androgyne (qui établit la relation entre le JE du sujet lyrique et le TU de l’allocutaire) et, enfin, vers la dimension collective de l’androgynie (avec le NOUS comme reflet d’une divino-humanité androgyne) Se penchant sur l’emploi que Gippius fait de l’antithèse, cette étude tente de saisir la démarche créatrice du poète-symboliste qui partirait d’une recherche quasi obsessionnelle des opposés pour aboutir à la synthèse universelle et se traduirait à travers le champ sémantique de l’union et de la fusion, à travers la place stratégique en fin de texte des mots et des séquences qui expriment cette sémantique et, surtout, à travers l'emploi de l’oxymore et du paradoxisme, tous deux relevant de la coincidentia oppositorum dont le mythe de l’androgyne est une des manifestations.C’est à un véritable acte démiurgique que l’on assimilerait l’écriture de Gippius au fil de laquelle, grâce à la fluidité des genres et des incarnations des principes masculin et féminin l’androgynie devient le principe fondateur de l’univers poétique tout entier. / By systematically analysing the poetry of Zinaida Gippius, this thesis attempts to show that the myth of the androgyne underlies the poet’s work, letting it be read as the initial stage of implementation of a utopian scheme of transfigured humanity. The thesis proceeds from the points of convergence of the themes characteristic of utopian thinking (person, love and society) and the principal discursive situations found inlyric poetry. It is ordered in three parts, progressing from the androgynous as a constitutive principle of the ideal human being (examined through the lyric subject I) to the conception of androgynous love (establishing the relationship between the lyric I and the YOU addressed), and finally to the collective dimension of theandrogynous (where the WE is the reflection of an androgynous humanity-divine).Considering the use Gippius makes of antithesis, this study attempts to grasp the symbolist poet’s creative process, which appears to spring from an almost obsessive search for opposites, and to lead to universal synthesis, as translated through the semantic field of union and fusion, through the strategic positioning at theend of the text of the words and sequences that express this semantic field, and especially through the use ofthe oxymoron and the paradox, both being part of the coincidentia oppositorum of which the myth of the androgyne is one manifestation.The writing of Gippius can be likened to a veritable demiurgic act via which, thanks to the fluidity of the genders and the incarnations of the two fundamental principles – the masculine and feminine – the androgynous becomes the founding principle of the whole poetic universe.

This thesis focus on semiological analysis of selected corporate logo. Logo is visual identity of brand. Visual identity is a part of corporate identity. Logo is a conjunction of graphic design and marketing strategies. This thesis is based on semiotics theories, although incorporating marketing basics and marketing semiotics take on this problem. Within the practical part the logo analyzed using denotation and connotation. Researched brand is US coffee chain Starbucks, which is one of the most successful coffee companies worldwide. Their corporate logo went through a long development and its strikingly successful.

This thesis focus on semiological analysis of selected corporate logo. Logos are part of the corporate identity and they are surrounding us all the time. Our society is overloaded with logos and that is main reason why logo has to be well remembered, easily recognized and connected with the brand. Logo is a conjunction of graphic design and marketing strategies. From the semiological point of view, this thesis is based on Roland Barthes's theories, although incorporating marketing basics and marketing semiotics take on this problem. Within the practical part the logo analyzed using denotation, connotation and myth. Researched brand is US coffee chain Starbucks, which is one of the most successful coffee companies worldwide. Their corporate logo went through a long development and its strikingly successful. Keywords logo, semiology, marketing semiotics, graphic design, corporate identity, myth, conotation, denotation

This thesis focus on semiological analysis of selected corporate logo. Logos are part of the corporate identity and they are surrounding us all the time. Logo is visual identity of brand. Our society is overloaded with logos and that is main reason why logo has to be well remembered, easily recognized and connected with the brand. Logo is a conjunction of graphic design and marketing strategies. This thesis is based on semiotics theories, although incorporating marketing basics and marketing semiotics take on this problem. Within the practical part the logo analyzed using denotation and connotation. Researched brand is US coffee chain Starbucks, which is one of the most successful coffee companies worldwide. Their corporate logo went through a long development and its strikingly successful.

The goal of this paper is to explore a visuality of sweetness. It is social construct with a sentimental meaning and it is used by marketing communication. We suppose that our phenomena is not build up on connotation such as a taste of sensation how it could be asssumed. It is build by a sentimental meaning. For a verification we establish conditions which have to be proved by a representation to be labeled as the visuality of sweetness. The selected phenomena is close to Barthes's theory of myth as a secondary semiotic system. That is the reason why we need to address this dilemma. The background of an origin of the sweetness visualitation could help us understand Hackley's critical view on prism of social constructivism. Both theories could not be complete in a measure of marketing communication and a whole concept of sweetness visualisation is completed in Kress's multimodality theory. The part of the paper is empirical semiotic material which helps us to demonstrate a scale of a use of sweetness visualisation from a binary oppossition to a complete use of visual sweetness in marketing communication.