Diss.--Münster (Westfalen)--Universität, 1989.

Orientador: Haroldo Gallo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T17:18:10Z (GMT). No. of bitstreams: 1 Ferreira_ClaudioLima_D.pdf: 22557338 bytes, checksum: de8ff52f113cef8b7676360f459198cd (MD5) Previous issue date: 2011 / Resumo: Esta tese de doutorado tem como objetivo principal analisar a obra de design brasileiro sob o olhar das Relações Complexas tendo como estudo de caso os Irmãos Campana. A pesquisa está dividida em três capítulos que possuem respectivamente como eixo teórico o Pensamento Simplificador, as Relações Complexas e o Pensamento Complexo. As conexões entre teoria e a prática projetual foram evidenciadas em cada capítulo da pesquisa a partir do confronto entre o Pensamento Simplificador, as Relações Complexas e o Pensamento Complexo. Essas conexões podem ser evidenciadas por experiências práticas encontradas nos processos projetuais do design contemporâneo, em especial nas obras dos irmãos Fernando e Humberto Campana. O Pensamento Simplificador está embasado na razão, no racionalismo e na racionalização, ou seja, uma simplificação do pensamento. O princípio da simplificação ainda é muito imperativo e isso se reflete no processo projetual do design. Utilizando o Pensamento Simplificador como base teórica, verifica-se que o design atual visa, em muitos casos, somente ao lucro e consolida-se sobre uma base frágil, pouco sólida, como uma ferramenta que produz inovação, beleza estética e/ou personalização para os objetos. Atualmente, observa-se que as bases desse pensamento científico clássico denominado como "simplificador" encontram-se abaladas pelo desenvolvimento de uma nova forma de pensar mais global, que não tem como objetivo criar uma ruptura com o pensamento anterior, mas sim mostrar uma forma de pensar em conjunto. Essa nova forma de pensar denomina-se Pensamento Complexo. O Pensamento Complexo tem como base o complexo. A palavra derivada do latim complexus, que significa "tecer em conjunto". Esse pensamento contemporâneo está apto a reunir, a contextualizar, a globalizar e, ao mesmo tempo, reconhecer o singular, o individual e o concreto. Sob um olhar contemporâneo, verifica-se que o Pensamento Simplificador está superado e o Pensamento Complexo ainda em desenvolvimento. Por esse motivo, constitui-se e apresenta-se nesse trabalho uma terceira forma de análise sobre o processo projetual, denominada Relações Complexas. Essa forma de análise está inserida entre o Pensamento Simplificador e o Pensamento Complexo. Não é uma nova forma de pensar como o Pensamento Simplificador e o complexo, mas uma forma de compreender esse espaço turbulento que se encontra entre esses dois pensamentos. As Relações Complexas evidenciam a transição e a conexão entre as duas formas de organização dos pensamentos anteriormente citados e contribuem para o entendimento do processo criativo na contemporaneidade / Abstract: This doctoral thesis seeks to analyze the Brazilian design work from the perspective of the Complex Relations, using the Campana brothers as case study. The research is divided into three chapters, the theoretical bases of which are respectively Simplifying Thinking, Complex Relations and Complex Thinking. The connections between theory and the practice of design were emphasized in each chapter of this essay by means of the comparison between Simplifying Thinking, Complex Relations and Complex Thinking, with practical experiences made evident by the design processes performed in the contemporary design, particularly in the work of the brothers Fernando and Humberto Campana. The Simplifying Thinking is based on reason, rationalism and rationalization, which means a simplification of the thought. The simplification principle is still imperative, which is reflected in the design process. By means of the Simplifying Thinking as a theoretical basis, it is established that current design is focused, in sundry cases, only on the profit and consolidates over a fragile, unsafe basis, as a tool which produces innovation, aesthetic beauty and / or customization of objects. Currently, one thing that can be noticed is that the bases of the classical scientific thinking referred to as "simplistic" are unstable because of the development of a new, more global, way of thinking that does not intend to rupture with the previous one, but to show a way to picture things as a whole. This new manner of thinking is called Complex Thinking and is based on the complex, derivative from the Latin word complexus, which means "weaving together". This contemporary thinking is able to gather, contextualize, globalize and, at the same time, recognize the unique, the individual and the concrete. It can be understood, from a contemporary perspective, that the Simplifying Thinking has been outranked and the Complex Thinking is yet being developed. Therefore, this paper constitutes and presents a third form of analysis over the process of design, called Complex Relations, which is stated between the Simplifying Thinking and Complex Thinking. This does not constitute a new way of thinking as Simplifying and Complex Thinking, but a way of understanding this turbulent space that lies between these two ways of thinking. The Complex Relations highlight the transition and the connection between both forms of organization of thoughts above mentioned and contribute to our understanding of the creative process in the contemporary scenario / Doutorado / Artes / Doutor em Artes

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[EN] This thesis has been conceived as an original research work due to the development of archaeological excavation at underwater site Bajo de la Campana, San Javier (Murcia), under the agreement signed between The Ministry of Culture of Spain and The Institute of Nautical Archaeology, Texas A&M University, through out 2007-2011. As a result of these works an extraordinary cargo of a Phoenician shipwreck was recovered, which is deposited at The National Museum of Underwater Archaeology of Cartagena. They stand out for their uniqueness, sixty six Phoenician elephant tusks and tusks fragments, some with inscriptions. This find testify, for the first time, Phoenician ivory trade in the Iberian Peninsula. The museum's conservation laboratory has continued the work begun with the agreement and currently has, as one of its main working lines, the conservation of Bajo de la Campana's Phoenician cargo, for which has been implemented a conservation program that provides actions before, during and after underwater archaeological excavation. Due to the fact that not many conservation procedures are known, the research done as part of this thesis aims to establish the best strategies for waterlogged archaeological ivory conservation. In this research different issues have been dealt with, such as the study of the composition and hierarchical structure of ivory, the impact of marine environment alteration factors as well as the deterioration processes it generates. These tasks have helped us to find appropiate conservation procedures suitable to waterlogged ivory special features, according to conservation ethical codes. Through the practical phase of this research we have characterized waterlogged archaeological ivory from Bajo de la Campana, undegraded modern ivory and site burial conditions, that have allowed us to define their conservation initial state, the extent of degradation and how it affects their original physical-mechanical properties. Since traditional drying and consolidation procedures are not effective for waterlogged archaeological ivory, we have worked with plastination procedure, a method borrowed from medicine. This study has tested this procedure on Bajo's waterlogged archaeological ivory and, as a result, the satisfactory effectiveness of this method has been demostrated, becoming a suitable alternative to preserve ivory. / [ES] La presente tesis doctoral se concibe como una investigación original llevada a cabo a raíz del proyecto de intervención arqueológica en el yacimiento subacuático del Bajo de la Campana, San Javier (Murcia), que se desarrolló en virtud del Convenio firmado entre el Ministerio de Cultura de España y el Institute of Nautical Archaeology de la Texas A&M University durante el periodo 2007-2011. Como resultado de estos trabajos de intervención arqueológica se ha recuperado el extraordinario cargamento de un pecio fenicio, que se encuentra depositado en el Museo Nacional de Arqueología Subacuática de Cartagena. