Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to analyze Orpheu myth s ressonances in Os quatro cantos do tempo, by portuguese writer David Mourão-Ferreira. The study is divided into three chapters. Chapter one intends to discuss the place of David Mourão-Ferreira in the portuguese contemporary poetry tendency s. Next, this chapter observe critics consideration s about elements of classical tradition in David Mourão-Ferreira poetry s. Chapter two describes the principal components of Os quatro cantos do tempo in order to identify wich relate to Orpheu myth s. The third chapter discuss the orphic ressonances in the book. This chapter investigate the assimilation of magic verb in modern poetry and in Mourão-Ferreira poetry s. Besides, It searches how Orpheu and Eurydice adventure s is figurated in the book. / Este trabalho tem como objetivo analisar as ressonâncias do mito de Orfeu em Os quatro cantos do tempo, do escritor português David Mourão-Ferreira. O estudo divide-se em três capítulos. No primeiro, procura-se situar o escritor nas tendências da poesia portuguesa do século XX, para, em seguida, observar as considerações da crítica sobre o modo como a poesia davidiana recupera elementos da tradição clássica. No segundo, apresentam-se os principais aspectos de Os quatro cantos do tempo, a fim de identificar aqueles que indicariam a recuperação do mito de Orfeu. Finalmente, o terceiro capítulo aborda as ressonâncias órficas na obra. Investiga-se, inicialmente, o modo como a magia da palavra seria assimilada pela lírica ocidental e, conseqüentemente, pelos poemas da obra, para, em seguida, analisar como a aventura de Orfeu e Eurídice é atualizada no livro.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Wilfrid Sellars is well known for his criticism of what he called the myth of the given , which first appeared in his Empiricism and the philosophy of mind(1956).The given that is regarded as mythical by Sellars is the epistemic given with which foundationalists in epistemology intend to solve the epistemic regress problem. Sellars s criticisms of foundationalism had a strong repercussion in epistemology and soon become a reference in this field, mainly in virtue of having targeted the most basic features of foundationalism, questioning the very idea of immediate knowledge, which is at the core of any foundationalist account of knowledge. Sellars s criticism remain a challenge for foundationalism, and its significance has been highlighted by a growing number exegetical, critical, and Sellarsian inspired works. This dissertation comprieses three papers focused on Sellars s epistemology. The first paper shows how wide the reach of Sellarsian criticism on the myth of the given is. It also shows that Sellars s criticism of foundationalism can be presented in the form of a dilemma (known as Sellars s dilemma ) and how that dilemma, which does not appear explicitly in his work, can be found in his writings. The second paper presents an attempt by Laurence BonJour s to answer the challenge put to foundationalism by Sellars s dilemma. It assesses BonJour s more recent views on the matter, and shows thatthey do not answer the criticisms which himself endorsed when he was a coherentist. The third paper shows that if Sellars s views are coherent with and representing one of the culminations of the traditional analyses knowledge as justified true belief, and if his views are inadequate, then this could be evidence that we need an alternative in which knowledge is not analyzable in term of justification and other concepts but is a basic concept. We indicate, based on the work of Timothy Williamson and on a late piece by Sellars, how that alternative might turn out. / Wilfrid Sellars é conhecido por suas críticas ao que denominou mito do dado , que apareceram pela primeira vez em Empirismo e filosofia da mente (1956). O dado considerado mítico por Sellars é o dado epistêmico com o qual a vertente fundacionista em epistemologia pretende solucionar o problema do regresso epistêmico. As críticas de Sellars ao fundacionismo tiveram grande repercussão no debate epistemológico e logo se tornaram referência nessa área, principalmente em virtude de visarem os aspectos mais basilares da concepção fundacionista, pondo em xeque a própria noção de conhecimento imediato, cara a qualquer abordagem fundacionista do conhecimento. Suas críticas representam ainda hoje um desafio de peso para concepções fundacionistas e sua importância tem sido enfatizada por um número crescente de trabalhos exegéticos, críticos e de inspiração sellarsiana. Esta dissertação compõe-se de três artigos que têm como foco a epistemologia de Sellars. No primeiro, mostra-se em que consiste e quão geral é a crítica de Sellars ao mito do dado. Mostra-se também como a crítica de Sellars pode ser apresentada na forma de um dilema ( O dilema de Sellars ) e como esse dilema, que não é formulado de forma explicita em sua obra, podem ser encontrado nos textos do autor. O segundo artigo apresenta a tentativa de Laurence BonJour de responder ao desafio posto pelo dilema de Sellars ao fundacionismo. Avalia-se a nova posição de BonJour, que no passado foi um coerentista, e mostra-se que ela não é capaz de superar as críticas que ele mesmo endossava anteriormente. No terceiro e último artigo, mostra-se que se a concepção epistemológica de Sellars é vista como sendo coerente com e representando uma das culminâncias da tradição que analisa conhecimento como crença verdadeira justificada e tal concepção resulta inadequada, então isso pode ser um indício de que deveríamos buscar uma concepção alternativa do conceito de conhecimento. Indica-se, a partir do trabalho de Timothy Williamson e de um texto tardio de Sellars, como poderíamos entender conhecimento como um conceito básico, não analisável.

Ce projet de recherche souhaite démontrer qu’une nouvelle ère s’instaure (la postmodernité) où l’imaginaire initiatique réinvente une nouvelle forme de socialisation. Il s’agit de questionner les pratiques sociales liées à l’imaginaire initiatique (cosplay, japan expo, jeux en ligne), ainsi que l’impact provoqué dans la vie quotidienne des individus. En fait, on se demandera si l’imaginaire initiatique entraîne des changements de comportements, crée des habitus. Ce qu’il est nécessaire de souligner, c’est que l’homme postmoderne accède au domaine du sacré, entreprend une démarche initiatique, à partir de ce qu’il vit dans les mondes fictionnels. Cette manière d’être est tout à fait légitime, et s’apparente sans aucun doute à une nouvelle façon de vivre l’initiation des sociétés archaïques, l’essentiel étant de retrouver un sens magique du monde. Nous serons ainsi amener à interroger la fonction fantastique de l’imaginaire initiatique, c’est-à-dire sa capacité à ordonner symboliquement un sens authentique à l’existence sociale et permettre à l’individu de dépasser l’aspect tragique de la réalité opaque. / This research project would like to show that a new era is established (postmodernity) where initiatic imaginary reinvents a new form of socialization. It’s a matter of questioning social practices related to initiatic imaginary (cosplay, japan expo, plays on line), as well as the impact caused in the everyday life of individuals. In fact, we shall wonder whether the initiatic imaginary involves changes of behaviors, creates habitus. What it is necessary to underline, it is that the postmodern man reaches the field of sacred, takes an initiatic step, from what he lives in the fictional worlds. This way of being is completely legitimate, and is connected without any doubt with a new way of living archaic initiation, the main thing being to find a magic direction of the world. Thus we shall be brought to question fantastic function of initiatic imaginary, that is its capacity symbolically to order an authentic direction to social existence and to allow individual to overtake the tragic aspect of opaque reality.

Over eight hundred years ago anonymous poets set the orally transmitted Nibelungen myth to parchment. This action started a trend of adapting the myth for contemporary audiences, a trend that has lasted since the High Middle Ages. Since then, the Nibelungen myth has become a sustaining element of the self-mythologization of German national identity. The problem, however, with adapting the Nibelungen myth for the purpose of creating a German identity, be it in the medieval epic, the Nibelungenlied, or Fritz Lang's 1924 film, Die Nibelungen, is that this model of identification is flawed – flawed because it consists of systematic binary divisions positing self-other dichotomies. What becomes evident is that in the adaptations of Nibelungen myth, the representations of alterity are contradictory and ambiguous, provoking the question: why is the Nibelungen myth an effective source from which one can project a national identity? / Graduate

This master's thesis examines Czech TV news called "Crime News", that is broadcasted by TV Prima. Method of mythological semiotic analysis was chosen for this paper and it refers to work of Roland Barthes. Crime News (their three-month period) were examined not only from the perspective of lexical and visual point of view but as a complex communicate. This helped to uncover mythological structures, persuasiveness and other phenomena. In the beginning of this thesis theoretical concepts are explained. Second chapter is dedicated to methodology. Analysis itself is the third part of this master's thesis. Show's jingle and anchormen were examined first and the other phenomena second, thereby mythological structures, archetypes and narratives were exposed. Conclusion provides summary and interpretation of described phenomena.

The life of Henri-Pierre Roché (1879 – 1959), art collector, journalist, writer, finds its singular rhythm in a continual meandering between dispersion and the search for unifying harmony. This dispersion – moral and physical – appears to represent a necessary evil for him since he considers his vocation to be the gathering of human experiences from as wide a spectrum as possible in order to create a work that would be useful to society, that would lead to better understanding of issues such as political harmony, eroticism and polygamy. The dissertation consists of a detailed biographical study which covers Roché’s formative years until the publication of his first literary works (1879 – 1907). A biographical summary of the remainder of his life is followed by a chapter on his first major publication, Don Juan et... , which has not formed the subject of any literary analysis prior to this. The third chapter consists of an interpretation of Roché’s novel Deux Anglaises et le Continent as both a work of initiation and an initiation to his work, illustrating how it introduces themes that recur in two further novels, Jules et Jim and Victor. Through his way of life, Roché’s life becomes his most extensive and involved œuvre. This dissertation traces the roots of his propensity for dispersion and lack of unity, to his childhood and specifically to the form of education advocated by his mother Clara Roché. This attribute surfaces again in Roché’s keeping of a personal diary, spanning almost sixty years, in which he compulsively observes and notes his own behaviour and that of those around him. The diary emphasises and prepares the fragmentary, compressed style and open-ended writing which would later become Roché’s trademark. Abandoning his studies in political science, Roché sets out on a career which has much in common with the lives dilettante intellectuals fashion for themselves towards the end of the 19th century. His first human project, formulated around 1902, is an attempt to understand the mystery of erotic love and the possibilities of sexual relationships. To this end, he transforms his own life into a kind of laboratory. At a time when France has hostile inclinations towards Britain and Germany, Roché undertakes extensive journeys to these countries, learning the languages and opening himself to literary, social and philosophical influences. The dissertation pays particular attention to the analysis of these influences, an area which has not yet been covered by any other research. Through a detailed interpretation of Don Juan et..., the nature of seduction and desire is examined in the context of the literary myth of Don Juan and the association between fragmentation and desire is emphasised. In conclusion, the association between desire and its written expression is examined and found to be reflected in Roché’s fragmentary writing, through which he appears to find a solution/ compromise in the form of voluntary incompleteness compensating for his failure in the impossible quest for unity. / Thesis (DLitt)--University of Pretoria, 2009. / Modern European Languages / unrestricted

This dissertation analyses the extent to which dominant political ideologies generate meanings in television news texts. The working process of the television news system and the manner in which television news constructs news programmes are discussed. In light of the televisual mode of news production, the author demonstrates how ideologically inspired meanings can systematically enter the television news system and thus potentially manipulate the production of television news broadcasts, though making a semiotic analysis of the CNN representations of September 11. This study is situated within the field of visual culture studies, and semiotic theory is employed to a great extent throughout. The author discusses the influence of dominant political ideologies on the television news production process, and how this contributes to the restriction of the polysemy of the television news sign. Television news representations may be mediated and manipulated in such a way to encourage viewers to produce readings that are favourable towards a certain dominant political ideology. The many mechanisms that television news utilises to create meaning are discussed. The mechanisms that are identified by the author as being the most effective in the production of ideologically inspired meanings are paid particular attention. These semiotic mechanisms include the manipulation of iconic signs, the construction of arbitrary signs and the representation of myths. The CNN representations of the September 11 events are analysed for their ideological content, and the author contends that these televisual representations were deliberately constructed to inspire readings that would be favourable to the ideology of Americanism. Therefore, Americanism, as an example of a dominant political ideology, is discussed. The visual mechanisms employed by CNN after September 11 are analysed. These include the editing of visually recorded footage, the treatment of the newsreader and the incorporation of the image of the American flag. The author offers a reading of the ideological motivation of these texts. The media myths that are constructed to naturalise Americanism, such as the myth of the hero and the myth of the tower, are discussed with regard to the manner in which they were represented by CNN after September 11. The iconic representations of key political figures involved with the September 11 events are also discussed and their ideological meanings uncovered. The CNN television news broadcasts functioned both to inform an international audience of the terrorist attacks and reinforce an ideology in crisis: namely, Americanism. CNN repeatedly employed many visual mechanisms to encourage viewers to produce readings that were favourable to Americanism. While Americanism entered a period of crisis, it mobilised its Ideological State Apparatuses, including television news, to reinforce and justify its position of power in order to maintain its own dominance after a deliberate blow. This study suggests that the CNN representations of September 11 are an accurate indication of how dominant political ideologies can effect the construction of television news texts. Where television news broadcasters reach large audiences while being ideologically aligned, and viewers are deliberately encouraged to produce certain ideologically inspired readings, television news becomes a medium through which widespread ideological domination can be achieved. / Dissertation (MA (Visual Studies))--University of Pretoria, 2005. / Visual Arts / unrestricted

La figure mythique et légendaire, suggestive, occupe une position centrale dans l’esthétique du symbolisme européen (fin XIXe ̶ début XXe siècle). Cette thèse propose d’en étudier l’émergence et la fonction dans les œuvres de trois éminents représentants : Stéphane Mallarmé (1842–1898 France), William Butler Yeats (1865–1939 Irlande) et Stefan George (1868–1933 Allemagne). Un regard sur la société contemporaine (les arts, les découvertes scientifiques) permet de découvrir la place qui revient au mythe et à la légende. Au-delà des différences, affinités et contacts personnels rapprochent les trois poètes. Deux générations de symbolistes de langue différente se retrouvent dans une même vision de la création poétique. Œuvres poétiques (poésie, prose, théâtre), écrits théoriques, correspondances et entretiens révèlent une approche conjointe de l’image et du mythe : la figure mythique ou légendaire prend forme entre rêve et vision, réminiscence, évocation musicale et symbole littéraire. Du discours sur le mythe se dégage une théorie personnelle. Poésie et drame puisent aux sources hétérogènes des traditions s’enrichissent de philosophie, religion, occultisme, psychologie et vécu intime. La transposition d’art véhicule l’intertexte mythique du sujet pictural ou en sera contaminé, d’où un lien complexe entre texte et peinture (ou sculpture). Explicite dans l’œuvre de jeunesse, la figure mythique ou légendaire subira de multiples métamorphoses : syncrétique, elle fond les versions d’un mythe avec des traditions éloignées, superpose figures et faits mythiques et réels, historiques et contemporains. Implicite, elle est présente sous forme de traces dans l’abstraction du nom commun, pronom, qualificatif ou geste. La richesse des formes d’émergence lui assure son pouvoir d’irradiation. A la flexibilité de forme et contenu correspond la diversité des fonctions : la figure mythique se prête à toute figure stylistique et fonction grammaticale. Elle crée ainsi la cohésion dans l’œuvre et participe intimement à la construction du sens. La contamination atteint l’ensemble de l’œuvre mythopoétique. Autour des figures se forme une constellation d’images qui génère un nouveau mythe anthropocentrique, résumé et dépassement des traditions. D’abord « réservoir d’images » (Yeats) pour des créations futures, l’œuvre des poètes correspond de fait à une tentative bien plus ambitieuse : offrir une réponse à la quête du sens de l’Histoire et de la vie de l’Homme moderne qui ne croit plus en Dieu et dessiner les contours d’une société nouvelle. La figure mythique ou légendaire représente l’élément essentiel de la création poétique. / The suggestive mythical and legendary figure holds a central position in the aesthetic of European symbolism at the end of 19th and the beginning of 20th century. This doctoral thesis proposes to study its apparition and function in the works of three distinguished representatives: Stéphane Mallarmé (1842–1898, France), William Butler Yeats (1865–1939, Ireland) and Stefan George (1868–1933, Germany). A look on contemporary society (arts, scientific discoveries) will allow discovering the place due to myth and legend. Beyond their differences, affinities and personal contacts bring these poets closer together. Two generations of symbolists, speaking different languages, join in one and the same view on poetical creation. Poetic works (poetry, prose and theatre), theoretical texts, letters and conversations reveal joint approach to image and myth: the mythical and legendary figure takes shape among dreams and vision, reminiscence, musical evocation and literary symbol. A personal theory emerges from speech on myth. Poetry and drama draw from the heterogeneous sources of various traditions, enriching with philosophy, religion, psychology, occultism and private experience. Transposition of art conveys the mythical text of the painted subject or is contaminated by it. Hence a compound link from text to painting (or sculpture). Explicit in the poet’s early work, mythical and legendary figure will go through multiple metamorphosis: synthetic, it melts the different versions of a myth with traditions from far away, it superimposes mythical figures and facts on others taken from history and contemporary reality. Implicit, it will be present as a trace, a common noun, a pronoun, a qualifying adjective, or a gesture. Great diversity of forms provides him power of radiation. Flexibility of form and content matches with diversity of functions: the mythical figure lends itself to every stylistic figure and grammatical function. This way it creates cohesion within the work and contributes intimately to the construction of sense. Contamination affects all the mythopoetic work. Around these figures a constellation of images forms and produces a new anthropocentric myth, summarizing and going beyond traditions. Hoard of images for future creations in the beginning (Yeats), the poet’s work actually comes up to a bid far more ambitious: give an answer to the quest for sense of history and life of modern man who doesn’t believe in God any more, and draw the outline of a new society. Mythical and legendary figure represent the essential element of poetic creation. / Die mythische und legendäre Gestalt nimmt in der Ästhetik des europäischen Symbolismus (Ende des 19. – Anfang des 20. Jahrhunderts) eine zentrale Position ein. Diese Doktorarbeit stellt sich zur Aufgabe, ihr Vorkommen und ihre Funktion in den Werken von drei bedeutenden Vertretern zu untersuchen: Stéphane Mallarmé (1842-1898, Frankreich), William Butler Yeats (1865–1939, Irland), Stefan George (1968-1933, Deutschland). Ein Blick auf die zeitgenössische Gesellschaft (Kunst, wissenschaftliche Entdeckungen) ermöglicht es, herauszustellen, welche Stellung Mythos und Legende zufällt. Über alle Unterschiede hinaus sind sich die drei Dichter durch gemeinsame Interessen und persönliche Kontakte nahe. Symbolisten zweier Generationen und aus verschiedenen Sprachbereichen stimmen miteinander in dergleichen Auffassung von dichterischer Schöpfung überein. Dichterische Werke (Lyrik, Prosa, Theater), theoretische Schriften, Briefwechsel und Unterhaltungen lassen eine miteinander verbundene Betrachtungsweise von Bild und Mythos erkennen: die mythische und legendäre Gestalt nimmt Form an zwischen Traum und Vision, Erinnerung, musikalischer Evokation und literarischem Symbol. Aus der Rede über den Mythos geht eine persönliche Theorie hervor. Lyrik und Drama schöpfen aus den Quellen der heterogenen Traditionen, werden durch Philosophie, Religion, Okkultismus, Psychologie und intime Erfahrung bereichert. Die Übertragung bildender Kunst in Dichtung ("transposition d’art") vermittelt den im Gemälde zugrunde liegenden mythischen Text oder wird von ihm kontaminiert. Dadurch entsteht eine komplexe Beziehung zwischen Text und Malerei (oder Skulptur). Die mythische und legendäre Gestalt, in den Jugendwerken eindeutig erkennbar, erfährt später vielfältige Metamorphosen: synkretistisch verschmilzt sie die Varianten eines Mythos mit entfernten Traditionen, überlagert mythische Gestalten und Ereignisse mit reellen, historischen, zeitgenössischen. Implizit ist sie präsent in Form von Spuren, in der Abstraktion von Nomen, Pronomen, Adjektiv oder in einer Geste. Der große Formenreichtum sichert ihre Ausstrahlungskraft. Der Flexibilität von Form und Inhalt entspricht die Vielfalt der Funktionen: die mythische Gestalt passt sich jeder Stilfigur und jeder grammatischen Funktion an. Sie schafft somit die Geschlossenheit eines Werkes und nimmt im Innersten an der Sinnkonstruktion teil. Die Kontamination greift auf das ganze mythopoetische Werk über. Um die Gestalten herum bildet sich eine Konstellation von Bildern, die einen neuen anthropozentischen Mythos hervorbringt, der die Traditionen zusammenfasst und übertrifft. Zunächst „Bilderreservoir“ (Yeats) für zukünftige dichterische Schöpfungen, verfolgt das Werk der Dichter in Wirklichkeit einen viel ambitiöseren Versuch: auf die Frage nach dem Sinn in der Geschichte und im Leben des modernen Menschen, der nicht mehr an Gott glaubt, eine Antwort geben und die Konturen einer neuen Gesellschaft skizzieren. Die mythische oder legendäre Gestalt ist wesentliche Konstituente der Dichtung.

