La thèse propose l’étude des variations du mythe de Persée et Andromède au fil des siècles, à travers l’analyse d’oeuvres musicales mises en relation avec des oeuvres picturales et littéraires sur le même thème, selon une méthode de mythocritique – étude des topiques récurrents du mythe dans un contexte littéraire ou artistique – et de mythanalyse comparée – étude d’un mythe dans un contexte social ou historique – appliquée aux différents arts. La problématique de cette thèse – comprendre l’évolution du mythe en fonction de la pensée de l’artiste et de l’époque – s’est formée à la lecture des ouvrages sur le mythe, sur les symboles de Persée et Andromède et sur les relations entre les arts. La méthode appliquée à cette étude, qui rend possible le rapprochement des oeuvres de différentes disciplines artistiques, a été élaborée avec l’objectif d’effectuer la mythanalyse de Persée et Andromède et de comprendre ainsi comment, à un moment donné, les artistes s’approprient des symboles mythiques et livrent leur propre interprétation. Les convergences entre les analyses mythocritiques des oeuvres musicales, picturales et littéraires sur Persée et Andromède, justifient les conclusions mythanalytiques pour une époque précise. L’ensemble de celles-ci, au fil des siècles, à l’image d’un palimpseste, met en lumière le renouvellement du mythe du XVIIe siècle jusqu’à aujourd’hui. / The thesis proposes the study of the variation of Perseus and Andromeda's myth all along the centuries through the analysis of musical works in relation with pictorial and literary works over the same myth, according to a method of mythocritic – study of the recurring topicals of the myth in a literary or artistic context – and compared mythanalysis – myth’s study in a social or historic context – applied to various arts.The aim of this thesis – to understand the evolution of the myth according to the mind of the artist and the era – appeared with the reading of the various works on the myth itself, on Perseus and Andromeda’s symbols and on the relations derived between the arts. The method applied to this study, which makes possible the relationships of works of differents arts, as been elaborated in purpose to make Perseus and Andromeda's mythanalysis and to understand how at some point, the artists appropriated themselves mythical symbols and deliver their own understanding.The convergences between the mythocritic analysis of musical, pictorial and literary works on Perseus and Andromeda, justify for mythanalysis conclusions in a precise time. All of them, all along the centuries – the palimpsest – highlights the evolution of the myth of the seventeenth century until today.

This study analyses the intellectual output of Adya Gur Horon (Adolphe Gourevitch, 1907-1972), a Ukrainian-born, Russian-speaking, French-educated ideologue of modern Hebrew nationalism, and one of the founding fathers of the anti-Zionist ideology known as "Canaanism", whose heyday was mid 20th-century Israel. The dissertation's starting point is that if the "Canaanites" (otherwise the Young Hebrews) declared themselves to be above all a national movement independent of, and opposed to, Zionism, they should be analysed as such. In treating "Canaanite" support for the existence of an indigenous Hebrew nation in Palestine/Israel as equally legitimate as the Zionist defence of the Jews' national character (both ultimately constituting "imagined communities"), this work comes to the conclusion that the movement should indeed be classified as a fully-fledged alternative to Zionism; not a radical variation of the latter, but rather a rival national ideology. My chief assertion is that the key to a proper understanding of "Canaanism" is Horon's unique vision of the ancient Hebrew past, which constitutes the "Canaanite" foundational myth that stands in sharp contradiction to its Zionist counterpart. Furthermore, I demonstrate that Zionism and "Canaanism" are incompatible not only because they differ over history, but also because some of the basic socio-political notions they employ, such as national identity or nation-formation, are discordant. A methodology such as this has never before been applied to the "Canaanite" ideology, since most of those who have studied the movement treat "Canaanism" either as an artistic avant-garde or as a fringe variation of Zionism. This study demonstrates that, despite being sidelined by most researchers of "Canaanism", Adya Horon is beyond doubt the leading figure of the "Canaanite" movement. I believe that only by giving due weight to the divergence in national historiographies between "Canaanism" and Zionism can we grasp the former's independence from the latter, both intellectually and politically, without negating "Canaanism's" complex relationship with Zionism and the sometimes significant overlaps between the two. The dissertation makes systematic use of many newly discovered materials, including Horon's writings from the early 1930s to the early 1970s (some of them extremely rare), as well as his private archive. My study thus sits at the intersection of three fields of academic enquiry: nationalism studies; language-based area studies; and historiographical discourse analysis.

