The aim of this thesis is to cover the structure and functioning of archetypes, stereotypes or emblems in selected genres of popular literature - the romance novels and comics. A similar structure of mythization in the popular genres is revealed through mutual comparison. Selected works are analyzed on the basis of Jungian psychology and its concepts of the unconscious and the archetypal image. The original myths, fairy tales, other popular genres and some works of the European fictional tradition are involved in the comparison. Among others, this thesis also draws from approaches included in various works of sociology, ethnography, Religious Studies and feminist literary criticism. The comparative analysis has shown that provable connection between popular literature and the original myth structures can be traced and the collective unconscious serves as a transmission medium. The genres of popular literature are worthy of further research because they reflect not only contemporary social situation but also essential structures of the human psyche. This thesis clearly demonstrates that the romance novels and comics are valid parts of the literary sphere and suggests one of the possible ways suitable for further study of the subject.

The thesis deals with the message of the resurrection of Jesus of Nazareth, which is crucial for Christianity and its relevant hermeneutical approach. In the first chapter we analyze the contemporary hermeneutical context of the message within the Hellenistic and Hebrew cultures. In the second chapter we present an analysis of pre-Pauline faith confessions, Paul's texts and synoptic Gospels focused on targeted formulating of the message for respective communities and their cultural background. The last chapter wants to present some contemporary relevant hermeneutical approaches to this message. One of them could be the so called mythmaking, which emphasizes the necessity of permanent updating of accepted opinions, messages and realities. We can observe the mythmaking process already with the New Testament authors and each and also our generation is expected to bring the message about the resurrection of Jesus of Nazareth to future generations in a relevant way. Powered by TCPDF (www.tcpdf.org)

The subject matter of this thesis is the presentation of a typology of rural imagery based on a thematic and interpretative analysis of Polish and Czech literary texts from the 1960s with respect to the ongoing changes made to the original romantic-realist concept of the rural novel. The analysis of specific literary works (Sekyra by Ludvík Vaculík, Smuteční slavnost by Eva Kantůrková, and Čas kopřiv by Josef Knap from Czech literature, and, from Polish literature, Opadaný sad by Wiesław Myśliwski, the novels Na slunci by Julian Kawalec and … až budeš králem, až budeš katem… by Tadeusz Nowak) permits us to create a basic register of elements of rural narrativity which, however, Czech and Polish literatures have different perspectives on. Through this dichotomy we present typical narratives contained in the Czech and Polish rural novel of the given period. The subsequent interpretative analysis of the texts takes inspiration from contemporary narratology with special attention to the narrator and time categories, and by extension to the interplay of these categories with individual themes, symbols and topoi.

Abstract Axel Adolf Laurell (1800–1852), theoretical philosopher by training, was Professor of Dogmatics at the University of Helsinki 1836–1852. In the history of Finnish theology, he has been rather ignored. The aim of this doctoral thesis has been two-fold: to analyze both Laurell and the later theological tradition that ignored him. Laurell was one of the intellectually oriented theologians in Finland representing the view that university theology was a field of rational study, not a way of practicing religion. His qualifying thesis, already approved of by the official opponent, was rejected by the Faculty of Theology and by the Lutheran archbishop E. G. Melartin. However, Laurell gained the support of the Academic Senate and was appointed professor by