The study is an examination of the quest motif as it occurs in the Tarot and two dramatic works, King Lear and Marlowe's Dr. Faustus. The development of the quester is traced from his naivete, through a series of trials, to the consummation of his quest.The hero's quest is essentially to achieve an integration of polar opposites: light and dark, good and evil, the conscious and unconscious. Both the Fool of the Tarot and Lear seem to achieve that harmony, and, thus, I treat the Tarot and King Lear in separate sections of the first chapter. I begin with the Tarot also because of its enormous suggestiveness for elucidating the quests of Lear and Faustus. The archetypal nature of the quest is ultimately what unites the three works, and the Tarot provides a repository for the symbols and primordial images that inform quest literature.The second chapter deals with Dr. Faustus. Unlike the Fool and Lear, Faustus never seems to attain the hero's vision of light and harmony (however, the conclusion is ambiguous); indeed, he inverts the quest to its diabolical opposite and becomes the trickster in league with the demonic forces that form the negative corollary to the hero. Faustus' quest is the coexisting opposite of Lear's and the Fool's, and, as such, is the other pole that must be seen to experience the whole.

From the early 1980s until the late 1990s the genre or sub-genre known as sword-&-sorcery was largely moribund. The Tolkien-derived high fantasy novel, on the other hand, flourished and mutated into six, eight, ten volume, or open-ended series. Even though the terms high fantasy and sword-&-sorcery are sometimes used interchangeably, sword-&-sorcery came to be viewed as an inferior, cruder form: rougher in style, more limited structurally, stunted in terms of character development, even morally questionable (rather than ambiguous). Revivifying the Ur-text aims to investigate if it is possible to subvert the genre, to create a work that realizes the form s potential to exist as literature . In order to do this it attempts to both analyze and re-vision the form by rendering the genre down to its pristine elements - exemplified but not monopolized by the widely-acknowledged creator of the sword-&-sorcery form, Robert E. Howard. The critical areas of the thesis thus concentrate on Howard, but extend backwards to Beowulf as proto-sword-&-sorcery and forwards to contemporary fantasy writers such as Joe Abercrombie and Steve Erikson. It begins by constructing an account of the creation of the form by Howard, hypothesizing that the conditions for its genesis are a result of the writer s internal emotional and thought processes interacting with external circumstances. This is followed by a study of a set of highly influential anthologies published in the sixties edited by Lyon Sprague de Camp, interrogating de Camp s introductions as well as his selections, sub-categorizing these into the variations on the Howardian model which evolved in the wake of his 1920/30s work, work from which other writers developed a commonly perceived genre. From this the thesis proceeds to a consideration of related forms such as epic fantasy, science fantasy, and grimdark, prefaced by a survey and analysis of what sword-&-sorcery was/is perceived to be by commentators such as de Camp, Brian Attebery and Peter Nicholls. These sections are followed and augmented by a refocusing on Robert E. Howard. A consideration of the crucial relationship between violence and the numinous in his fantasy is central to this thesis. This is done both through research into published texts, mainly fictional but also non-fictional, and is discussed both generally and through in-depth case studies of two stories, attempting to identify the particular elements of his writing which contributed to the birth and definition of sword-&-sorcery in order to establish Howard s output as an Ur-text . The creative heart of this research is my sword-&-sorcery fiction, The Shadow Cycles. Here I have attempted to write a narrative in the form which innovates narrative techniques, modifying or abandoning the generic scaffolding of situations, and methods of characterization, and developing a style of language appropriate to my aim of revisioning Howard s Ur-text for the 21st century. This is followed by a concluding afterthesis which draws on all the preceding sections to explicate the relationship between the critical and creative elements of the thesis. As with earlier critical sections, these recruit a synthesis of literary history, influence studies, genre theory, narratology, and practical criticism. By so doing they touch on conceptions of the literary such as those of Bakhtin, Eagleton, Todorov, and Katherine Hume.

Orientador: Elisabeth Bauch Zimmermann / Dissertação (mestrado) - Universidade Estadual de Campionas, Instituto de Artes / Made available in DSpace on 2018-08-17T11:04:43Z (GMT). No. of bitstreams: 1 Aranha_RobertaHeinemanndeSouza_M.pdf: 6848970 bytes, checksum: 0e7cb8ad384b5c041add792031cf073b (MD5) Previous issue date: 2010 / Resumo: Este trabalho relaciona as imagens dos Arcanos Maiores do Tarô com o contexto imagético das Artes Visuais, em especial, evidencia a correlação entre a pintura da escola Simbolista e o Tarô. Também procura desvelar alguns aspectos arquetípicos encontrados através do diálogo simbólico entre essas duas manifestações criativas e artísticas, o que propicia um olhar subjetivo das transformações históricas do final do Século XIX / Abstract: This study relates the images of the Major Arcana of the Tarot imagery with the context of the Visual Arts, in particular, shows the correlation between the Symbolist school of painting and the Tarot. It also seeks to reveal some archetypal aspects found through symbolic dialogue between these two creative and artistic expressions, which provides a subjective look of the historic transformations of the late nineteenth century / Mestrado / Artes Visuais / Mestre em Artes

Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2018-02-26T20:00:32Z No. of bitstreams: 2 Ludmilla_Witzel2017.pdf: 2931742 bytes, checksum: ca03cfe2a26a94c407a3428a013ade62 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-02-26T20:00:32Z (GMT). No. of bitstreams: 2 Ludmilla_Witzel2017.pdf: 2931742 bytes, checksum: ca03cfe2a26a94c407a3428a013ade62 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-09-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Who am I? The initial question from the novel, set in Paris, Nadja (1928) express well one of the main concerns of the following work, that sets in relationship the novel from the surrealist Andre Breton and La invención de Morel (1940) by Adolfo Bioy Casares, a narrative that takes place on an island. A connection that is done primarily by the observation of a series of interweaving between male and female, the triggers set by one when in touch with the other: by one side Nadja and Breton – character from the novel; from the other side, Faustine and the anonymous island inhabitant. Therefore, the following directions includes a brief contextualization about the novels century, pointing out some important aspects for the understanding of the novels as a result of a certain specific time in history that do not limit them, but with which the works dialogue; a study of the theories that sustain the present analysis and, ultimately, the intersection of the novels in the perspective of comparative studies, observing aspects of similarity and difference. For doing it, some authors and sources were fundamental, such as Jozef (1974, 2005); Komosinski (2001); Fuentes (1976); Breton (1924, 2007); Gombrich (1988); Deleuse & Guattari (1995-1997); Bachelard (1978-1998); Batchelor (1998), Fer (1998), Nichols (2001), Jung (1964-2008), Willer (2007-2016), Freitas (2006), Lispector (1998), Jaffé (1964), Franz (1964), Nietzsche (2002), Willer (2007-2016), Durand (2012) and Zourabichvili (2004). / Quem sou? O questionamento inaugural do romance, cujo cenário é a cidade de Paris, Nadja (1928) expressa bem uma das principais preocupações do trabalho realizado a seguir que tem como base a relação entre essa obra do surrealista Andre Breton e La invención de Morel (1940) de Adolfo Bioy Casares, a qual tem como cenário uma ilha. Conexão que se forja principalmente a partir da observação dos imbricamentos entre masculino e feminino, os gatilhos acionados por este quando do encontro com aquele: De um lado Nadja e Breton – personagem do romance; de outro, Faustine e o anônimo habitante da ilha. Para tanto, as direções seguidas compreendem uma breve contextualização do século no qual as obras se inserem apontando questões relevantes para sua compreensão enquanto resultado de um momento histórico específico que não as limita, mas com o qual elas dialogam; um estudo das teorias que amparam a análise e por fim, a interlocução na perspectiva comparada entre os romances, observando proximidades e distanciamentos. Para tanto, foram fundamentais os autores a seguir: Jozef (1974, 2005); Komosinski (2001); Fuentes (1976); Breton (1924, 2007); Gombrich (1988); Deleuse & Guattari (1995-1997); Bachelard (1978-1998); Batchelor (1998), Fer (1998), Nichols (2001), Jung (1964-2008), Willer (2007-2016), Freitas (2006), Lispector (1998), Jaffé (1964), Franz (1964), Nietzsche (2002), Willer (2007-2016), Durand (2012), e por fim, Zourabichvili (2004).

