Esta dissertação tem como tema a Copa do Mundo de Futebol na televisão aberta brasileira. O objetivo geral é investigar como o Jornal Nacional constrói o mito do herói nas narrativas sobre os jogadores da Seleção Brasileira de Futebol antes da Copa do Mundo de 2014 e, a partir do momento que os jogadores e os resultados não inspiram confiança, verificar qual é a estratégia utilizada pelo telejornal para não se comprometer em relação à audiência. Integram o corpus desta pesquisa a Série Seleção, exibida antes do megaevento esportivo, e matérias veiculadas durante o Mundial de Futebol. O material foi investigado a partir da Análise de Conteúdo sistematizada por Bardin (2011). Com base nas reportagens analisadas fica evidente que o Jornal Nacional produz um discurso que constrói o herói antes da Copa do Mundo a fim de vender o produto no qual está calcada uma grande cobertura midiática. A Seleção Brasileira é apresentada como vencedora, mesmo antes da competição iniciar. Mas, quando o desempenho não é o mesmo que foi prometido nas histórias das façanhas heroicas dos atletas, a desconstrução dos personagens ganha força pelo uso do estereótipo negativo. Na fundamentação teórica deste estudo foram utilizados, entre outros, os conceitos de Campbell (1990, 2005), Eliade (1989, 2006), Jung (1977), Durand (1997), Morin (1989, 1997), Ferrés (1998), DaMatta (2006), Alsina (2009), Wolton (2006), Motta (2013) e Coutinho (2012). / This dissertation has as its theme the Football World Cup in the Brazilian broadcast television. The overall objective is to investigate how the Jornal Nacional builds the narrative hero myth about Brazilian national football team’s players before the World Cup in 2014 and, from the moment that the players and the results do not inspire confidence, find what is the strategy used by television news to don’t lose their audience. The corpus of this research choose “Série Seleção”, displayed before the mega sports event, and TV reports published during the World Cup. The investigation occurred with content analysis by Bardin (2011). Based on the reports analyzed it is clear that the Jornal Nacional produces a discourse that constructs the hero before the World Cup to sell the product in which it is modeled a large media coverage. Even before the competition starts, TV news present Brazilian’s team as winner. However, when the promised performance is not the same, increases the deconstruction of the athletes using negative stereotypes. In the theoretical framework of this study were used, among others authors, the concepts of Campbell (1990, 2005), Eliade (1989, 2006), Jung (1977), Durand (1997), Morin (1989, 1997), Ferrés (1998), DaMatta (2006), Alsina (2009), Wolton (2006), Motta (2013) e Coutinho (2012).

Våldtäktsoffer bemöts av samhället med vissa föreställningar om hur de bör ha agerat vid utsattheten. Detta leder till minskad offerstatus, särbehandling inom rättsväsendet, minskad anmälningsbenägenhet med mera. Få studier om ämnet har utförts i Sverige. Syftet med studien var att undersöka studenters attityder till offrets ansvar vid våldtäkt. Det undersöktes även om manliga och kvinnliga studenters attityder skiljde sig i detta, samt om bekantskapen mellan offer och förövare påverkade attityden. En kvantitativ tvärsnittsstudie utformades och 262 studenter deltog i en webbaserad enkätundersökning. Resultatet visade att manliga studenter i större utsträckning än kvinnliga anklagade offret för dess utsatthet. Offret tilldelades mer skuld när gärningsmannen var obekant än när den var bekant. Det återfanns även en interaktionseffekt mellan studentens kön och gärningsmannens relation med offret. Sammanfattningsvis skuldbelägger manliga studenter offret mer för dess utsatthet än kvinnor. Ämnet är aktuellt och kräver ett löpande arbete för att förebygga våldtäktsmyter. / Rape victims are many times met by the police, the justice system and society as a whole with skepticism. This results in a loss of status as a victim and an overall tendency to not report the crime. To date, few studies have been conducted in Sweden on this topic. The purpose with the present study was to examine students’ attitudes regarding rape victims’ responsibility during rape. It was also examined if male and female students differ in their attitudes, and if they also differ in their attitudes when the victim and the perpetrator are acquainted with each other. A quantitative cross-sectional study was carried out, and 262 students participated in a web-based questionnaire. The results showed that male students to a larger extent blamed the victims for their role in the rape. The victims were also assigned greater blame when the perpetrator and the victim didn’t know each other. An interaction between the student’s gender and that the perpetrator was a stranger was found. The conclusion is that male students blame the victims to a much larger extent than female students. Thus, there is a dire need to continue the important work to end rape myths across society.