La poésie de célébration politique de la Pléiade est lue ici dans son rapport avec l'épopée, dont la Deffense formule le projet (1549), et dont la Franciade marque une réalisation incomplète (1572). Les pièces de célébration se relient à ce projet de nouvelle Enéide, qui les extrait des fastes éphémères de la fête dont elles se font l'écho : chaque poème est à la fois dans l'actualité de la circonstance et la virtualité du grand oeuvre où il doit s'accomplir. Celui-ci, envisagé comme un récit de fondation légitimant l'espoir d'un Empire immortel, se veut à la fois une mise en forme de l'Histoire, une image idéale du souverain et une construction poétique intégrant la culture antique au génie français. Les poètes de la génération Henri II célèbrent les Grands comme les héros de l'épopée en gestation et explorent les formes que pourra prendre cette célébration de la monarchie valoise. Le furor prophétique devient l'énonciation privilégiée du lyrisme politique. Pourtant, à la fin des années 1550, la formule n'engendre plus que sa propre répétition désenchantée, ou bien les poètes s'en détournent en signalant ironiquement sa vacuité. Dans la décennie suivante, lorsque le conflit armé rend l'Histoire incertaine, les poèmes de célébration habillent les Grands en bergers. La pastorale s'apparentait d'abord à une variation susceptible de revivifier le projet initial. Elle devient une alternative au modèle héroïque obsolète, en liaison avec des valeurs politiques et poétiques de séduction, d'aménité, de raffinement maniériste en accord avec la nature. / This thesis studies The Pleiade's poetry of political celebration in relation to the epic, with the examples of Deffense as a statement of this project (1549) and Franciade as an incomplete realization of it (1572). The celebration poems are part of this project of a new Aeneid, which removes them from the ephemeral splendour of the celebration which created them in the first place ; these poems fall both within the moment of the festive event and the virtuality of the great work in which they must come to fruition. This great work, seen as a tale of foundation legitimating the hope of an immortal Empire, wants to shape History as well as depict an ideal image of the sovereign and present a poetic construction inserting the culture of Antiquity to the French genius. During Henri II's reign, the poets celebrate the princes as the heroes of the developing epic and explore the forms that this celebration of the Valois monarchy could take. The prophetic furor becomes the privileged statement of political lyricism. Yet, at the end of the 1550s, the formula only creates its own disenchanted repetition, or poets abandon it by ironically pointing out its vacuity. During the decade that follows, while the armed conflict creates historical uncertainty, the celebration poems disguise the princes as shepherds. At the beginning, the pastoral was a variation that could rejuvenate the initial project. It transforms into an alternative to an obsolete heroic model, related with political and poetic values of seduction, appeased gentleness, mannerist refinement in harmony with nature.

La présente recherche s’inscrit dans le cadre de la didactique des mythes en classe de Français Langue Etrangère. Elle s’interroge sur les différents problèmes rencontrés au niveau de l’exploitation des mythes en classe de FLE en Tunisie et s’articule autour de trois grands axes de recherche. Le premier axe est consacré au cadre théorique se rapportant aux catégories mythiques et leurs enjeux alors que le deuxième consiste à attirer l’attention sur le statut privilégié des mythes dans les programmes officiels tunisiens. Il rend compte de leur exploitation dans les pratiques de classe à travers un module d’apprentissage au programme des troisièmes. Le troisième volet expose les résultats d’une enquête sur le terrain pour ressortir les représentations que se font les élèves du texte littéraire mythique et les problèmes qui s’opposent à la réception de ce genre de récit. L’enquête aboutit à un plan d’action et à des propositions didactiques dont le rôle est de sensibiliser les jeunes à la lecture du texte littéraire impliquant le mythe, agir contre leurs représentations pour aider à la préservation d’un patrimoine culturel universel et à l’amélioration de la qualité du système scolaire tunisien. / This research is registered in the outline of myths didactics in classes of French taught as a Foreign Language. It examins the different problems encountered while dealing with myths in classes of FFL in Tunisia. It in fact, goes round three big axes of research. The first axis is about the theoretical plan which is linked to the mythical categories and their stakes whereas the second axis consists in catching the eye on the privileged status of myths in Tunisian official programs. It renders an account of their exploitation in classes practices via a learning module in the third form programm. The third axis sets out the results of a research in progress so as to take out the representation that pupils make of a mythical literary text and the difficulties set against the reception of such genre of account. This research leads to a programm of studies and didactic propositions which role is to make yougesters aware of the importance of a literary text including a myth, act against their representations so as to help in protecting the universal cultural patrimony and the improving of the quality of the Tunisian academic system.