Nikolai I. Archive material depicting Laurell´s lectures on theology shows that he lectured, among other things, on the German controversy between rationalism and supranaturalism. He seems to have supported the idea of mediation between these two, an approach typical of to the school of Vermitttlungstheologie. Laurell began his career as a Hegelian, rejected Hegelianism in the 1840s and became interested in the questions of empirical study. Laurell was one of the Finnish academics who adopted ideas both from Herder and Hegel. Laurell, during his formative years a member of the Saturday Society, a circle of reform-minded young intellectuals, was the most notable Finnish representative of pedagogics during his time. He was one of the founders of Helsingfors Lyceum in 1831 and the first headmaster of this school with its new, modern-type curriculum. According to him, “state” and “church” should not interfere in the matters of education. Taking into account Mythologies by Roland Barthes and some international discussions on nationalistic myths, I have delineated the previously unrecognized myth of Genuine Finnish theology. Influential Finnish revivalist theologians adopted the biblical theology of Johann Tobias Beck during the latter part of the 19th century. From this standpoint they and notably history professor Ernst Gustaf Palmén, invented a religious-nationalistic interpretation of the 19th-century Finnish history. Scientifically significant theologians had been Beckians or revival movement sympathizers while Laurell, among other actual forerunners of rational research, were marginalized and forgotten. / Tiivistelmä Väitöskirjani tarkastelee Lauantaiseuran jäsenen ja Helsingin yliopiston dogmatiikan ruotsinkielisen professorin Axel Adolf Laurellin (1800–1852) näkemyksiä ja toimintaa 1830-luvulta 1850-luvun alkuun sekä autonomian kaudesta kertovaa suomalaisen teologian oppitraditiota. Laurell on yksi tämän oppitradition vähättelemistä 1800-luvun teologeista. Teologinen tiedekunta sekä luterilaisen kirkon arkkipiispa E. G. Melartin yrittivät 1830-luvulla torjua Laurellin professorinvirasta hylkäämällä hänen väitöskirjansa, jonka vastaväittäjä oli jo hyväksynyt. Hänellä oli kuitenkin yliopiston professorikunnan enemmistön tuki, ja Nikolai I nimitti hänet dogmatiikan professoriksi. Teologian oppitraditiota, historiallisista lähteistä piittaamatonta keksittyä historiaa, kutsutaan tässä tutkimuksessa Oikean teologian myytiksi. Se on hahmoteltu soveltaen Roland Barthesin ja eräiden nationalismitutkijoiden myyttitulkintoja. Myytti on arvioinut aiempien tutkijoiden tieteellistä merkittävyyttä sen perusteella miten he suhtautuivat herännäisyyteen ja olivatko he suomenkielisiä. Myytin keskeinen muotoilija oli historian professori Ernst Gustaf Palmén ja sen syntyedellytyksenä olivat suomalaisen yliopistoherännäisyyden muuttuminen beckiläiseksi raamattufundamentalismiksi 1850-luvulta alkaen sekä lähdetutkimuksen laiminlyöminen. Aiempien tutkijoiden tulkintaa autonomian kauden teologiasta toistettiin sittemmin vuosikymmenestä toiseen tarkistamatta heidän tulkintojensa paikkansapitävyyttä alkuperäislähteistä. Laurellin luennoista säilynyttä käsikirjoitusaineistoa on käytetty selvittämään mitä hän opetti Helsingin yliopiston teologian opiskelijoille. Yksi luentojen keskeinen aihe oli saksalaisen rationalismi-supranaturalismi -kiistan käsittely. Luennot viittaavat siihen, että Laurell edusti välitysteologiseksi kutsuttua koulukuntaa, joka nimensä mukaisesti pyrki edustamaan välittävää kantaa näiden kahden välillä. Laurell oli aikansa merkittävin suomalainen pedagogi, Helsingfors Lyceumin johtaja ja yksi sen perustaja, koulutukseltaan teoreettisen filosofian dosentti ja aikansa maltillinen, kristillisestä luomisuskosta kiinnipitänyt rationalisti, joka hegeliläisyydestä luovuttuaan kiinnostui empiirisestä tutkimuksesta. Laurellin ajattelussa näkyy monelle muullekin 1800-luvun alkupuolen toimijalle tyypillinen hegeliläisten ja herderiläisten vaikutteiden rinnakkaisuus. Teologina Laurell edusti näkemystä, jonka mukaan yliopistoteologia on uskonnon tarkastelua, ei yliopistossa tapahtuvaa uskonnonharjoitusta.