A tese O Imaginário de Fernando Pessoa: da educação cindida à educação sentida investiga o universo simbólico da obra de Fernando Pessoa, analisando seus três principais heterônimos Alberto Caeiro, Álvaro de Campos e Ricardo Reis , além dos poemas assinados por ele mesmo. Após proceder à mitocrítica da referida obra, discutiu-se sobre sua relação com a educação e seus desdobramentos éticos, à luz de uma abertura pós-moderna. A base referencial fundamentou-se na Antropologia do Imaginário, de Gilbert Durand, contando com significativas contribuições de Edgar Morin, Michel Maffesoli, Gaston Bachelard, Georges Gusdorf, Mircea Eliade e Joseph Campbell, entre outros, e buscou um reposicionamento epistemológico, com a noção de trajeto antropológico, coincidentia oppositorum e razão sensível, ancoradas na pluralidade de sentidos organizada pelo mito. O objetivo é compreender a mitopoiesis pessoana, seu descentramento em heterônimos e os substratos míticos de sua obra, mostrando como sua criação poética relaciona-se com uma educação do imaginário, que opera a reunião dos saberes cindidos pela modernidade. / The thesis The imaginary of Fernando Pessoa: from the divided education to the sensible education investigates the symbolic universe of the works of Fernando Pessoa, analising his tree most important heteronymous Alberto Caeiro, Álvaro de Campos and Ricardo Reis -, besides poems signed by himself. After procedure a mythcritics of the mentioned work, one argue about his relationship with the education and its ethics results and effects, in a perspective of a post-modern landscape. The referential basis was founded in Antropology of the Imaginary, of Gilbert Durant, counting with important contributions of Edgar Morin, Michel Maffesoli, Gaston Bachelard, Georges Gusdorf, Mircea Eliade and Joseph Cambell, among others, and look a new epistemologic position, with the notion of anthropologic journey, coincidentia oppositorum and sensitive reason, based in the plurality of meanings organized by the myth. The aim is to understand the Pessoas mitopoiesis, his decentralizing in heteronymous and the mythics substracts of his work, pointing out how his poetic creation is related with an education of the imaginary, that makes the reunion of knowledges divided by the modernity.

This dissertation examines the construction of the contemporary Russian geopolitics through the usage of the foundational myth, better known as the Third Rome myth and the center of true Christianity. This is achieved through the analysis of four famous speeches by President Vladimir Putin. These speeches cover the two regions of Ukraine and Georgia, the former being to an internal audience and the latter to a foreign audience. Accompanied with examining the foundational myth, this dissertation also deliberates on how it is being utilized by Putin. In his reconstruction of a new Russia, one that synthesizes the old ideas of greatness alongside the new set of geopolitics. The aims to fulfill are: Firstly, to broaden our understanding of the present and future Russian geopolitics. Secondly, through usage of the myth to develop our understanding of the new environment surrounding hybrid warfare. And especially politics, in form of soft power, that play a significant role where insight can help prevent future conflicts. The method of analysis is of qualitative nature. Speech act by Austin and Searle is employed in order to gain an overview and enable the construction of semiotic squares, that in turn facilitate the actantial models by Greimas.

