This thesis deals with a motive, very frequent in the novels of Haruki Murakami: a male protagonist trying to save his spouse, who has disappeared in a "different world". This can be of course interpreted as an orphic myth variation. However, the version used by Murakami resembles the story of Izanagi and Izanami deities in the Kojiki, ancient Japanese chronicle, more than the Greek orphic myth. Therefore, the motive is treated like a specific "Izanagi myth" variation here in the thesis, and the examination of its function is focused on the novels, the most important segment of Murakami's work. Murakami intentionally uses a very complicated form of narration in the novels. Therefore, to examine the exact function of Izanagi myth motive in the novel stories, a method of abstraction of these stories from their narrative discourses is used, based on the theories of Seymour Chatman. According to these theories, stories are strictly chronological sequences of events, while narrative discourses are more specific forms of these sequences, processed by the narrators. To abstract "exact" stories from Murakami's novels' specific discourses, we concentrate on all time-related data in their texts and use them to reconstruct the minute chronological orders of events - the stories of the novels. After that, we...

Our thesis is dealing with case of reportage photography and medial sharing of our choosen visual image. We have choosen an image of syrian refugee Aylan Kurdi from 2015, whose photo is refering the problem of refugee crisis in Europe. The thesis is focused on semiotic approach of selected photographies, which are showing the same picture from different perspectives. In our case is perspective very important part of thesis, because these photographies are very questionable on ehtical principes. Therefore, we are also focused on the way, how the media deal with this issue. Our thesis points the signs of reportage photography and also monitor their changes, which depends on the medium, title, perex and composition of words completing photography.We are also focused on contextual framework of photography in choosen media. The secondary objective of our thesis is the comparision of results of analysis of selected picture published in individual selected media and comparision of differences in interpretation and photography context. Thesis is primaly based on theoretical concepts of Roland Bathers on specific visual sharing of selected media. Monitored indicators are the concepts of denotation, conotation and myth, while we are focused on connection between text and image and interpretation in selected...

Abstract. This paper explores the memories of Soviet participants in the presence of Soviet troops in Czechoslovakia after 1968. Based on previously existing and new sources, information on the state of the media in the Central Group of Forces is summarized. At the same time, memories and assessments of events by their witnesses are given. Next, the historical myth about the presence of units of the National People's Army of the GDR on the territory of Czechoslovakia in 1968 and their actions against the local population was studied. An attempt is made to interpret this "false memory", widespread in the memoirs of Soviet narrators, to identify the causes of such a myth and its symbolic meaning for those who remember and listen. Also, it is discussed the problem of interpretation and evaluation of the events of 1968 in Czech and Russian collective memories, the attitude of both sides to the definition of the troop's invasion as an act of occupation. Revealed a diametrically opposite perception of this problem by both parties. This discussion naturally brings to the issue of the differences in Czech and Russian historical memories regarding the events of May 1945 and August 1968, the place of these events in symbolic memory and the reflection of these differences in relation of both sides to monumental...

UNIVERZITA KARLOVA EVANGELICKÁ TEOLOGICKÁ FAKULTA Dizertační práce MÝTUS JAKO PSYCHOLOGICKÝ FENOMÉN A JEHO VÝZNAM PRO MODERNÍHO ČLOVĚKA Z POHLEDU C. G. JUNGA Tomáš Najbrt Katedra religionistiky Vedoucí práce: doc. PhDr. Zdeněk Vojtíšek, Ph. D. Studijní program: Teologie Studijní obor: Historická teologie a teologie náboženství Praha 2020 Summary This work deals with three main areas: myth, human psychology and Carl Gustav Jung's personality. It deals with the contradiction between the rational evaluation of myth and its actual influence on shaping the ideas of the modern man about the world that surrounds him, and the creation of new myths in modern times. It shows the influence of myths containing archaic symbols and archetypes on the conscious and unconscious psychic processes of man and their interaction on the border of human psychology and psychology of religion. It also presents the possibilities of mythical and religious traditions for understanding the identity of modern man and his life.

