A dissertação problematiza e investiga o papel da canção no panorama brasileiro, cotejando as matrizes indígenas (Jecupé, 1998 e 2001) e afrodescendentes (Hampate-Ba, 2010), como forma de contribuir para um re-encantamento das relações e das jornadas pessoais de autoformação frente ao capitalismo massificador, ao racionalismo instrumental e os limites aristotélicocartesianos da herança escolar. Baseado numa perspectiva mitohermeneutica (Ferreira-Santos & Almeida, 2012), desenvolve reflexões lastreadas nos fenomenólogos da existência (Merleau- Ponty e Gaston Bachelard), além das contribuições básicas no estudo da forma canção em Tatit (2002 e 2004), Jorge (1998) e Wisnik (1989). Dessa forma, uma possível resposta frente ao desolamento das instituições burocráticas, e em especial, na escola; seja precisamente um processo de re-encantamento que proprie o início das jornadas das pessoas (aprendizes e professores, comunidade e gestores) pelo viés da autoformação através do acalanto. / The dissertation discusses and investigates the role of song in the Brazilian landscape, comparing indigenous arrays (Jecupé, 1998 and 2001) and African descent (Hampaté-Ba, 2010), in order to contribute to a re-enchantment of relations and personal journeys self-formation against the massificador capitalism, instrumental rationality and the Aristotelian-Cartesian limits of school heritage. Based on myth-hermeneutical perspective (Ferreira-Santos & Almeida, 2012), develops reflections backed the phenomenologists of existence (Merleau-Ponty and Gaston Bachelard), beyond the basic contributions in the form-song study Tatit (2002 and 2004), Jorge (1998 ) and Wisnik (1989). Thus, one possible response facing the desolation of bureaucratic institutions, and in particular in schools; is precisely a process of re-enchantment that proprie the start of journeys people (learners and teachers, community and managers) the bias of self-training through the lullaby.

Trata-se de realizar uma articulação entre as imagens construídas pelo romance Doutor Fausto, de Thomas Mann, e o quadro teórico elaborado pela Escola de Frankfurt, a fim de compor uma interpretação filosoficamente investida do romance e alcançar uma melhor compreensão das ideias da Teoria Crítica. A vida do compositor Adrian Leverkühn, o Fausto de Mann, é narrada pelo amigo e biógrafo Serenus Zeitblom, e essa narrativa revela a identidade fundamental entre o músico e a Alemanha, aproximando suas características e histórias. Nossa abordagem tematiza especialmente a questão da salvação ou condenação da alma do pactário, tratando de matizar essas possibilidades na obra. Elaboramos uma noção de mito comum ao romance e àquele quadro teórico frankfurtiano, apontando sua força de estruturação totalizante, bem como sua inserção em uma dinâmica dialética. A seguir, propomos considerar que todos os elementos do romance que repõe a mitificação apontariam para a condenação do Fausto, enquanto, inversamente, os aspectos da obra que revelam os limites ou se contrapõem à força do mito anunciariam a possibilidade de salvação do pactário. A noção de sofrimento é especialmente importante, pois comparece em ambas as perspectivas. Isso quer dizer que o sofrimento pode ser interpretado tanto como a evidenciação de um destino como se as dores e a infelicidade de Adrian Leverkühn antecipassem a condenação , quanto pode ser compreendido como um sintoma que denuncia o mito como se revelasse a inverdade do destino aparente e as possibilidades do devir. Finalmente, análise da música, um tema central no romance, também revela sua ambivalência, pois ela pode tanto ser a reposição do mito quanto uma crítica ao mundo mitificado. / This work articulates the images constructed by Thomas Manns novel Doctor Faustus with the theoretical framework developed by the Frankfurt School, in order to compose a philosophically invested interpretation of the novel, as well as achieve a better understanding of Critical Theorys ideas. The life of the composer Adrian Leverkühn, Manns Faustus, is narrated by his friend and biographer Serenus Zeitblom, and this narrative reveals the fundamental identity between the musician and Germany, relating their characteristics and histories. Our approach on the novel specially studies the questions of the salvation or the damnation of Fausts soul, trying to precise these possibilities within the work. We develop a notion of myth common to the novel and to that frankfurtian theoretical framework, pointing its totalizing strength, as well as its insertion in a dialectical dynamic. Next, we propose to consider that all the novels elements that instigate the mythification would point to the condemnation of Faust, while, conversely, the novels aspects that reveal the limits of the myth or contradict it would announce the possibility of the mans salvation. The notion of suffering is especially important, as it appears in both perspectives. This means that suffering can be interpreted both as the disclosure of fate as if Adrians pain and sadness would anticipate the condemnation as can be understood as a symptom that denounces the myth as if it would reveal the lie of the apparent destination and the possibilities of future. Finally, the inquire on músic, a central theme of the novel, also reveals its ambivalente, for it can either strengthen the myth, as it can exercise a critic of the mythologized world.

