On ne compte plus le nombre de représentations ou d’adaptations sur la scène ou à l’écran de la pièce de théâtre d’Edmond Rostand, Cyrano de Bergerac. Celle-ci a bénéficié d’un succès considérable en France et dans le monde, de la date de sa première représentation, le 28 décembre 1897, jusqu’à nos jours. Son héros, Cyrano de Bergerac, s’appuie librement sur l’écrivain réel, Savinien de Cyrano de Bergerac, qui vécut au XVIIe siècle mais dont pratiquement plus personne ne connaît l’existence. Aujourd’hui, tout le monde éprouve admiration et tendresse à l’égard du duelliste au grand nez qui, par ses lettres amoureuses, aide le beau Christian à conquérir le cœur de Roxane; mais nul ne lit plus Savinien de Cyrano de Bergerac. Sans doute la pièce de Rostand possède-t-elle de réelles valeurs littéraires, une construction rigoureuse, des personnages élaborés, une écriture poétique et légère, de l’humour, de l’émotion… Et cependant, malgré ces qualités indéniables, il demeure difficile d’expliquer son triomphe. Nous posons l’hypothèse selon laquelle, c’est à la manière dont Edmond Rostand a fait de Cyrano de Bergerac un mythe littéraire entouré de symboles propres à une identité dans laquelle les Français sont susceptibles de se reconnaître - et grâce aussi à un contexte sociopolitique dont il a réussi, volontairement ou pas, à tirer grand parti - qu’est attribuable le succès démesuré de la pièce. Rostand a créé un évangile de cape et d’épée sur fond d’Affaire Dreyfus pour un univers théâtral qui intègre les symboles autour desquels les Français se retrouvent volontiers : gastronomie, élégance, faconde, galanterie, fidélité, honneur, patriotisme, … panache. / Edmond Rostand’s Cyrano de Bergerac has undergone innumerable adaptations and interpretations on the stage and on the screen. Since its premiere on December 28, 1897, its success in France and internationally has been considerable. The play’s eponymous hero is based freely on the 18th-century writer Savinien de Cyrano de Bergerac. But while today’s audiences tenderly admire the large-nosed dueller who, through his love letters, helps the handsome Christian conquor Roxana’s heart, few read the author on whom the fictional character is based. Though recognized for its wit, emotion, characters, and poetry, the play’s literary merit does not seem sufficient to explain its instant and enduring success. This paper argues instead that Edmond Rostand formed Cyrano de Bergerac into a literary myth, filled with symbols of an identity with which the French were able to identify themselves. To this and to the sociopolitical context that informs Rostand’s work can be attributed the piece’s overwhelming triumph. Rostand created a swashbuckling gospel against the background of the Dreyfus Affair for a theatrical universe that integrates symbols in which the French willingly located themselves: gastronomy, elegance, eloquence, gallantry, fidelity, honor, patriotism, and of course, panache.

This study explores the relationship between poetry and politics in Books 1 and 15 of Ovid’s Metamorphoses. Vergil had refashioned the concept of the golden age to better resonate with Roman values, and Ovid in turn responds to Vergil by making his own golden age free from law, seafaring, and warfare (Met. 1.89-112). Ovid’s golden age clearly foils his ‘praise’ of Augustus in Book 15 (819-70), and thus challenges Vergil’s innovations. Ovid closely connects his demiurge (opifex, 1.79), who created the conditions necessary for the existence of the golden age, to himself (15.871-9); they together display the potency of poetic power. Poesis is different than the power of empire, which is inherently destructive: Jupiter terminates the golden age (1.113), and Augustus’ accomplishments are only ostensibly ‘peaceful’ (15.823, 833). Ovid suggests that the power of poesis remains beyond the destructive reach of Augustus, since Rome’s power is limited to the post-golden, chaotic world, and that poesis enjoys the status of eternality which Rome and Augustus claimed to possess themselves.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Viena iš valstybingumo pamatų, laidojanti jos tvirtumą yra šeimos institucija ir šeimos mitas. Šeimos mitas – žmonijos asmeninis laukas, kur susiduria tradicijos, taisyklės, kultūros, interesai, vyriškas ir moteriškas pradai. Puoselėjame šeimą kaip vertybę, galinčią duoti ir išugdyti visuomeniškai sąmoningą asmenybę, suvokiančią savo reikšmę ir aktyviau dalyvaujančią socialinime gyvenime. Jaunąją kartą stiprina ir palaiko vyresniųjų teigiamas pavyzdys, kuris skatina sekti jų pavyzdžiu. Laikas negailestingai atskiria vienus šeimos narius nuo kitų, naujų epochų dvelksmas diktuoja naujas būties taisykles ir kitus – naujus iškylančių problemų sprendimus. Besikeičianti aplinka ir laikas nulemia mūsų būtį. Savo baigiamąjį darbą – autorinę knygą, albumą pavadinau – UŽRAŠAI. Tai nėra mokslininko pastabos apie sudėtingą ir klaidžią žmogiškąją prigimtį, veikiau darbas su šeimos relikvijomis, rinkimas informacijos apie šeimą, jos istoriją. Albumas pasitarnauja kaip medžiaga iliustruoti šeimos praeičiai arba kurti ateitį. Jame pateikiamas mano šeimos – paprastų kaimo žmonių gyvenimas. Pasitelkdama vieną iš išraiškos priemonių – piešinį, perteikiau šeimos kasdieninę buitį. Šiuo savo darbu apibendrinu visos mūsų tautos, nykstančio kaimo gyventojo likimą. Viskas kinta, tad tokio Lietuvos kaimo žmogaus – tradicinio sodiečio nebematysime jau niekada. / One of the founding principles of nationhood, which displays its stability, is the institution of family and its myth. The family myth is humanity‘s personal field where traditions, rules, cultures, interests, male, and female natures collide. We cherish the family as a virtue, which can produce and foster a socially responsible person, who understands his or her significance and actively participates in her community. Younger generations are strengthened and motivated by the elders’ positive example, which encourage them to follow their lead. Time unscrupulously separates family members from others; the dawn of new ages dictates new laws of existence and other new ways to solve problems. The passage of time and the changing environment determines our being. I call my final year project “Notes”, which is an authorial book. They are not observations of a scientist about the difficult and meandering human nature, rather it is a work with a family reliquary, a gathering of information about the family and its history. The album as a source helps with illustrating its past and helps with creating a new future. In it the life of my family as simple country folk is presented. By the expressive medium of drawing, I rendered my family’s everyday life. In this project I summarise the fate of the dying country life in our whole nation. Everything changes, therefore we will never again witness such a Lithuanian farmhouse lifestyle.