Epistemology in its contemporary post-modern ethos is generally believed to be inseparably hinged upon language. This of course ensures a major paradigm shift in the disciplined human conceptions of reality. It has been stated and is widely acknowledged that the Kantian Noumenal barrier has, in this recent shift, been proved to be looming far closer than it was ever previously considered. This new barrier to the world of ‘objective absolutes’ comprises a barrier of semantics and syntax, and calls for a radical restructuring of all the human sciences. There is surely no discipline in the humanities that can claim immunity to this colossal shift in epistemology, and theology (particularly of the Evangelical variety) is no exception to the rule. The impact of post-modern epistemological assumption upon contemporary Evangelicalism presents to those who adhere to this school’s position, a profound challenge. Conservative Christians, who hold to the propositional universality and the objectivity of biblical truth, find in the post-modern ethos little sympathy and no rational justification granted for their ‘metaphysical objectivity’. A major challenge therefore to Evangelical Christianity at the present time is this: Is there, in the light of the challenge of post-modern epistemology, any reasonable justification for continuing to adhere to the evangelical claim that God has spoken in unchanging propositional terms that are universally valid and binding? It would seem that in this regard many evangelicals are feeling pressured. Evidence of the pressure of this challenge can readily be found either in the growing contemporary evangelical tendency towards advocating a more cooperative attitude to the post-modern ethos, or in the reactionary theology of schools of thought like the Spiritual Warfare Movement. The writings of Clive Staples Lewis (1898 – 1963) have been proven effective in the countering of negative challenges to Christian faith for the past sixty years. Lewis, as an apologist, in the opinion of many intellectual searchers, positively and convincingly countered modernistic objections to faith in his own time. Modernistic assumptions prevailed in the Western world in Lewis’ day that tended to discredit a rational belief in the supernatural. Lewis was widely held to be an effective apostle to counter this modernistic scepticism. It is the conviction of the present writer that C. S. Lewis apologetics can be just as effectively utilised today in addressing post-modern challenges, as it was fifty years ago used to answer the questions raised by modernism. Lewis in all of his Christian writings, reveals an underlying epistemology that I believe (because it is based firmly upon Christian orthodoxy), has stood the test of time. The apologetics of C. S. Lewis may serve to answer post-modern challenges just as rationally as it did modernism. In this thesis, Lewis’ underlying epistemology will be examined. This will comprise the first part of my work. The second part of the thesis deals with the post-modern epistemological challenge to Evangelicalism as a world-view. The final part of this thesis consists of a dialogue between the most common post-modern challenges to evangelical thinking, and rationally compelling answers thereto that are found in Lewis’ writings. / Thesis (PhD)--University of Pretoria, 2007. / Dogmatics and Christian Ethics / Unrestricted

This study sets out to determine the interrelationship between meaning(s), form (specifically framing and composition), cinematic technology and the surrealist ideology with specific reference to Luis Buñuel’s film, Un Chien Andalou (1929). The study utilises a semiotic framework to analyse the seminal film, as well as the researcher’s short film Facebrick (2012). The semiotic reading is conducted according to key surrealist tenets namely, spatio-­‐temporal disruption, the use of free-­‐association and the inclusion of cultural, religious and sexual symbols as a revolutionary tool. Gillian Rose’s (2007) semiotic framework underpinned by James Monaco’s (1977) schema for analysing the moving image, was utilised to read the selected film texts. A comparative analysis reveals that although the researcher employed different cinematic technology to construct the short film than that available to Buñuel in the 1920s; similar cinematic techniques could be recreated, as the analysis shows, through the use of key surrealist characteristics. Not only did this allow mere reproduction of these techniques, but rather a full appropriation of these techniques within a contemporary context. Thus the techniques, communicate the surreal, both aesthetically and intellectually. The theoretical study provides the foundation for the practical output, creating a conceptual framework that guides the creation of a short film. The practical research component relies on the parameters identified in the semiotic reading. This was facilitated by the characteristics of Surrealism: the disruption of time and space, the inclusion of archetypal symbols and the use of free association. The short film, Facebrick (2012), follows a voyeur obsessed with gazing at three characters. The film explores the human condition in an urban environment drawing from themes such as Jean-­‐Paul Sartre’s gaze theory as well as Freudian themes of identity and sexuality.