由於許多企業對於LINE在號召年輕族群的能力寄與厚望，為了釐清目前企業對於評估LINE與操作LINE的策略是否合乎年輕族群的需求，本研究將聚焦於討論最早採用LINE的企業期待透過LINE進行品牌年輕化的歷程，以企業的實戰經驗切入，剖析早期採用LINE的企業進行品牌年輕化歷程與操作策略，同時透過釐清年輕族群對於使用LINE的經驗與需求兩相對照，試圖釐清目前企業使用LINE進行品牌年輕化的做法是否正確？是否有迷思存在的可能性？若因迷思存在而造成經營策略上的偏差，企業未來該如何修正與優化？ 由於意會本質上是人們對事務的主觀認知，並且是一個持續性的流程，是一種複雜且動態的觀念，因此將採用深度訪談法針對企業的相關部門成員進行歷程的研究。為呈現企業內部與外在社會環境相關的完整脈絡，本研究也會輔以消費者訪談、文獻資料法與二手資料法作為資訊搜集與驗證成效的方式。研究結果發現，個案對於透過LINE推動品牌年輕化的歷程上，確實存有許多囿於過往經驗或組織文化所形成的主觀認知，導致其對於新科技的理解與其目標族群的需求有所落差。研究結果也顯示，LINE確實能為企業接觸到年輕族群，但需要提供他們所需要的服務和資訊，才能爭取他們對品牌的認同和好感，同時與年輕族群的互動形式，相較於過往的單向式傳播，也必須因應LINE的科技特質有所調整。 / As many enterprises place great expectations in LINE’s ability to call out the youth, in order to find out whether the enterprises’ strategies in assessment and operation on LINE meeting the demand of the youth, this research looks into the experience of the first runner enterprises that promote brand rejuvenation with LINE. By introducing the real-world experience of the enterprise, this research analyzes the journey and operation strategies of rejuvenating brands by using LINE in early years. Meanwhile, by comparing the experiences and demand of using LINE among the youth, this research aims at whether the methods of rejuvenating brands by using LINE are satisfying. Does the myth really exist? If the myth does exist and bring diversified business strategies, how can the enterprises revise and improve their strategies in the future? Since sense making is people’s subjective perception of affairs by nature and it is both a persistent process and a complicated and dynamic concept, this research focuses on the experience from members of relevant departments of the enterprise by in-depth interview. To present the context of the internal and external environment of the enterprise, this research also utilizes consumer interview, documents, and literature as the main data sourses and effectiveness verification. The research results show that cases do have many subject perceptions generated from previous confined experience or organizational culture in the course of LINE’s promotion of brand rejuvenation, which gives rise to difference between the understanding of new technology and the demand of target groups. The research results also show that LINE really enables the enterprise to access to the young people, but provision of their necessary service and information is required to get their recognition and good impression of the brand. Meanwhile, the means of interaction with the youth must be adjusted according to LINE’s technological nature comparing with previous single-direction dissemination.

This feminist analysis addresses Lindsey Collen’s intertextual use of myth in The Rape of Sita and how her reformation of the parodied texts becomes a resistance to patriarchy. Collen’s examination of possible counteractions against patriarchy is analysed and it is determined whether or not she posits writing, especially demythologization, as the best resistance to patriarchal discourse. Also, her assertion that transformation and a unity of the sexes are needed to bring about equality is studied. The methodology used is qualitative and inductive. The sources are examined and interpreted through close-reading strategies which reveal the complexities of the text and the way in which Collen subverts myth. Classical and Hindu myths and other texts, such as T.S. Eliot’s The Waste Land, are re-read and re-examined to investigate to what extent they have challenged or championed patriarchal ideology, through which it is hoped that a greater understanding of the way in which mythology contributes to attitudes to rape is gained. Three other texts dealing with rape are also studied, in order to better place Collen’s novel in context of the genre. Primarily, feminist criticism, particularly with an African feminist viewpoint, is used. However, because a conflation of post-colonial and postmodern approaches is embedded within feminism, these concepts are dealt with also. Theorists drawn upon include Michel Foucault, Roland Barthes, Mircea Eliade and Margaret Atwood. / Dissertation (MA (English))--University of Pretoria, 2007. / English / MA / unrestricted