This thesis investigates the representation of social reality that can be reflected by folk belief and the supernatural within mythic worlds created in epic poetry. Although the society, itself, can be regarded as the creator of its own myth, it may still be subjected to the impact of the synthesized mythic world, and this study seeks to address the roles of the society in the shaping of such mythic worlds. The research is inspired by an innovative approach, using James Macpherson’s Ossian (1760-63) and Elias Lönnrot’s Kalevala (1835-49) as epic models that benefit from mythical traditions. Through the examination and the comparison of these two epic collections, both of which seem to have a close association with social reformation and restructuring, the study explores the universality of human nature. It also reveals the extent mythic worlds may exhibit the ‘realities’ of their source-societies and how mythical tradition may become a reflection of a society’s transforming past modes of thinking. Moreover, the study devotes special attention to the influence of mythic heritage on national awakening and the construction of national identities. The research treats Macpherson as the re-inventor of Gaelic oral tradition with his Ossian, where he portrays a Romanticized image of a gallant past according to the norms of the eighteenth century. Therefore, the mythic world of the epic can be seen as a combination of an ancient heroic past and the aesthetic refinement of a polished age. In this framework, as the product of a society going through a transition period from traditional to modern, Ossian seems to reflect the society’s changing world-view, both celebrating, and mourning for a culture on the verge of extinction. Focusing on the Kalevala, the study analyzes its portrayal of Finnish folk belief. The Kalevala, like Ossian, is an attempt to recover ancient tradition, which seems to revolve around supernatural and divine elements, with hopes to establish a common social reality. It is an expression of Finnish language, belief and culture, whose production was prompted by the looming Finnish nationalism. Therefore, the evolving mode of thought represented in the mythic world of Kalevalaic poems, is expected and favoured by the society, enabling the epic to encourage a social reformation.

The present study is an interpretation of the two myths copied in the Old Babylonian period in which the Sumerian mother goddess is one of the main actors. The first myth is commonly called “Enki and Ninḫursaĝa”, and the second “Enki and Ninmaḫ”. The theoretical point of departure is that myths have society as their referents, i.e. they are “talking about” society, and that this is done in an ideological way. This study aims at investigating on the one hand which contexts in the Mesopotamian society each section of the myths refers to, and on the other hand which ideological aspects that the myths express in terms of power relations. The myths are contextualized in relation to their historical and social setting. If the myth for example deals with working men, male work in the area during the relevant period is discussed. The same method of contextualization is used regarding marriage, geographical points of reference and so on. Also constellations of mythical ideas are contextualized, through comparison with similar constellations in other Mesopotamian myths. Besides the method of contextualization, the power relations in the myths are investigated. According to this latter method, the categories at issue, their ranking, as well as their changed ranking, are noted. The topics of the myths is issues important for the kingship and the country, such as irrigation, trade, health and healing, birth, collective work, artisanry and rivalry. All these aspects are used in order to express what the power relations between the goddess Ninḫursaĝa/Ninmaḫ and the god Enki look like. The relations are negotiated and recalibrated, which leads to the goddess getting a lowered status. Part of the negotiations and recalibrations is gender behavior, which is related to historical developments in society. The present work points to the function of these myths as tools of recalibrating not only deities, but also men and women in society.

