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O mistério como ponto de partida e o encantamento como um dos fios condutores movem a investigação em seus aspectos mitológicos, ritualísticos e na experimentação de um fazer fotográfico expandido. O objetivo central é o desenvolvimento de uma poética visual contemporânea, buscando evocar elementos da energia desse encantamento vivenciado em muitas celebrações,através da pesquisa em fotografia e da utilização de novos materiais e suportes para impressão e projeção. A Imagem foi considerada como proposta investigativa capaz de revelar e estabelecer elos entre elementos simbólicos submersos em expressões do imaginário. Do ponto de vista conceitual adota-se uma abordagem compreensiva para os eventos ligados ao tema, onde o pesquisador está presente no sentido de compreender, participar, não de classificar, inspirada em Michel Maffesoli, e, também, para o processo criativo, onde o objeto é visto como a força vital que conduz a pesquisa do ponto de vista operacional. Para compor esta abordagem, o embasamento teórico, abrangendo os campos do Imaginário, da Fotografia e dos Processos Criativos, se constituiu de autores tais como: Gilbert Durand, Luigi Pareyson, Cecília Salles, Roland Barthes, e, Brissac Peixoto, entre outros. Dentre os artistas contemporâneos visitados ressalta-se a fotógrafa Cláudia Andujar que decifra povos e mitos através de luzes. / Salvador

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).

Este trabalho analisa como foi a repercussão do suicídio do presidente Getúlio Vargas no jornal Correio do Povo de Porto Alegre na semana subseqüente ao fato acontecido na manhã do dia 24 de agosto de 1954. Este trabalho também estuda como se deu o processo de mitificação post-mortem de Getúlio Vargas, através da análise das reportagens, artigos, discursos e mensagens ―A pedido‖ publicadas no periódico em questão. Buscou-se uma metodologia adequada pra se trabalhar com as fontes e, sobretudo, uma teoria que abarcasse temas como: processo de mitificação e mito político, especificamente sobre o mito político Getúlio Vargas consolidado nacionalmente durante o Estado Novo, de 1937 a 1945, como atesta a historiografia. Destaca-se o episódio da morte trágica como o elemento que distingue o processo de mitificação post-mortem dos demais momentos de mitificação de Vargas. Outro importante aspecto deste trabalho são os discursos fúnebres publicados pelo jornal porto-alegrense: as falas de Osvaldo Aranha e João Goulart proferidas em frente ao esquife no dia do enterro do ex-presidente e a fala do deputado Rui Ramos proferida na Capital Federal no mesmo dia fatídico que o são-borjense pôs termo a própria vida. Ao longo dessas falas destacamos também a do ilustre morto que ecoava de sua carta testamento, usada como recurso retórico nas manifestações fúnebres. Além dessas falas destacam-se também a posição da UDN e da Igreja Católica, como instituições que não sacralizavam a figura de Vargas morto. / This work analyses the impact of President Getulio Vargas‘ suicide in the newspaper Correio do Povo from Porto Alegre during the succeeding week after the morning of August 24, 1954. Moreover, it examines through published reports, articles, speeches and ―requested messages‖ how occurred the post-mortem mythification of Vargas. A suitable methodology and theory were used to address the sources on topics such as: process of mythification and political myth, specifically on the nationally consolidated Vargas‘ political myth during the Estado Novo period, from 1937 to 1945, as historiography attests. The tragic death episode is highlighted as the element that distinguishes the process of post-mortem mythification from other moments of Vargas‘ mythification. Another important aspect of this work are the published eulogies in the newspaper of Porto Alegre: the speeches of João Goulart and Osvaldo Aranha occurred in front of the coffin at the funeral day and the speech of deputy Rui Ramos in the federal capital in the very same fateful day that President Vargas ended his own life. Along these speeches is also highlighted the illustrious speech of Getúlio which echoed from his suicide note, used as a rhetorical asset in mournful demonstrations. Beyond these speeches, the UDN and the Catholic Church perspectives are highlighted, as institutions that did not canonize the figure of the dead Vargas.