O advogado, no cenário contemporâneo, perdeu sua identidade profissional. Ele convive com o problema de um substrato teórico incapaz de dar conta da complexidade do mundo da vida no início do novo milênio. A busca pelos ideais que norteiam a profissão deve ser retomada, sob pena do advogado subsistir sobre o império da técnica massificada e acrítica. Como o novo Parsifal, deve o advogado se entregar a tarefa de auto-conhecimento, entendimento do seu topos na realidade, assim como todos os elementos radicais de uma mitologia que guiam através do processo de individuação, reestabelecendo sua ligação com sentido e os significados, restaurando a imagem e a ética da profissão / In the contemporary scene, the lawyer lost his professional identity. He lives within a problem of a theoretical substrate. He is incapable of dealing with the complexity of the living world in the new millennium. The search for the ideals that guide the profession should be resumed, under the penalty of lawyer survives under the technique power and uncritical mass. As the new Parsifal, the lawyer must seek self-knowledge, understanding of his place in reality, like all radical elements of mythology that guide you through the process of individuation, reestablishing its connection with meaning and significance, restoring the image and ethics of the profession.

Poderia o episódio da ocupação de Pilos, narrado no Livro IV da História da Guerra do Peloponeso, de Tucídides, constituir-se em uma peripécia ateniense? Asserção provocativa, que supõe sobre as categorias míticas, presentes na referida passagem, o entendimento da obra tucidideana por ditames artísticos, assim denominados, por Francis M. Cornford, mithistóricos. Interpretado, pelo autor, como fruto de uma teoria trágica da natureza humana supostamente apropriada de Ésquilo - o encadeamento de Týche, Áte, Apáte, Elpís e Hýbris, figuraria o início da ruína política de Atenas, onde Tucídides, propondo-se a descrever objetivamente os eventos da guerra, acaba por se aproximar do drama. Mas, como admiti-lo se, em seu prólogo, Tucídides declara a exclusão do fabuloso ( ) de sua escrita? Em que sentido mythôdes pode ser apreendido como o mthos, propriamente dito? Na memorização das ações humanas, a história tucidideana se volta, então, para a fragilidade dessa humanidade, revelando a face de sua própria tragicidade. / Could one consider the Pilos episode narrated in the Book IV of Thucydides History of the Peloponnesian War, an Athenian reversal (peripéteia)? An assumption, whose provocative tone, would imply to the mythical categories in the episode the artistic moulding of Thucydides narrative. The mythistorical passages of the work, as interpreted by Francis M. Cornford are, therefore, a consequence of the tragic theory of human nature, which Thucydides would have taken from Aeschylus, and where Tyche, Ate, Apathe, Elpis and Hybris would represent the beginning of Athens political doom. Thucydides writing style, intentionally an objective journal of the war, ended up being similar to the dramatic one. But how could one accept this possibility, if in Thucydides Prologue he states the absolute exclusion of the fabulous ( ) from his narrative? In which sense can the concept of mythôdes be taken as the one of mthos. In the memorization of the human actions Thucydides history turns to the fragility of this humanity, revealing the face of its own tragic condition.