This project recovers and revises late nineteenth and early twentieth-century narratives of mobility which invoke female protagonists who move from stifling, patriarchal domestic settings in the rural and suburban United States to the more symbolically emancipated settings of New York City and even Europe to reveal both the limitations and possibilities for women’s lives in the United States at the turn of the twentieth century. By challenging popular American fiction’s preoccupation with urban white slavery myths and the lingering proscriptive standards for women’s behavior of the Victorian era, the Introduction argues the selected works of this dissertation mark a significant, but perhaps fleeting moment in American history when women were on the verge of profound gains toward equality. Chapter Two reads Gertrude Atherton’s late nineteenth-century interrogation of intimate and professional mobility in Patience Sparhawk as a significant precursor, if not prototype, of the recently recognized middlebrow moderns of the 1920s. Chapter Three examines Edith Wharton’s competing views of mobility and motherhood in The House of Mirth, The Custom of the Country, and Summer. Chapter Four aims to recover David Graham Phillips’ posthumously published novel, Susan Lenox: Her Fall and Rise, as a complicated engagement with unconventional views of mobility and prostitution in early twentieth-century America, and Chapter Five argues that Jessie Redmon Fauset’s oft-maligned, sentimental novel, Plum Bun, warrants more critical attention for its revolutionary efforts to imagine an alternative cultural aesthetic whereby young, aspiring African-American women can acquire intimate and professional fulfillment through an empowering transnational mobility. Recognizing how stories of fallen womanhood in American literature traditionally overemphasized and criminalized a woman’s desire for intimacy, while stories of New Womanhood often scripted characters ultimately devoid of desire and companionship, I argue Atherton, Wharton, Phillips and Fauset examine and challenge these categories of womanhood in important, often overlooked, depictions of mobility. Too often dismissed or excused for their conservativism, these authors warrant more attention from modern literary scholars for their shared, varied, and intentionally “moving” experiences for women in late nineteenth and early twentieth-century America.

L’œuvre poétique de Sophia de Mello Breyner Andresen, impliquée dans les transformations de la vie politique et sociale du Portugal est indissociable de la qualité de ses choix éthiques, alors même qu'elle atteint à des sommets de poésie pure apparemment inaccessibles à l’analyse. Notre effort porte sur la liaison des aspects qui font la « mythicité » de l’œuvre et nous avons choisi, pour sens de mythique : parole qui se répète, et se différencie dans l’acte de répétition. Notre domaine a donc été une poétique de l’énonciation, soulignant la singularité de chaque poème, inséré dans la continuité du discours. Ainsi, nous pouvions confronter des poèmes exemplifiant des concepts opposés en apparence. L’expérience d’un sacré immanent aux paysages, l’utilisation littéraire et pragmatique de la mythologie ne s’opposent pas à une réflexion critique sur les mythes de notre temps. La plénitude d’un langage qui dit « le nom des choses » coexiste avec la grande diversité des formes poétiques explorées par la poétesse. Le schème répétition/différence est aussi celui du dialogisme qui fait participer la poétesse à la mythicité de ses prédécesseurs. L’expérience du sentiment océanique, immersion initiatique de l’individu dans une totalité, est pour nous le mythe – au sens de narration sacrée d’une origine – de la vocation de notre auteur. Mais la poétesse présente aussi dans sa diversité son assomption à l’ « entièreté de l’être » à partir d’une dualité douloureuse, le fait de vivre un Temps divisé. La « substance du temps », vécue lors de la Révolution d’avril est l’acmé de son œuvre, un discours qui devient mythique dans la mesure où il « fait advenir le peuple ». / The poetic work of Sophia de Mello Breyner Andresen, implied in the transformations of the political life and social of Portugal is bounded to the value of her ethical choices, while at the same time it reaches at tops of pure poetry thus apparently inaccessible to the analysis. Our effort thus relates to the connection of these aspects which make the “mythicity” of work and we chose, for direction of mythical: word which is repeated, and is made different in the act of repetition. Therefore, our field was poetic uttering act underlining the singularity of each poem, inserted in the continuity of the discourse. Thus, we could replace in the whole of the work the poems exemplifying of the concepts opposed seemingly. The experiment of the divine immanent with the landscapes, the literary and pragmatic use of mythology is notopposed to a critical reflection on the myths of our time. The plenitude of a language which says“the name of the things” coexists with the great diversity of the poetic forms explored by the poetess. The pattern repetition/difference is also that of the dialogism which makes the poetesses part in the mythicity of its predecessors. The experiment of the oceanic feeling,initiatory immersion of the individual in a Whole, is for us the myth – within the meaning of sacred narration of an origin – vocation of our author. The poetess also presents, in its diversity her assumption to “entirety of being” starting from a painful duality, the fact of dwelling a divided Time. The “substance of time”, lived at the time of the Revolution of April is the acme of its work, a discourse which becomes mythical insofar as it “makes occur the people”.