Leviathan and the other sea-monsters in the Hebrew Bible have been a source of dissension amongst biblical scholars. Evidently, no consensus exists amongst them on how to translate the Hebrew words referring to these mythical monsters. Therefore,atendency developed amongst exegetes to transfigure these mythical beasts into ordinary animals, to translate them in a vague and general way or to interpret them as mere symbols. This study, therefore, investigates ways in which the assumed existence of mythical creatures in the OT are denied, identified, or rejected. To gain a better understanding of the nature and function of these mythical creatures in the OT, similar creatures in the Ancient Near East (ANE) have been examined with a focus on sea-monsters and dragons associated with the primeval sea. These findings propose not only a more distinct epitome of Leviathan, but also of other monsters associated with the primeval waters asdepicted in the OT. These are Rahab, םנִּ ינִּ תַּ(tanninim), behemoth and the לוֹד֔ גגדָ(Jonah’s big fish). It was concluded that when these beasts are interpreted in the light of the magico-mythical cosmology of the ANE and the OT, they should be seen as mythical creatures, assumed to be real by the ancient audience of the biblical text. When striving for fidelity to and loyalty with regard to both the text and the current reader, any translation should, therefore, present the foreignness of these monsters or dragons to the contemporary reader. / Old Testament and Ancient Near Eastern Studies / D. Th. (Old Testament)

The author of this thesis Representation of the hero and the antihero in the British fantasy literature deals with the typology of characters within the genre. She focuses on the distinction between a hero and an antihero and discribes the characteristic features of their representation in the pieces written by British authors, including particularly the work of J. R. R. Tolkien, C. S. Lewis, J. K. Rowling, P. Pullman, N. Gaiman and T. Pratchett. The theoretical background is provided by the publication The Hero with a Thousand Faces by Joseph Campbell and a book titled The Archetypes and the Collective Unconscious. Gained pieces of information are confronted with the texts named above.

This thesis deals with widespread, chemically-themed misinformation. The the- oretical part describes psychological effects leading to myth spreading. It also descri- bes the debunking possibilities of such myths and the didactic reasons for misinformation- based work on the high school level. General practical part uses methods of content analysis upon random sample of School educational programmes to prove the usability of misinformation-based work in education. It also summarizes the organisations and resources useful for myth debunking. Specific practical part deals with analysis of chosen suspicious information, their credibility and the possibilities of educational work based on them. The chosen in- formation was the "medicinal" usage of chlorine dioxide solution. Rumors of alkaline diet and alleged harmfulness of aspartame, an artificial sweetener, were also chosen. The way they tend to be presented, none of these claims are backed. In all these cases, multiple unsubstantiated claims were found among proponents of these ideas.

1 Abstract The thesis explores the role of the contemporary underground subculture. The study critically deals with the "underground myth": the idea that the underground community had a major influence on the fall of the communist regime in Czechoslovakia. The last topic is the role of Voknoviny, a magazine considered a fundamental medium of the current subculture. The theoretical part of the work focuses on history of the underground subculture. Furthermore, the theoretical part describes popular culture and subcultures theories. Also, the historians' view of the normalization proces and the role the underground played in the fall of the communist regime. The principal part of the work analyses interviews with four figures of the underground community. The research sample was designed to cover the main significant "structures and institutions" of the underground. The analysis of the interviews is complemented by the content analysis of the Voknoviny magazine. The results show that while the current underground is based on the tradition of its pre-revolution predecessor, it now fits within the dominant society framework. The interviewees agreed that the role of the underground in the collapse of the communist regime lied primarily on uniting the opposition. Although Voknoviny has a larger readership than...