This thesis examines the works of Nathaniel Hawthorne and the archetypal images therein. The Scarlet Letter is discussed extensively with references made to The Blithedale Romance. Characters in the following short stories are referred to: “Rappaccini’s Daughter,” “Young Goodman Brown” and “The Birthmark.” An overall analysis of feminine repression in both male and female characters is explored. Hester Prynne, Arthur Dimmesdale, and Pearl are the subjects of lengthy discussion. Journeys, both inward and outward are explored in the characters. The context is nineteenth-century culture of which Hawthorne is a product. The characters in The Scarlet Letter search for a complete existence, an integration of the unconscious and the conscious. Through a mythological study of Hawthorne’s work, we draw closer to understanding this complex example of nineteenth-century literature.

With its appeal predicated upon what civilized society rejects, there has always been something hidden in plain sight when it comes to the outlaw figure as cultural myth. Damian A. Carpenter traverses the unsettled outlaw territory that is simultaneously a part of and apart from settled American society by examining outlaw myth, performance, and perception over time. Since the late nineteenth century, the outlaw voice has been most prominent in folk performance, the result being a cultural persona invested in an outlaw tradition that conflates the historic, folkloric, and social in a cultural act. Focusing on the works and guises of Lead Belly, Woody Guthrie, and Bob Dylan, Carpenter goes beyond the outlaw figure’s heroic associations and expands on its historical (Jesse James, Billy the Kid), folk (John Henry, Stagolee), and social (tramps, hoboes) forms. He argues that all three performers represent a culturally disruptive force, whether it be the bad outlaw Lead Belly represented to an urban bourgeoisie audience, the good outlaw Guthrie shaped to reflect the social concerns of marginalized people, or the honest outlaw Dylan offered audiences who responded to him as a promoter of clear-sighted self-evaluation. As Carpenter shows, the outlaw and the law as located in society are interdependent in terms of definition. His study provides an in-depth look at the outlaw figure’s self-reflexive commentary and critique of both the performer and society that reflects the times in which they played their outlaw roles. / https://dc.etsu.edu/etsu_books/1158/thumbnail.jpg

Katherine Weiss’s chapter addresses the ways both Dylan and Sam Shepard work to destabilize American myths while insisting upon the very necessity of such myths—in the form of masks, or always mutating performances. By focusing specifically on Shepard’s relationship with and effort to understand him, Weiss reveals the significance of Dylan’s protean nature (as it relates to America’s tendency to get trapped in, or to reify, its necessary myths). At the same time, she shows how Dylan and Shepard collaborated to break down outmoded myths by resurrecting, necessarily, new, albeit more temporary, unstable, performative ones—especially in their interrogation of the concept of American identity. Weiss draws particular attention to Shepard and Dylan’s collaboration on the song “Brownsville Girl” (1986).