José Saramago (1922-2010), prix Nobel de littérature en 1998, est un écrivain portugais dont l’œuvre a une portée universelle, et ce grâce à l’emploi, en particulier, d’une figure, l’allégorie. Elle a été longtemps rejetée au profit du symbole, en particulier par les romantiques allemands. Pour José Saramago, elle est devenue nécessaire à la construction de son univers fictionnel et à la transmission de son message. La construction allégorique est donc chez cet écrivain un appel à l’éveil de l’homme contemporain. Elle sert également de support à une prise de conscience et un avertissement à un monde qui se révèle être de plus en plus plongé dans la déraison. Cette thèse mène une réflexion sur l’évolution de l’allégorie chez José Saramago, son emploi, son dialogue avec les arts plastiques et avec d’autres figures et son importance dans l’ensemble de l’œuvre de l’écrivain portugais. Son objectif est de montrer les différentes manières dont l’allégorie opère dans la construction du sens de l’œuvre de cet auteur et à quel point elle est essentielle à la transmission des systèmes idéologiques au lecteur. Pour ce faire, sont convoquées les théories de Walter Benjamin et, plus près de nous de Francine Wild, Éléonore Reverzy, Tzvetan Todorov, Bernard Vouilloux, Flávio Kothe qui poursuivent également des recherches sur l’allégorie. La théorie littéraire, dans notre travail, côtoie l’herméneutique de l’allégorie, du mythe, du symbole, de la métaphore, afin de mieux comprendre le sens global de l’œuvre saramaguienne. / José Saramago (1922-2010), Literature Nobel Prize in 1998, is a Portuguese writer whose work has a universal reach and thanks to the use, in particular, of a figure, allegory. Germany Romanticists slighted over this figure rather than the symbol for a long time. José Saramago has used this writing feature which was really necessary to create his fictional universe and hence for the transmission of his message. To this writer, the allegorical construction is an invitation to the awakening of the contemporary man. It serves as a support to cause an awareness and also a warning to a world that is revealed to be increasingly immersed in unreason. This thesis conducts a reflection on the evolution of allegory in José Saramago, his job, his dialogue with the arts and other figures and their importance in the work of this Portuguese writer. His goal is to show the different ways the allegory operates in the construction of this author's work of meaning and to what extent it is essential in the transmission of ideological systems to the reader. For this, he presents theories of Walter Benjamin as well as other nearby theorists, such as Francine Wild, Éléonore Reverzy, Tzvetan Todorov, Bernard Vouilloux, Flávio Kothe that have developed in turns research on allegory. Literary theory, in our work, goes side by side with the hermeneutics of allegory, myth, symbol, metaphor, in order to better understand the overall meaning of Saramago's work.