Bien avant que les surréalistes n’érigent Lautréamont en précurseur de la modernité poétique, Les Chants de Maldoror (1869) et les Poésies (1870) ont eu leur place dans les débats des écrivains de la fin du XIXe siècle sur la décadence et le symbolisme. La réception de Lautréamont ne va pourtant pas de soi : son oeuvre d’Isidore Ducasse ne s’accorde guère avec les aspirations de l’époque ; et le manque crucial d’informations sur cet auteur laisse un vide que ses premiers lecteurs se sont efforcés de combler par l’élaboration d’un récit mythique. À travers l’étude d’un demi-siècle de lectures, fait de récupérations idéologiques, de querelles véhémentes et de fantasmes autour de la figure de l’écrivain maudit, cette thèse tente de reconstituer les réseaux de sociabilité littéraire de 1868 à 1917 en utilisant des outils d’analyse empruntés à la sociologie ; elle aspire en effet à montrer comment, grâce aux petites revues et aux cénacles, un mythe littéraire s’est élaboré au tournant du siècle. / Long before Surrealists seized upon Lautréamont in the name of poetic modernity, Les Chants de Maldoror (1869) and Poésies (1870) had been read by a whole literary generation which broached upon them in discussions about decadence and symbolism. But that reception is not obvious : Isidore Ducasse’s work is not a perfect reflection of the era’s aspirations, and the lack of information about its author generates a void to be filled only by a mythic story. It is necessary to parse this half-century of readings, full of ideological hijacks, fantasies about a supposed poète maudit as well as of literary disputes in which what is at stake is the discovery of a new Rimbaud. With the help of analytic tools borrowed from network sociology, our aim is to declineate the literary landscape in the years 1868 to 1917 in order to show how a literary myth took shape, through small journals and circles, at the turn of a century.

Notre travail questionne l'assise temporelle de Cyrano de Bergerac d'Edmond Rostand. En effet, depuis 1897 et encore aujourd'hui, l'œuvre a la réputation d'être le dernier drame romantique français, au mépris des plus grandes évidences chronologiques. Notre approche allie littérature, histoire et sociologie. Notre travail s'applique dans un premier temps à éclairer cette impression d'anachronisme en explorant les pistes du romantisme, du cape et d'épée et des liens entretenus avec la comédie héroïque ainsi que la commedia dell'arte. Nous cherchons ensuite à montrer l'ancrage de la pièce dans son temps, en exhibant notamment ses rapports avec l'idéalisme fin de siècle et la modernité de sa proposition dramatique, qui tient du théâtre total, recourant par exemple fortement aux arts dits « mineurs ». Nous accordons toute leur place aux composantes du nez et du panache qui font l'originalité de l'œuvre rostandienne. Enfin, nous tâchons de saisir la constitution de Cyrano comme mythe littéraire et culturel en étudiant sa réception par la presse, la critique théâtrale, les artistes et la population, tout en soulignant le tournant qu'a représenté la Première Guerre mondiale. Nous interrogeons les tentatives de récupérations politiques en abordant l'aspect national de l'œuvre. Par là même, nous insistons, d'un point de vue littéraire, sur les spécificités du drame qui allie efficacement gauloiserie et préciosité. Nous soulignons finalement le passage du littéraire au moral, de l'esthétique à l'idéologique, pour montrer que Cyrano de Bergerac, loin de n'être qu'une simple pièce de théâtre, est devenue un véritable objet social. / This PhD dissertation queries the context in which Edmond Rostand wrote Cyrano de Bergerac. Since 1897, this play has been considered as the last French romantic drama, despite obvious chronological facts. Combining literature, history and sociology, this PhD dissertation throws light on this impression of anachronism by considering the entries of romanticism, cloak-and-dagger, heroic comedy and commedia dell'arte. Then, it shows that the work is deeply rooted in its time : first, because of its links with the "fin de siècle" idealism ; then, because it is an attempt of "total theatre" and because it includes arts that are often seen as "minor". Of course, we attach great importance to Cyrano's nose and panache which are key components of the play. Finally, studying how the newspapers, the dramatic critics, the artists and people apprehend the play and its heroe, this PhD dissertation considers Cyrano de Bergerac as a literary and cultural myth. Highlighting World War One as a turning point, we show that the play was used in a political way. Cyrano de Bergerac is supposed to be a national play but truly in a literary manner because of the alliance of "gauloiserie" and preciosity. Therefore, this dissertation shows how Rostand's work moves from a matter of literature to a matter of ethics, from an aesthetic aspect to an ideological one. Indeed, Cyrano de Bergerac is not just a play but a real social object.