Ce travail analyse les enjeux et les modalités de résurgence de l’héritage classique dans la poésie de Louis MacNeice, Derek Mahon, Seamus Heaney, Michael Longley et Tom Paulin. Des années 1930 au début du XXIe siècle, la poésie nord-irlandaise se réapproprie les grands genres de la littérature et de la pensée grecques, à travers une fragmentation du modèle épique notamment, et la réécriture et la modernisation d’oeuvres de théâtre. Ainsi, des textes canoniques tels que l’Odyssée d’Homère ou les tragédies de Sophocle, d’Euripide et d’Eschyle, deviennent les filtres au travers desquels les poètes élaborent leur vision du contemporain. Une poésie centrée sur le présent se construit alors, en suivant ou en renversant les règles aristotéliciennes de la composition poétique, et en revisitant des notions essentielles de la philosophie grecque, tel que l’energeia d’Aristote par exemple. La place de l’héritage classique, de la méthode mythique à la traduction, interroge les fondements de la création poétique et des rapports entre le poète, la société dans laquelle il vit, et le temps. L’insertion de ces poètes dans un contexte souvent violent, à l’aube de la Seconde Guerre mondiale pour MacNeice et dans les années les plus sanglantes des Troubles nord-irlandais pour les autres poètes, nourrit un questionnement sur les liens entre histoire et poésie. Ceux-ci sont explorés dans le renouveau des méthodes historiographiques des pères de l’Histoire, Hérodote et Thucydide. Leur usage primordial du témoignage oculaire notamment bénéficie d’un renouveau poétique d’une grande diversité. / This thesis explores the diverse aspects of the renewal of the classics in the poetry of Louis MacNeice, Derek Mahon, Seamus Heaney, Michael Longley and Tom Paulin. From the 1930s to the beginning of the XXIst century, Northern-Irish poetry has fruitfully tackled the most prominent genres of Greek literature and thought, through for instance a fragmentation of the epic model, as well as the rewriting and modernization of Greek drama. Canonical texts such as Homer’s Odyssey, Sophocles’, Euripides’ and Aeschylus’ tragedies are the filters which allow these poets to envision their contemporary circumstances. A poetry for the present, concerned with temporality, which either exemplifies or rejects Aristotle’s rules of poetic composition, is thus enacted and revisits central notions from Greek philosophy, as for instance Aristotle’s energeia. The status of the classical heritage, from the mythical method to translation, questions the very basis of poetic creation and redefines the link between the poet and his society. On the eve of the Second World War for MacNeice and during the bloodiest years of the Troubles for the other poets, particularly violent contexts blur the frontier between poetry and history. Both interact in the poets’ interest in Greek historiography, specifically in Herodotus’ and Thucydides’ sole reliability on visual testimony, which triggers very diverse poetic incarnations.

Both folklorists and literary critics have been drawn to Nathaniel Hawthorne’s body of work because of his distinctive style and incorporation of folk motifs. Such motif-spotting presents no challenge in Hawthorne’s juvenile literature like his retellings from Greek mythology in Wonder Book for Girls and Boys; however, contemporary folklore redirects the focus of this scholarship to “how particular literary uses of folklore fit into a larger, more fundamental concept of what folklore is and how and what folklore communicates” (de Caro & Jordan 2015:15). Hawthorne’s work interacts with other forms of cultural expression in the nineteenth century such as dominant cultural narratives and artwork to transform the classical narratives in Wonder Book for Girls and Boys into narratives that reflect customs in conversational discourse and childrearing practice.

Intimate Partner Violence (IPV) affects approximately one in four women every year in the United States (Black et al., 2011). As a result, determining the potential implications IPV has on the victims requires extensive research and education. The manner in which a victim is responded to by others following abuse may have important implications for their adjustment following IPV. Identifying factors that contribute to the quality of responses towards victims of violence can help to inform future intervention and prevention programs; assist in decreasing mental health problems, and reduce the incidence rates of IPV. The purpose of the present study was to examine dating violence myths and victim blaming depending on severity of violence among male and female college students. A sample of 927 male (n = 222) and female (n = 705) psychology undergraduate college students were randomly assigned to receive one of four hypothetical vignettes depicting varying levels of dating violence (i.e., yelling, punching a hole in the wall, shoving, and physical assault). Respondents completed measures of perceived severity of violence presented in the vignette, victim blame, and adherence to domestic violence myths. Gender had a significant effect on severity of violence depicted in the least severe condition F(1,246) = 5.03, p = .03. Additionally, gender had a significant effect on blaming tendencies in the least severe condition F(1,238) = 9.98, p = .02. However, gender did not have a significant effect endorsement of dating violence myths a. Study findings’ implications, limitations and future directions will be discussed.