La fée, créature de synthèse sortie du fond des âges, héritière des figures de la mythologie gréco-romaine et des divinités païennes du Moyen Âge, se trouve au cœur de la création artistique chez les auteurs du XIXe siècle comme Jules Barbey d’Aurevilly (1808-1889). En effet, ce dernier met en scène d’étranges personnages féminins, dotés de grands pouvoirs et qui semblent, par leurs traits énigmatiques, s’apparenter à la fée médiévale, sœur par excellence de la Parque romaine et de la Moire grecque. Car, aussi bien dans L'Ensorcelée (1854), Un Prêtre marié (1864) que dans Une Vieille Maîtresse (1851), pour ne citer que ces trois exemples, la nature érotique des êtres féeriques paraît se combiner à leur essence prophétique et divinatoire. Ce travail,qui porte sur les aspects les plus significatifs de la fée dans les œuvres romanesques de Barbey à savoir l'érotisme et la divination, s’articule autour de trois parties : la première, intitulée peinture de la fée, dresse une typologie en se fondant sur les figures matricielles de la fée marraine et de la fée amante ; la deuxième, l'univers de la fée, se propose d’analyser l’espace ou l'univers sulfureux dans lequel se meut cet être énigmatique. Cette poétique des lieux vise à rendre perceptible l’illusion du surnaturel et du merveilleux savamment orchestrée par l’auteur, qui brouille le cadre spatio-temporel du récit en usant d’une technique polyphonique où se mêlent plusieurs points de vue ou une multitude d’instances narratives ; la dernière,la symbolique de la fée, met en exergue la finalité romanesque des avatars de la fée aussi bien dans l'imaginaire aurevillien que dans la fiction littéraire au XIXe siècle.Cette étude s’efforce de suivre une perspective qui tient compte à la fois de la richesse des procédés techniques et de la profondeur thématique de l’œuvre de Barbey. / The fairy, a hybrid creature sprung from the depths of time, from greco-roman mythology and the pagan divinities of the Middle Ages, takes center stage in the artistic creation of nineteenth-century authors such as Jules Barbey d’Aurevilly (1808-1889). Indeed, Barbey d’Aurevilly depicts unusual and powerful feminine characters, which seem, because of their enigmatic characteristics, to be related to the medieval fairy, herself a sister of the roman Parcae and greek Moirae. In L'Ensorcelée (1854), as in Un Prêtre marié (1864) and in Une Vieille Maîtresse (1851), among numerous other examples, the erotic nature of fairy-like beings combines with a prophetic and divinatory essence. This study thus addresses these two salient dimensions of the fairy in Barbey’s novels, eroticism and divination. The first section on “Depicting the fairy” establishes a typology based on the matricial figures of the fairy godmother and fairy mistress. Subsequently, the section titled « The universe of the fairy » focuses on space, or the sulfurous universe through which this enigmatic character moves. This analysis of the poetics of space attempts to elucidate Barbey’s orchestrated illusion of the supernatural and the marvelous. The writer blurs the spatio-temporal narrative frame of his novels by means of polyphony, introducing multiple points of view and narrative situations. The last section, « The symbolism of the fairy », points out the novelistic ends to which the avatars of this figure have been put, both in the aurevillian imaginary universe and more generally nineteenth-century literature. Our perspective endeavors to take into account both the wealth of aurevillian narrative technique and thematic depth of his work.

Le mythe des Atrides, qui résume à lui seul, toutes les horreurs et toutes les cruautés dont l’homme a pu se rendre coupable – fratricide, régicide, parricide, matricide, infanticide, inceste, cannibalisme, sacrifice humain – et qui a été relativement négligé par la tragédie classique au XVIIe siècle, a connu un essor sans précédent au XVIIIe siècle où une vingtaine de pièces tragiques lui ont été consacrées, sans compter les opéras et les ballets. Mais ce théâtre tragique, en dépit de son immense succès auprès du public au XVIIIe siècle, a pâti par la suite d’un regrettable préjugé auquel le célèbre vers de Victor Hugo - « Sur le Racine mort, le Campistron pullule », n’est pas étranger. Nous élevant contre cette vision réductrice , nous avons voulu par cette étude qui a porté sur huit des œuvres dramatiques les plus significatives qui ont traité des principaux épisodes de la fable antique – allant du crime de Tantale à la vengeance d’Oreste, en passant par le sacrifice d’Iphigénie et le meurtre d’Agamemnon – montrer la spécificité dramatique, morale et philosophique de la tragédie des Lumières qui a été « un laboratoire des formes et des idées » où se sont élaborées à la fois une sensibilité nouvelle, une nouvelle dramaturgie et une nouvelle vision du monde, bien différentes de celles de la tragédie classique. / The myth of Atrides, which summarizes to him only, all the horrors and all the cruelties the man of which was able to be guilty - fratricide, regicide, parricide, matricide, infanticide, incest, cannibalism, human sacrifice - and which was relatively neglected by the classic tragedy in the XVIIth century, knew an unprecedented development about the XVIIIth century when about twenty tragic plays were dedicated to him, without counting the operas and the ballets. But this tragic theater, in spite of its immense success with the public in the XVIIIth century, suffered afterward from a regrettable prejudice to which Victor Hugo's famous verse - " On the Racine died, The Campistron swarms "-, is not foreign. Raising us against this reducing vision, we wanted by this study which concerned eight of the most significant dramatic works the significant which handled main episodes of the antique fable - going of the crime of Tantale to Oreste's vengeance, including the sacrifice of Iphigénie and the murder of Agamemnon - to show the dramatic, moral and philosophic specificity of the tragedy of the Lights which was " a laboratory of the forms and the ideas " where developed at the same time a new sensibility, a new dramatic art and a new vision of the world, very different from those classic tragedy.