Le but principal de la thèse de recherche est celui d’analyser les mécanismes cognitifs et linguistiques à la base des métaphores « d’invention et défigées » en utilisant une approche qui vise à mélanger la théorie de la métaphore conceptuelle de Lakoff et Johnson (1980 et 1999), la théorie de l’intégration conceptuelle de Turner et Fauconnier (2002) et la théorie de l’analogie de Monneret (2004 et 2014). Pour mettre à l’épreuve le fonctionnement de la complémentarité de ces trois modèles, nous avons choisi d’utiliser deux textes littéraires de langue allemande des années 1980-1990 qui sont «Kassandra» (1983) de Christa Wolf et «Minotaurus. Eine Ballade» (1985) de Friedrich Dürrenmatt. Pour identifier le degré de figurativité des métaphores à l’intérieur des textes trois méthodologies ont été mise en place : les interviews des locuteurs allemands ; la consultation des dictionnaires en langue allemande et une observation des éléments présents à l’intérieur de la métaphore à travers la méthodologie MIPVU (Steen et al., 2010). L’analyse nous permet de comprendre le fonctionnement des métaphores dans les textes et les symboles culturels utilisés par les écrivains. De plus, cette recherche vise à montrer l’usage des « frames » et des « blends » conceptuels qui structurent notre cognition. / The main aim of this PhD thesis is the analysis of the cognitive and linguistic mechanisms within the creative and delexicalised metaphors using a mixed approach of Lakoff and Johnson’s (1980 and 1999) theory of conceptual metaphor; the Fauconnier and Turner’s (2002) theory of blending and the Monneret’s (2004 and 2014) theory of analogy. To test the complementariness of these three models, we have chosen two German literary texts from 1980 to 1990 that are «Kassandra» (1983) by Christa Wolf and «Minotaurus: eine Ballade» (1985) by Friedrich Dürrenmatt. To identify the degree of figurativeness of the metaphors within these texts, we have used three methodologies: the interviews to German speakers; the consultation of the German language dictionaries and the observation of the elements within metaphors through the MIPVU methodology (Steen et al., 2010). The analysis allows us to understand how metaphors work in the different texts and how cultural symbols are used by authors. Additionally, this research aims to show how the use of conceptual «frames» and conceptual «blends» that structure our cognition. / Lo scopo centrale della tesi di ricerca è quello di analizzare i meccanismi cognitivi e linguistici alla base delle metafore «d’invenzione e delessicalizzate» utilizzando un approccio che miri a fondere la teoria della metafora concettuale di Lakoff e Johnson (1980 e 1999), la teoria dell’integrazione concettuale di Fauconnier e Turner (2002) e la teoria dell’analogia di Monneret (2004 e 2014). Per mettere alla prova il funzionamento della complementarietà di questi tre modelli, è stato scelto di utilizzare due testi letterari di lingua tedesca degli anni 1980-1990 che sono «Kassandra» (1983) di Christa Wolf e «Minotaurus. Eine Ballade» (1985) di Friedrich Dürrenmatt. Per identificare il grado di figuratività delle metafore all’interno dei testi sono state messe in atto tre metodologie: le interviste ai parlanti tedeschi; la consultazione dei dizionari in lingua tedesca e un’osservazione degli elementi presenti all’interno della metafora attraverso la metodologia MIPVU (Steen et al., 2010). L’analisi ci permette di comprendere il funzionamento delle metafore all’interno dei testi e come sono utilizzati i simboli culturali da parte dei singoli autori. In più, questa ricerca rappresenta, quindi, un tentativo di comprendere l’uso dei «frame» e dei «blend» concettuali che strutturano la nostra cognizione.