Ce mémoire porte sur la récupération politique de la figure et des œuvres du compositeur Giuseppe Verdi (1813-1901) pendant la période fasciste en Italie (1922-1943), et plus précisément à l’occasion des manifestations relatives aux célébrations du quarantième anniversaire de sa mort en 1941, alors que l’Italie est en guerre contre la France et l’Angleterre. Le premier chapitre explore le développement du mythe de Verdi, et montre comment le compositeur est graduellement transformé en héros national pour devenir une icône de l’art lyrique italien, s’inscrivant dans un effort de glorification du passé pour la promotion d’un esprit nationaliste italien pour, ultimement, attester de la suprématie du pouvoir fasciste. Le deuxième chapitre propose une étude de l’organisation des festivités de 1941; il se penche aussi bien sur les événements musicaux que sur les discours et les publications, pour ensuite présenter une analyse plus approfondie des célébrations organisées à Parme. Il y est question de la riche réception des manifestations, qui assurent l’entretien et la fortification du mythe verdien. Le troisième chapitre analyse les éléments discursifs entourant les festivités, afin de démontrer que l’encensement de la figure de Verdi suit diverses lignes de force qui convergent vers la représentation fasciste de la civilisation italienne. Par l’exploitation des sujets nationalistes véhiculés dans ses opéras, la restitution de son image révolutionnaire et patriotique et l’exaltation de son génie, présenté comme étant à la fois italien et universel, les adhérents du régime ont entretenu et développé le mythe Verdi selon le canon de l’idéologie fasciste. Le but ultime de ce mémoire est de montrer comment, pendant la période fasciste et plus particulièrement au cours des célébrations de 1941, Verdi a fait l’objet d’une récupération idéologique visant à appuyer la légitimité du pouvoir en place pour créer une hégémonie favorable au climat de consensus nécessaire au régime en temps de guerre. / This thesis focuses on the political recovery of the figure and works of the composer Giuseppe Verdi (1813-1901) during the fascist period in Italy (1922-1943), and more specifically in 1941 during the celebrations commemorating the fortieth anniversary of his death, a moment in time which coincided with Italy’s war against France and England. The first chapter explores the development of Verdi’s myth and sheds light on how the composer was gradually transformed into a national hero to become an icon of Italian opera. This was part of a wider effort to glorify the past in order to promote an Italian nationalist spirit, and ultimately, attest to the supremacy of the fascist power. The second chapter studies the organization of the festivities of 1941; it examines musical events as well as speeches and publications, and presents a more in-depth analysis of the celebrations organized in Parma. It deals with the rich reception of the manifestations, which assure the maintenance and the fortification of the Verdian myth. The third chapter analyzes the discursive elements surrounding the festivities, in order to demonstrate that the exalting of Verdi’s figure follows various lines of force that converge towards the fascist representation of the Italian civilization. By exploiting nationalist subjects conveyed in his operas, restoring his revolutionary and patriotic image and exalting his genius, presented as being both Italian and universal, the adherents of the regime maintained and nurtured a Verdian myth according to the fascist’s cannon. The ultimate goal of this thesis is to show how, during the fascist period and more specifically during the celebrations of 1941, Verdi was subjected to an ideological appropriation that aimed, on the one hand, at given the legitimacy to the fascism authority and on the other, establish a climate of social consensus essential to the exercise of power during wartime.

Comment donner à voir l’irreprésentable, la contradiction et le paradoxe — et pourquoi le faire ? Pour Marguerite Duras, dont l’œuvre est porteuse d’apories, la réponse à cette interrogation fondamentale se trouve dans l’écriture littéraire. Dans ce mémoire, nous interrogerons la notion de souveraineté (Menke) du littéraire, qui permet de penser la mise en tension des discours non esthétiques (soit historiques, judiciaires, journalistiques, par exemple) dans l’œuvre de Duras, ainsi que l’engagement de l’auteure par son écriture, qui seule peut porter ses prises de positions contraires et violentes, mais aussi « le deuil noir de toute vie, le lieu commun de toute pensée ». Dans un premier temps, nous étudierons la singularité de l’engagement de Duras ; si l’engagement politique dans sa vie publique est marqué par de nombreux remous, nous pourrons observer, à partir de l’analyse du texte « Sublime, forcément sublime Christine V. » (1985), comment apparaît en contrepoint un engagement (Sartre, Barthes) par la littérature dans l’écriture de l’auteure. Cette écriture est également porteuse d’une certaine faculté oraculaire, instaurant la voyance est aux sources de la souveraineté de la littérature. Par l’étude du texte « La mort du jeune aviateur anglais » (1993), nous traiterons dans un deuxième temps de la particularité de la posture et de l’énonciation (Meizoz) de Duras, ainsi que de la possibilité de la confrontation de l’aporie que lui offre le discours littéraire. L’appropriation de la parole de l’autre et de la parole du mort se fait dans ce texte au profit du récit mythique, évacuant les dimensions historiques et documentaires du témoignage afin de tendre plutôt vers une parabole universalisante. Enfin, à travers une analyse de La douleur (1985) et de son paratexte, nous verrons comment la réécriture de ses textes avant leur publication permet d’y inscrire un engagement affirmé, correspondant davantage au projet d’engagement littéraire que Duras tisse dans les dix dernières années de sa carrière. L’écriture de Duras dans cette œuvre montre comment le discours littéraire peut représenter la faillite de la pensée et des autres discours. Cette mise en crise des discours et de la pensée, que l’on retrouve au sein des trois textes à l’étude, nous permettra de penser la souveraineté du littéraire dans l’écriture de Marguerite Duras. / How can one show the unspeakable, contradictions and paradoxes — and why would one attempt to do so ? For Marguerite Duras, whose work carries aporias, the answer to this fundamental question lies in literary writing. In this dissertation, we will question the notion of literary sovereignty (Menke), which allows us to think the crisis of non-aesthetic discourses (historical, judicial, journalistic, for example) in Duras' work, as well as the engagement of the author through her writing, which alone can bear her opposing and violent positions, but also "the black mourning of life, the commonplace of all thought". First, we will study the singularity of Duras' engagement ; if the political engagement in her public life is marked by many upheavals, we will be able to observe, from the analysis of the text "Sublime, forcément sublime Christine V." (1985), how an engagement (Sartre, Barthes) through literature appears in the author's writing. This writing also bears a certain oracular capacity, establishing clairvoyance as one of the sources of literary sovereignty. Through the study of "La mort du jeune aviateur anglais" (1993), we will then explore the particularity of the posture and enunciation (Meizoz) of Duras, as well as the possibility of the confrontation of aporia that literary discourse offers. The word of the other and the word of the dead is appropriated for the benefit of the mythical narrative, evacuating the historical and documentary dimensions of testimony in order to move towards a universalizing parable. Finally, through an analysis of La douleur (1985) and its paratext, we will see how the rewriting of texts before their publication inscribes them in an strong commitment, more akin to the project of literary engagement that Duras weaves in the last ten years of his career. Duras' writing in this work shows how literary discourse can represent the crisis of thought and of other discourses. This crisis of discourse and thought, which can be found in the three texts studied in this dissertation, will allow us to think about literary sovereignty in Marguerite Duras' writing.