This thesis analyzes the presence and progression of the Flying African Myth in Canada— a myth which originally reflected the desires for escape and cross-Atlantic return shared by generations of Black slaves throughout the Americas. While related West African themes of spirit flight and human transformation do suggest a historic relationship, it was only in the New World that human powers of flight emerged. Thus, a new mythology sprung from the desires to transcend the bonds of slavery and return to an African home. However, despite being well documented as Pan-American, this myth has gone largely uninvestigated in its Canadian context thus far— an omission which follows an extensive pattern of Black cultural erasure in Canada as well as the exclusion of Canada in much Black diasporic scholarship. These absences lead to my exploration of the unique circumstances in Canada that continue to influence this myth, including the constant "struggle against erasure" and the “fragile coalition of identities” that constitute the Black diaspora in Canada, as well as federal legislation that protects the nation’s self-image as a multicultural “mosaic.” I argue not only that the myth exists more extensively in Canadian oral and written literatures than may be expected, but that the myth may be alternately interpreted as a method of preserving Canadian national roots as well as navigating Black diasporic routes. I suggest that these two opposing functions of the myth, to pronounce both fixity and fluidity, reflect the tendencies of critics George Elliott Clarke and Rinaldo Walcott to articulate differing approaches to Black identity and culture in Canada. This thesis also embraces the aims set forth in Paul Gilroy’s The Black Atlantic: Modernity and Double-Consciousness, demonstrating how the image of human flight further challenges the oppressive ideologies of Western modernity as well as reimagines the possibilities and implications of the Black diaspora. Indeed, the myth has literally contributed to the formation of the Black diaspora in that it is a cultural artefact shared throughout the Americas and associated with the desire for African return. But the myth also offers a means by which to reconceptualise the structure of the Black diaspora. That is, as the medium of flight, the sky offers an alternative, though equally flexible and more ubiquitous, space for locating the Black diaspora beyond the Atlantic basin. Moreover, the notions of impossibility, immateriality, and imagination which are embraced by this myth circumvent Gilroy’s implicit affirmation of individualism, rationalism, physical mobility, as well as static and bounded geographic space— elements which compromise his productive critique of nationalisms, ethnic essentialisms, and particularly of modernity.

It is all too easy to dismiss myth as belonging to the realm of the abstract and theoretical, too removed from reality to constitute anything pragmatic. And yet myth makes up the very fabric of society, informing the way history is understood and the way people and things are remembered. William Faulkner’s works approach myth with a healthy skepticism, only gradually coming to find value in a process that is often destructive; his works demand of their readers the same perceptive criticism. This thesis approaches myth through the lens of Faulkner's "A Rose for Emily," Absalom, Absalom!, and "The Bear." Faulkner's texts ultimately ask readers to bear witness by thinking critically about the process of myth-making, not only in the realm of literature but in the world as a whole.

Recent political and legal action has raised awareness about underreporting of sexual assaults on college campuses. The present study sought to identify psychological and institutional barriers to reporting sexual assaults through a series of questionnaires administered to current college students (N= 364). To investigate the relationship between policy variations and students’ likelihood of reporting, a 2 (option to report informally versus only formally) x 2 (student involvement in investigation/judicial board: involved versus uninvolved) x 2 (option to terminate an investigation: entirely in student’s control versus up to discretion of administration) between groups factorial design was used. The findings suggest that respondents’ were significantly more likely to report a sexual assault when given the option to terminate the investigation at anytime, when school size, rape myth acceptance and socio-cultural environment were controlled for in the analysis. These findings suggest that the option for complainants to terminate an investigation, their socio-cultural environment and individual rape myth acceptance are important factors in shaping attitudes towards reporting sexual assaults.

Mythology is a consistent part of the high school English language arts school curriculum dating back well beyond the last forty years. High school English teachers‘ beliefs about mythology, student engagement, and educational policy demonstrate the rationale and dynamic of this longevity. This study explores the development and elements of myth, asserting the importance of approaching myth through critical cultural studies generally, and in high school English arts classrooms specifically. Drawing upon a variety of cultural sources (i.e. sacred narrative, children‘s television, cable news television, literature, movies, music, and the internet); theorists (from Levi-Strauss‘s structuralism through the post-structuralism of Barthes, Anzuldua, and Maya Derrin); and methodologies (content analysis of murals, news excerpts, teacher footage on video literary analysis, and autoethnography) this study presents a critical cultural studies exploration of myth and myth studies. After deconstructing and applying Levi-Strauss‘ notion of Bricolage to a wide variety of contexts, I conclude that myth is based in all sorts of individual and collective human movement. And this movement gives rise to myth which can be characterized as political, spiritual inter-textual, performative and hybrid. I further conclude that a critical cultural studies approach to myth attends to student engagement, anticipates 21st century learning frameworks, and offers possible consideration of interfaith education in schools.