abstract: “In Spirit - An Archetypal Journey of the Soul” is a document illustrating the process of creating an evening length autobiographical aerial dance theater performance, In Spirit, through the investigation of theoretical, kinesthetic and choreographic research of archetypal symbolism, as well as aesthetic, choreographic and pedagogical aspects of aerial dance. The Jungian research specifically informed the identification of symbolism and the roles that archetypes play in creating a clear storyline within aerial dance theatre. In addition, research of aesthetic voice and current aerial dance practitioners became important and gave perspectives on creative pedagogical engagement in contemporary dance and aerial dance-making. For the duration of the process of creating In Spirit image-based creative tools, tarot symbolism, Jungian archetypes, aerial dance training and collaboration were explored with the cast of ten dancers. Through this research and embodying the spirit of collaboration, the choreographer and dancers worked diligently to train dancers with no previous experience in aerial dance to perform in aerial roles. The evening-length performance of In Spirit synthesized contemporary dance, aerial dance, theatre and symbolism regarding rebirth. / Dissertation/Thesis / Masters Thesis Dance 2020

The work will consists of tarot inspired large format pictures which can be used as a traditional tarot card deck. The outcome will be installation of drawings and documentation of card/pictures reading performances.

Les travaux de Marcel Mauss connaissent au tournant des années 1980 un renouveau d’intérêt, notamment avec la revue du MAUSS. Cet intérêt serait attribuable à la conception originale du social comme symbolisme qui s’esquisse chez ce durkheimien hétérodoxe. Cette thèse compare les perspectives de quatre lecteurs contemporains du symbolisme maussien issus de la socio-anthropologie française, soit Camille Tarot, Bruno Karsenti, Alain Caillé et Jacques T. Godbout. Si ces derniers s’entendent sur l’importance des travaux de Mauss, le sens à donner aux concepts de fait social total et de don diffère sensiblement selon les auteurs : Tarot et Karsenti, en accordant plus d’importance à la découverte du fait social total, décèlent chez Mauss une conception sociale accordant une place à la totalité symbolique, alors que Caillé et Godbout, en insistant davantage sur la découverte maussienne du don, y trouvent les prolégomènes d’un tiers paradigme se situant entre l’holisme et l’individualisme.

This journey based narrative inspired by the traditional narrative of the Major Arcana cards in the tarot, centers on The Fool and his interactions with the rest of the Major Arcana. The Fool’s journey centers on memory, regaining personal power, admitting and accepting weakness, and creating a personal place in relation to a larger world. This evolution throughout the journey is explored through detailed repeating imagery and symbols drawn from a mixture of traditional tarot imagery and the author’s personal image set created for this narrative.

Les travaux de Marcel Mauss connaissent au tournant des années 1980 un renouveau d’intérêt, notamment avec la revue du MAUSS. Cet intérêt serait attribuable à la conception originale du social comme symbolisme qui s’esquisse chez ce durkheimien hétérodoxe. Cette thèse compare les perspectives de quatre lecteurs contemporains du symbolisme maussien issus de la socio-anthropologie française, soit Camille Tarot, Bruno Karsenti, Alain Caillé et Jacques T. Godbout. Si ces derniers s’entendent sur l’importance des travaux de Mauss, le sens à donner aux concepts de fait social total et de don diffère sensiblement selon les auteurs : Tarot et Karsenti, en accordant plus d’importance à la découverte du fait social total, décèlent chez Mauss une conception sociale accordant une place à la totalité symbolique, alors que Caillé et Godbout, en insistant davantage sur la découverte maussienne du don, y trouvent les prolégomènes d’un tiers paradigme se situant entre l’holisme et l’individualisme.

This thesis is a meditation on liberatory futures for colonized pasts. It begins with a history of the imperial relationship between the US and the Philippines and how coloniality took root in the lives of Filipinos. The second chapter explores the critique of imperialism offered in post/colonial cultural productions by Manuel Ocampo and his location within the museum, as a constitutive site of modernity. The third chapter explores the project of de-coloniality and the role of ritual and imagination.