Ce mémoire explore la construction d’un discours mythologique à travers les films de superhéros, dont la production a explosé après les évènements du 11 septembre 2001. La perspective généalogique proposée retrace la figure du superhéros dans les comics des années 1900 pour en suivre l’évolution jusqu’à aujourd’hui dans le cinéma hollywoodien. On montrera comment les évènements du 11 septembre 2001 ont été déterminants dans la production de ce type de films, dont on dégagera les principales caractéristiques : un contenu fortement mythologique, prenant appui sur le mal absolu, et une fonction idéologique, axée principalement sur celle de cohésion sociale. Une étude de cas à partir de Batman relèvera la teneur mythologique et les idéologies présentes dans quatre films, réalisés entre 1943 et 2012. Les écrits de Gérard Bouchard sur le mythe social, ainsi que les thèses de Robert Jewett et John Shelton Lawrence sur le monomythe américain, serviront d’appuis théoriques et critiques à la démonstration de la prégnance de ce type de film dans l’imaginaire cinématographique étatsunien depuis 2001. / This essay examines the construction of a mythological discourse by analyzing superhero movies, a genre whose popularity exploded after the terrorist attacks of September 11, 2001. This essay traces back the origins of the superhero figure through the history of the comic book medium in the 20th century all the way to contemporary Hollywood cinema. We will demonstrate how the terrorist attacks have been central to the production of this type of movie, of which we will examine the most important characteristics: a strongly mythological content, supported by a representation of absolute evil, and an ideological function, mainly based on the principle of social cohesion. A case study on the character of Batman will be able to show the mythological content and the ideologies present in four movies, produced between 1943 and 2012. The writings of Gérard Bouchard on the social myth as well as the theories of Robert Jewett and John Shelton Lawrence on the American monomyth will be used to demonstrate the importance of this type of movie in the American culture since 2001.

Please read the abstract in the section 04back of this document / Dissertation (MA (Biblical and Religious Studies))--University of Pretoria, 2002. / Ancient Languages / unrestricted

Goal of this master thesis is to show that the myth of the Great Patriotic War is a source of Russian soft power in Belarus. After the methodology chapter, the thesis continues with connecting the concept of soft power authored by Joseph Nye with the concept of myth which is here defined on the basis of theories of Eliade and Malinowski. The next part discusses Russian soft power in the Post-Soviet area in general and in Belarus in particular. It demonstrates that Russian soft power rests largely on common history shared by Russians and other Post-Soviet nations. As a consequence, the main sources of Russian soft power rest on identities and narratives, including myths. The myth of the Great Patriotic War was at the center of Soviet mythology and it has preserved its dominant position also in the Post-Soviet period, what holds true particularly for Belarus. The following part retraces the evolution of the myth of the Great Patriotic War from its emergence during the Second World War until today. It shows that the essence of this myth is a feeling of togetherness and of community that unites the former Soviet nations. The last part presents an interpretative analysis of five qualitative interviews with Belarusians. The analysis of individual cases to a large extent confirmed that the myth of the...

Dissertation "Myths of the Czech Music Alternative in the 1980s" presents an anthropological view of the phenomenon of a parallel culture in a limiting situation. On the basis of biographical narratives, additional interviews and data gained from other types of sources, "myths" are constructed for seven major figures of the Czech alternative scene. This is an insider's ethnomusicological interpretation, based on Mircea Eliade's and Bronislaw Malinowski's concepts of myth as recurrent and exemplary models of behavior. The described personalities, Jazz Section (Prometheus), Miroslav Wanek ("hero's journey") Karel Babuljak ("search for paradise lost"), Pavel Zajíček (Odysseus), Mikoláš Chadima ("Rebel"), Oldřich Janota (Hermes), and Marka Míková (Psyche), represent some of the main trends in creative processes of the Czech music alternative scene with myth being used as a metaphor. The metaphor is understood here in the terms of Timothy Rice, i.e. as an organization principle of our thinking, as well as an illuminating image.