Using a purposive sampling technique, this study employed an online questionnaire to assess the relationship between attitudes towards gender-related constructs (e.g. rape myth acceptance, shared power in relationships, the acceptability of dating violence and perceived seriousness of dating violence) and the tolerance of dating violence among undergraduate students in the Faculty of Social Science at the University of Ottawa. Linear regression models were conducted to identify the most salient predictors of the tolerance of dating violence. A general/combined model was examined as well as three subtype-specific models (e.g. psychological, physical and sexual dating violence). A total of seven predictor variables were entered into each model in three blocks: sociodemographic variables were entered first, followed by sex and then gender-related constructs (e.g. rape myth acceptance, power in relationships, the acceptability and seriousness of dating violence). The results identify a number of variables that are associated with the tolerance of dating violence scales and some that led to a decrease in scores on these scales. Findings suggest that the link between gender-related constructs and the tolerance of dating violence is complex and multidimensional and warrants further research to explain the variation observed.

Le présent mémoire de thèse a pour objet l'analyse d'une parenté formelle et symbolique susceptible de constituer en genre les œuvres cinématographiques particulières que nous nommons «films d'ascension». Cette volonté de mettre en évidence une structure narrative proche nous a amené à interroger la notion de genre cinématographique, ses caractéristiques, sa pertinence, ses limites. Les situations d'hybridation avec des genres tels que le mélodrame, le film policier, le film d'espionnage, par exemple, sont également évoquées. La singularité du «film d'ascension» nous a invité à examiner les contextes socio-historiques qui favorisèrent sa naissance et sa pérennisation malgré la disparition de son avatar historique qu'est le Bergfilm. D'autre part, la fonction sociale du film d'ascension a nécessité que nous nous penchions sur sa dimension symbolique et sur les ressorts mythiques qui le sous-tendent ainsi que sur son éventuelle adéquation avec les valeurs de représentation de l'imaginaire social des époques qu'il a traversées. Sont enfin abordées les questions que soulèvent le devenir, dans le contexte de l'appréhension nouvelle de la nature et des espaces naturels, d'un genre étroitement lié à la perception de la haute montagne. / The subject of this thesis is to analyze formal and symbolic relationship being liable to form into gender the specific movies that we call " ascent movies." This will to highlight a narrative structure closer that led us to question us about the notion of genre, its characteristics, its relevance, its limits. The Situations of hybridization with genders such as melodrama, thriller, spy movie, for example, are also discussed. The peculiarity of "ascent movie" invited us to examine the socio-historical contexts that favored his birth and his sustainability despite the disappearance of its historical avatar that is the Bergfilm. On the other hand, the social function of ascent movie has required that we consider her symbolic dimension and his underlying mythical spring that as well as her possible appropriateness with values representing the social imaginary of eras that he has come down through. At last, are addressed the issues raised by the evolution, in the context of the new understanding of nature and natural areas, of a genre closely related to the perception of the high mountain.

This essay analyses the imagined and possible connections that reason has in the novel “El siglo de las Luces” by Alejo Carpentier. This is investigated both as our capacity to make conclusions, and by the way myth is pictured in the novel. The analysis is made in the framework of the ideas of reason during the Age of Enlightenment, and from thirteen engravings by Francisco de Goya that are included in a larger series named “Los desastres de la Guerra Independencia española”. These thirteen engravings are represented in Carpentier’s novel through the same number of epigraphs that introduce chapters or sections. The purpose of this essay is to explore the images and words in the novel, and their connection to reason. This study also examines how the myth of reason functions in the novel. The results show that images and words are related, and that there is a link to reason. Further findings demonstrate that the myth of reason connects the reality and illusory (rationality and irrationality), which Carpentier uses in his novel to create contrasts.