Cette thèse conjugue l’étude du mythe de la métamorphose et du sentir amoureux, afin de mettre en relief les transformations produites sous l’incidence faste ou néfaste de l’éros. Apporter de nouveaux éclairages mythocritiques et proposer une approche novatrice du mythe érotomorphique à travers une analyse spectrale et fractale de ses composantes constituent nos objectifs essentiels. Les œuvres analysées appartiennent aux littératures française, anglaise, belge, argentine, roumaine et flamande, et s’inscrivent, à l’exception des contes portant sur le fiancé-animal, dans les XXe et XXIe siècles. La diversité du corpus permet d’adjoindre au fait comparatiste une ouverture du champ de la recherche à travers des traductions inédites et des œuvres qui entremêlent modernité et remotivation de la tradition mythique. Les chapitres de la thèse, Préliminaires à l’étude du mythe, Sublimations érotomorphiques, Un amour guérisseur, Entre Éros et Thanatos, Aliénations et révolutions érotomorphiques, présentent le mythe de l’érotomorphose contrôlée, involontaire ou transférentielle, comme une enveloppe verbale littéraire qui crypte la réalité amoureuse intérieure et extérieure de l’être, dans le but de révéler son véritable moi-peau. La métamorphose apparaît ainsi comme une autoreprésentation matérielle de l’ego sensorium. Accomplir cette érotogenèse revient à annuler la discontinuité corporelle qu’entraîne la transformation, en conférant au métamorphe un corps à la mesure de son idéal amoureux, à la fois moïque et physique. La transition permet de la sorte le passage de la dissociation à une parfaite consonance fractale entre l’infrastructure de l’âme et la suprastructure corporelle. / This thesis associates the study of the myth of metamorphosis and the analysis of the love faculty in order to emphasize transformations produced under the favourable or harmful incidence of eros. To cast a new light on mythocritical theories and to propose an innovative approach to the erotomorphic myth through a spectrum and a fractal analysis of its components constitute our essential objectives. The texts studied in this frame belong to French, English, Belgian, Argentinian, Romanian and Flemish literatures of the XXth and the XXIst centuries, with the exception of the fairy-tales about the animal bride. The diversity of this corpus permits to join comparative reasoning with an opening-up of the research field through original translations and literary works that intermingle modernity and remotivation of the mythic tradition. The chapters of the thesis, Preliminaries to the Study of Myth, Erotomorphic Sublimations, A Healing Love, Between Eros and Thanatos, Alienations and Erotomorphic Revolutions, present the myth of the controlled, involuntary or transferential erotomorphosis as a literary verbal envelope which encrypts the internal and external amorous reality of the human being, with the aim of revealing his true skin-ego. Metamorphosis thus appears like a material auto-representation of the ego sensorium. Accomplishing this erotogenesis means cancelling the corporal discontinuity involved in all transformations, by conferring to the metamorphe a body that matches his psychic and physical amorous ideal. The transition therefore allows passage from dissociation to a perfect fractal consonance between the corporal superstructure and the infrastructure of the heart.