D'Annunzio e Pirandello come uomini e come artisti si pongono agli antipodi della scena culturale del loro tempo, eppure e nel mito, inteso come categoria psichica oltre che artistica, che la loro antitetica opera trova un punto d'incontro. In questo studio si analizza, dunque, il mito nelle tre tragedie dannunziane in cui l'elemento mitico si manifesta nel modo piu palese (La citta morta, La figlia di Iorio e Fedra) e nella trilogia dei miti pirandelliana, summa e approdo finale di tutta la sua opera. Per entrambi la necessita di mito nasce dalla sofferta consapevolezza della crisi moderna: valori relativi, personalita atemporale scissa, e fuori nessun dello l'aspirazione alla totalita. sen so spazio di direzione. del mito e Nella ancora dimensione possibile La teoria junghiana degli archetipi dell'inconscio collettivo, di cui i miti sarebbero le manifestazioni culturali, si e rivelata un importante ausilio analitico che consente, tramite uno scavo in profondita oltre le scorze e le sovrastrutture culturali e storiche, di cogliere la sapiente orditura di immagini e motivi archetipici nelle opere, confermando l'idea dell'artista anche come uomo collettivo oltre che come individuo. In tale prospettiva il confronto tra le opere ha portato ad importanti conclusioni, che non solo chiariscono la loro opera di scrittori, ma anche la loro funzione all'interno della societa in cui sono vissuti e, per esteso, della nostra. Per entrambi recuperare il mito e ridargli una veste moderna, pur nei rispettivi distinti modi, significa essenzialmente cercare di superare il relativo, la frammentarieta e la mediocrita del mondo contemporaneo. Nel processo di recupero, tuttavia, il mito stesso viene modificato e, facendosi specchio della condizione psichica moderna, non solo ne interpreta le piu profonde istanze, ma giunge anche a precorrerne quelle future. La posizione centrale nelle opere dei due scrittori dell'inconscio, il grande rimosso dell'Io raziocinante moderno, emergente nella possente figura della Grande Madre primordiale, rivela la direzione della futura coscienza umana nella necessita di riaccedere alle fonti piu profonde della psiche da cui nasca l'incontro e la fusione degli opposti, inconscio e coscienza, l'elemento ctonio, fertile e generatore, e quello uranico, spirituale e trascendente. / D'Annunzio and Pirandello both as men and as artists can only be placed at the opposite ends of the cultural scene of their times. Yet, it is in myth that their antithetical works finally converge. This study, therefore, analyzes myth in three of D'Annunzio's tragedies where the mythical dimension is more apparent (The dead city, Iorio/s daughter and Fedra) and in the trilogy of myths by Pirandello, which brings his work to its ultimate expression. For both authors the need for myth is born of the painful awareness of modern man's crisis: relative values, a divided personality and no sense of direction. In the timeless and universal dimension of myth it is still possible to achieve totality. The Junghian theory of the archetypes of the collective unconscious, of which myths are cultural manifestations, has proved to be an analytical tool of great importance. By giving access to the deepest level of the texts beyond their cultural and historical layers, it brings to light the otherwise elusive meaning of archetypal images and motives, revealing the true nature of art to be not just the work of an individual but also of collective man. The works, different as they may be, when compared in this perspective have nevertheless yielded some important common conclusions, not only on D'Annunzio and Pirandello as writers but also on their role within the society they lived in and, by extension, our own. For both of them myth, even in a modern context, means essentially the overcoming of the fragmentation, the relativity and the mediocrity of contemporary life. However, in the process of recapturing this mythical dimension, myth itself is bound to be modified. Because it mirrors the modern psyche, it not only interprets its deepest present needs, but also points to its future ones. The central position occupied in their works by the subconscious, emerging from behind the powerful image of the primordial Great Mother, points the way to future psychological development and to the need to regain access to the deepest levels of the human psyche so that its opposing forces, subconscious and consciousness, can meet and be reconciled. / Classics and Modern European Languages / D. Litt. et Phil. (Italian)