Cette thèse introduit l'étude du tarot en sciences des religions. Son enjeu est de reconsidérer le statut du tarot en proposant un autre modèle d'analyse qui le présente sous un jour nouveau et différent de celui sous lequel il apparaît comme jeu de cartes ou objet divinatoire. Dans la perspective d'une réflexion philosophique s'appuyant sur les travaux de Gilles Deleuze et Félix Guattari, son projet est de radicaliser l'attention autour du problème suivant: le tarot rencontre ce qui force à penser. Ce problème revient à poser la question suivante: à quelle condition peut-on entrer en rapport avec un élément inconnu qu'on ne sait pas penser? Cette question, qui a son importance en sciences religions, est relancée dans ces pages par la remise en cause des interprétations courantes du tarot comme jeu ou comme outil divinatoire. Plus particulièrement, l'inventio du tarot occulte va permettre de comprendre le façonnage du modèle d'analyse le plus répandu aujourd'hui: « tarot = symbole ». Entre 1781 et 1909, les théories occultistes vont sceller l'alliance du tarot et du symbole, si bien qu'il est devenu aujourd'hui quasi impossible d'entrevoir le tarot autrement. Contrairement aux analyses cliniques qui reposent sur le symbole, cette thèse avance un modèle critique qui tient compte de l'existence de figures dans le tarot. La notion de figure conduit directement à rompre avec le règne sans partage de l'interprétation et de la représentation dans le tarot, règne facilité par le fait que la place centrale qu'y occupent les symboles n'y a jusqu'ici jamais été questionnée. La distance prise dans ces pages avec les façons traditionnelles d'envisager le tarot mène à un modèle d'analyse qui a plusieurs conséquences: il dégage un nouveau tracé d'intelligibilité du tarot qui renvoie aux limites de la représentation et plus directement aux limites de l'interprétation du religieux à partir d'images et des symboles; il relance le problème du savoir en sciences des religions et de là, celui de l'interprétation et de la signification; il remet en question la nécessité de la transcendance dans l'interprétation du religieux; il soulève le problème de la croyance; il touche au problème du sens; et enfin, il ouvre sur la pensée. Deux cas de figure montrent ensuite comment le tarot a pu, dans cette thèse, être pensé autrement. Le premier a pour cadre des meurtres en série au cours desquels une carte de tarot fut utilisée en 2002 par des tireurs embusqués. Le second se situe au début des années 1950, au moment où John Cage (1912-1992) crée, à l'aide du tarot, sa pièce la plus célèbre, 4'33". ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Tarot, Symbole, Figure, Pensée, Non-savoir, Sens, Signification, Image, Représentation, Occulte, Occultisme, Ésotérisme, Cartes, Croyance, Religieux, Transcendance, Immanence, Meurtres en série, John Cage, 4'33".

Master of Visual Arts / Abstract/Summary Dissertation Divination: Exemplifying and Configuring Archetypes in Ceramics is a study of my research practice. The cards of the tarot can be used as a conceptual framework and source of inspiration for making ceramic sculptures. The cards can be used to understand the creative process as an expression of archetypes. My dissertation discusses these archetypes from the tarot cards, both in their historical operation, their manifestation in my art practice, as well as, examining approaches taken to these archetypes by other artists such as Salvador Dali and Niki de Saint Phalle. The theoretical basis for the dissertation is informed by the writings of Carl G. Jung who has proposed concepts dealing with creativity, coincidence, a collective unconscious and archetypes. These ideas form a model for the understanding of my studio work. As background, the dissertation examines examples of artworks that could be seen to be drawn from a collective unconscious. Studio Work The studio work consists of a series of ceramic sculptures formulating the archetypes that I have derived from the tarot cards. The three dimensional clay, with found inclusions, examines the idea of specific archetypes. These archetypes are titled in the works including: The Fool, Strength, The Magician, Tarot Sun, The Empress II, The Lovers, Empress l, The Chariot I and II The Angel Temperance, The Tarot Devil and The World. The ceramic objects have been created in clay using handbuilding techniques. The clay was such that it could include found ceramic pieces and be refired. The pieces have been re-fired many times to achieve a variety of glaze effects. The works range in size from 30-60 cms approximately and include freestanding sculptures and complementing flat wall works.