"La Christiade" de Jean d’Escorbiac, épopée calviniste divisée en cinq livres, n’a pas été rééditée depuis 1613, date de sa publication. Dans le prolongement de la poésie de Du Bartas et proche dans l’inspiration des "Tragiques" d’Agrippa d’Aubigné, le texte propose une réécriture des Évangiles en alexandrins, dans un style où se mêlent les références chrétiennes et profanes. Le travail de ma thèse a consisté a établir un appareil critique (préface, annotations, glossaire, index, index biblique, tableaux synthétiques) dans l’objectif de faciliter l’accès à un ouvrage ancien, parfois difficile d’approche. Par son caractère inédit, cette initiative offre la possibilité à un public élargi de découvrir un auteur qui, pour être méconnu, n’en reste pas moins très riche sur le plan littéraire. / "La Christiade" is an epic poem written by Jean d'Escorbiac, a calvinist from Montauban in the beginning of the 17th century. Inspired by Du Bartas and close from Agrippa d'Aubigné in his "Tragiques", the poem is a biblical rewriting in alexandrines verses which combines christian and pagan references. As the text has never been republished since 1913, we have worked to establish a critical apparatus (annotations, introduction, glossary, index...) in order to make the reading easier for contemporaries. This critical edition of "La Christiade" invites us to update a poem which deserves to be known on many points.

Le « phénomène Le Pen » désigne la somme constituée par l’élaboration d’une marquepolitique située à l’extrême droite et les réactions conflictuelles qu’elle suscite au sein de lasociété française. L’objectivation de ce phénomène réside dans l’analyse de l’idéologie duFront National en tant qu’elle est celle d’une marque politique devant produire un contenudoctrinal original pour se distinguer des autres partis mais également dans l’étude dumouvement social – ou du mouvement du social – dont elle est à l’origine. La catégorie dusacré vient éclairer les dispositifs discursifs qui sont décelables aussi bien dans les mots duFront National que dans ceux de ses adversaires politiques et associatifs. La recherche sepoursuit avec l’analyse des principaux schèmes idéologiques de l’extrême droite française,qui est basée sur une histoire des idées qui commence avec la pensée contre-révolutionnaire.La méthodologie durandienne du bassin sémantique permet d’identifier les étapes cardinalesde la formation idéologique du nationalisme d’extrême droite. L’examen de cette idéologies’achève avec l’analyse du discours contemporain du Front National et la comparaisonmythanalytique des candidatures de Jean-Marie Le Pen et Marine Le Pen lors des électionsprésidentielles françaises de 2007 et de 2012. / The “Le Pen phenomenon” designates the sum constituted by the elaboration of a politicalbrand located at the far-right and by the conflictual reactions that it provokes within theFrench society. The objectivization of this phenomenon lies in the analysis of the FrontNational ideology as it is this of a political brand which must produce an original doctrinalcontent in order to distinguish it from the others parties but also in the study of the socialmovement – or the movement of the social – which it is the cause of. The category of thesacred comes to shed the discursive sets which are discernible just as well in the FrontNational words as those of its political and associative opponents. The research is going onwith the analysis of the French far-right main ideological schemas, which is based on ahistory of ideas which starts with the counter-revolutionary thought. The Durandianmethodology of the semantic basin allows to identify the cardinal stages of the far-rightnationalism ideological formation. The examination of this ideology comes to an end with theanalysis of the Front National contemporary discourse and the mythanalytic comparison ofthe Jean-Marie Le Pen and Marine Le Pen candidacies at the time of 2007 and 2012 Frenchpresidential elections.

This master thesis is a result of historical analyses of past interpretation of Julius Fučík. Attention is focused on how the cult of Julius Fučík was built, how was his image changing and how this contributed to maintain communist ideology. For better understanding of the whole issue, this thesis describes Fučík's work, especially his most famous artwork Notes from the Gallows, which is important for understanding manipulations with Julius Fučík's legacy. It also examines how changing political situation transformed his role from hero to traitor and collaborator. As a counterbalance, complex expert studies dealing with Fučík's case are introduced. The end of the thesis is focused on the 70th anniversary of Fučík's death in the year 2013 in a perspective of contemporary media. This documents today's social debate which no longer deals with the question of guilt but is rather targeted on Fučík's literary output.