The Ghost Machine is a practice-based research project that explores the process of embodiment in animated film. It describes the process of transfiguration from the artist’s/auteur’s point of view and not from an outside position. The dissertation follows the embodiment of a dramatic text, the Ghost Sonata by August Strindberg (1907), into an animated film. The starting point is my experience of the drama, at the age of thirteen, when staged by Ingmar Bergman at the Royal Dramatic Theatre. As a teenager, the world of the grown-ups seemed to be corrupt, twisted and ruled by violent power plays and economic sanctions, and this play confirmed my world view. Was I right, as a thirteen-year-old boy? What kind of world emerges in my version of the Ghost Sonata? In this thesis work, the films and the experimental research process meet the practice and art of writing. Using text, not as “theory” separated from “practice” but as a bodily art practice, creates a shifting border between the results and intentions of art and filmmaking, and the results of writing. At the same time a unity emerges where the results of the research process can be seen and experienced in the interaction between the texts and the artwork. The Ghost Machine is a totality where the text, films and artworks included in the project are equally important and must be seen as a unity. The Ghost Machine is a work journey where travelling, animated film practice, networking with colleagues and collecting data are mixed with experiments using methods from contemporary arts practice, performance, reenactment, appropriation and transfiguration, blended with traditional puppet animation in classic Czech style. In collaboration with actors, mime artists, puppet makers, musicians and a minimal film crew, century old stop-motion animation is combined with computer animation.  The textual part of the work falls into two categories: life stories and work stories. The work stories traces the forming of an artwork in all aspects. The life stories are related to the subject of ghosts. Suddenly, dead friends and dear family members claimed their space. The understanding of the Ghost Sonata came to be a process of sorting out and following lines of memory using an inverted version of the Orpheus myth as a guide. Instead of never turning around, when walking the dead out of oblivion, I chose to look back, again and again, until I hit something and could not write anymore. / https://www.uniartsplay.se/slin

Tenter de cerner le concept de ‘’personnage poétique’’ dans Les Fleurs du Mal et Le Spleen de Paris et essayer d’en déduire les fonctions et les significations, tels sont les objectifs du présent travail. Un processus de conceptualisation fait l’objet de notre première partie qui s’appuie sur les critiques existantes à ce sujet pour donner les statuts adéquats aux êtres peuplant ces deux œuvres. On s’est proposé de voir à travers des exemples précis le traitement que réserve l’œuvre baudelairienne à ce concept, notamment quand il s’agit de passer du poème en vers au poème en prose. Ainsi, des notions limitrophes ont émergé au fil de notre analyse, comme la notion de “figure allégorique” ou “mythique”. Parler de ‘’personnage poétique’’ est donc fort délicat surtout à l’aune de la variation générique qui impose des nuances contraignantes. Mais le fait est là : nous pensons légitime d’attribuer le statut de personnage à certains des sujets qui traversent Les Fleurs du Mal ou Le Spleen de Paris. En effet, ils sont définissables suivant les critères réservés généralement au personnage à savoir, le faire, le dire, la dimension psychologique. Néanmoins, ce statut n’est pas aussi évident quand on constate que dans ces deux œuvres le même sujet peut parfois conjointement relever du traitement de personnage et de figure. Ce travail étant réalisé, notre tâche était d’étudier les fonctions de ces ‘’personnages’’ et de ces ‘’figures’’ dans le cadre de l’esthétique générale de Baudelaire. Dès lors, on a pu voir un processus de dédoublement et de dialogisme se déclencher entre le poète et ses alter ego, qui incarnent ses revendications et ses convictions esthétiques avant-gardistes. / The objectives of the present work are attempting to define the concept of'' poetic character” in'' Les Fleurs du Mal” and” Le Spleen de Paris” as well as trying to deduce the functions and meanings implied in that concept. A process of conceptualization will be our first part .This part will rely on existing critics on this subject to finally give the appropriate statutes to creatures inhabiting these two works. We suggested to study through specific examples the way the works of Baudelaire treat this concept particularly when it comes to moving from free verse poem to prose poem. Thus, adjacent concepts have emerged in the course of our analysis such as the notion of mythical or allegorical figure. Talking about '' poetic character “is so delicate especially in this generic difference that imposes binding shades of meaning. But the fact is that we were able to grant the status of characters to many creatures whether in ‘Les Fleurs du Mal ‘or in ‘Spleen de Paris’. In fact, they can be defined according to the criteria usually reserved to character i.e., do, say, the psychological dimension… However, this status is not that evident when we notice that in these two works the same creature could sometimes jointly be treated as character and figure. Once this work was done, our task was to study the functions of these'' characters'' and '' figures'' in the context of the overall aesthetics of Baudelaire. Consequently, we could see a process of duplication and dialogism between the poet and his creatures. Tackled as his doubles; these creatures embody the poet’s claims and his avant-gardist aesthetic convictions.