Master of Visual Arts / Abstract/Summary Dissertation Divination: Exemplifying and Configuring Archetypes in Ceramics is a study of my research practice. The cards of the tarot can be used as a conceptual framework and source of inspiration for making ceramic sculptures. The cards can be used to understand the creative process as an expression of archetypes. My dissertation discusses these archetypes from the tarot cards, both in their historical operation, their manifestation in my art practice, as well as, examining approaches taken to these archetypes by other artists such as Salvador Dali and Niki de Saint Phalle. The theoretical basis for the dissertation is informed by the writings of Carl G. Jung who has proposed concepts dealing with creativity, coincidence, a collective unconscious and archetypes. These ideas form a model for the understanding of my studio work. As background, the dissertation examines examples of artworks that could be seen to be drawn from a collective unconscious. Studio Work The studio work consists of a series of ceramic sculptures formulating the archetypes that I have derived from the tarot cards. The three dimensional clay, with found inclusions, examines the idea of specific archetypes. These archetypes are titled in the works including: The Fool, Strength, The Magician, Tarot Sun, The Empress II, The Lovers, Empress l, The Chariot I and II The Angel Temperance, The Tarot Devil and The World. The ceramic objects have been created in clay using handbuilding techniques. The clay was such that it could include found ceramic pieces and be refired. The pieces have been re-fired many times to achieve a variety of glaze effects. The works range in size from 30-60 cms approximately and include freestanding sculptures and complementing flat wall works.

No description available.

Thesis (MA--Art and Design) -- AUT University, 2005. / Main title from cover. Includes bibliographical references. Also held in print (90 leaves : col. ill. ; 21 x 30 cm.) in City Campus Collection (T 778.96 MEI)

Did not come with Thesis.

Diss. : Philosophische Fakultät I : Zürich. - Bibliogr. p. 259-274 et en fin de chapitres. -

Design in the civic realm demands opportunities to recognize commonality. Architecture, therefore, must provide a call and response between visitor and space. This intimate dialogue can only occur where landscape elements speak a universal language. Revelatory, Allegorical, Cosmological and Vernacular methods of design have traditionally been employed to communicate in the landscape. This project explores the method of Archetypal design as a means to avoid the culturally-dependent, and hence, esoteric language of design and so create an exoteric language more appropriate for civic space. / Master of Landscape Architecture

The purpose of this study was to investigate the way in which regular users of Tarot cards employ the cards and the focus was on the participants', or co-researchers', use of Tarot for self-reflection rather than for divination. Although Tarot cards have been in existence for at least 700 years (Beal, 1975; Cavendish, 1975) and there are over 1000 different Tarot decks, and the related oracle decks, in existence (Aeclectic Tarot, 2009) there is a paucity of academic research on Tarot use (Crocker, 2004). Studies that have been done on Tarot have focused on its effectiveness as a divination tool (Blackmore, 1983) and the susceptibility of individuals to the Barnum effect (Glick, 1989; Ivtzan, 2007). A few studies have looked at psychological correlates of Tarot use (Crocker, 2004; Sjoberg, 2002) and have offered general descriptions of its use in a therapeutic setting (Coulter, 2004; Kopp, 1984). Research has not investigated the way in which Tarot is being used, nor has it given detailed descriptions of its potential usage in therapy sessions. This study sought to investigate the way in which Tarot is being used and based on the results, outline clear and concrete ways in which Tarot can be employed in therapeutic sessions. This study adopted a postmodern approach to the pursuit of knowledge, such that knowledge was viewed as a social and linguistic construction. The methodology employed was qualitative in nature and the general research design was heuristic (Moustakas, 1990). Interviews were conducted with four female co-researchers who used Tarot cards regularly and in a self-reflective manner. The interviews were transcribed and common qualities and themes that existed between them were extracted. The results indicated that the co-researchers use Tarot as a way to gain insight into current situations and possible action plans. The cards were used most often in difficult times, at which point, they offered comfort. This comfort involved confirmation that things were ok and that life was not without order. Tarot was also used as positive reinforcement for what the co-researchers were seeking in life and cards were drawn both intentionally, such as in positive reinforcement activities, and at random, in instances when novel insights were sought. The co-researchers sometimes pulled one card, a few cards, and sometimes used an entire spread. Just as different Tarot decks were used for different purposes, so different Tarot spreads were used in different circumstances. The nature of the co-researchers’ use of Tarot supports the utilization of Tarot in a therapeutic context and this study explored various ways in which this can be done, including as a means of acquiring new perspectives and of identifying wishes or goals.

Twenty-two miniatures of the Tarot is a cycle for chamber ensemble related to the twenty-two major arcana of the Tarot. Indeed, the intention of this composition is to capture the esoteric essence for each Major Arcana of the Tarot, making them speak musically in a contemporary language of music. Ideally, this cycle should be performed in the same order as the Tarot cycle, which has a number for each Major Arcana: 1) The Magician, 2) The High Priestess, 3) The Empress, 4) The Emperor, 5) The Pope, 6) The Lover, 7) The Chariot, 8) Justice, 9) The Hermit, 10) The Wheel of Fortune, 11) Strength, 12) The Hanged Man, 13) The Nameless Arcanum, 14) Temperance, 15) The Devil, 16) The Tower, 17) The Star, 18) The Moon, 19) The Sun, 20) Judgment, 21) The World and 22) The Fool.