Ce travail de recherche propose une étude de l’œuvre intégrale, en vers et en prose, de Fred D'Aguiar, à travers le prisme du mythe, de la métaphore et de la mémoire, et dans le cadre d'une définition large, inclusive et interculturelle de la littérature caraïbe. A partir de la mise en lumière de la relation hypomnésique de la métaphore à la mythologie et à la métaphysique occidentale, l'argumentation s'étend sur des questions telles que celle du lien entre référent et monde et élabore une vision à la fois interculturelle et géographique de la métaphore en tant que tropicalité. La tropicalité donne, à son tour, son élan à l'argumentation, en permettant, pour la première moitié de ce travail de recherche, la production d'une lecture singulière de la poésie de Fred D'Aguiar, qui s'avère aussi liée à un vaste corpus littéraire, s'étendant de l'Antiquité romaine au réalisme magique américain et caraïbe, du romantisme britannique à la philosophie de Jacques Derrida. La deuxième moitié de ce travail explore la prose de Fred D'Aguiar à travers le thème de l'orphelinat, car tous les protagonistes de ses romans sont des orphelins – et, qui plus est, parce-que le roman est aussi, par définition, le genre qui nie toute filiation. Divisée en deux chapitres, cette deuxième partie de l'étude commence par une problématisation des liens qui opèrent entre textualité et orphelinat ainsi qu'entre orphelinat et esclavage, mais aussi entre esclavage et illettrisme, afin d'étudier la représentation de l'esclavage dans les romans de Fred D'Aguiar. Cette deuxième moitié progresse ensuite vers une réflexion sur les qualités surnaturelles, voire orphiques des orphelins de la prose d'aguiarienne, ainsi que sur leur relation, tout autant orphique, à l'environnement. En conséquence, le présent travail de recherche se clôt sur deux questions : celle de la tradition orphique qui sous-tend l'histoire de la littérature, de l'antiquité jusqu'à présent, et celle de la dimension écocritique de la littérature contemporaine, que l'on proposera de défendre pour certains cas, en tant qu'environnementalisme vatique. / The present dissertation proposes a study of Fred D'Aguiar's complete verse and prose works, through the triple lens of myth, metaphor and memory, and from within a broad, inclusive, and cross-cultural understanding of Caribbean literature. Beginning with an exacerbation of metaphor's hypomnesic relationship to mythology and Western metaphysics, the argument expands to address issues such as that of the relationship between word and world, and elaborates a cross-cultural, and geographically-based understanding of metaphor as tropicality. Tropicality in turn gives the argument its thrust, as it allows, in the first half of the dissertation, for a singular reading of Fred D'Aguiar's entire verse corpus, which is also shown, in the process, to intersect with a vast body of literature, ranging from Roman antiquity to American-Caribbean magic(al) realism and from British romanticism to the philosophy of Jacques Derrida. The second half of this research work explores D'Aguiar's novels in terms of orphanhood, as all the protagonists of his six novels – itself a genre which, presenting itself as newness, denies filiation – are orphans. Divided in two chapters, the second half of this dissertation begins with a problematization of the links that relate textuality to orphanhood and orphanhood to slavery, but also slavery to literacy, in order to study Fred D'Aguiar's novelistic accounts of slavery. It then proposes a reflection on the supernatural, Orphic qualities of D'Aguiar's orphan characters, and of their relation to the environment, which leads, in turn, to reflections on the Orphic traditions pervading literary history, and opens up onto the ecocritical dimensions of contemporary literature, through the tentative coinage of the notion of vatic environmentalism.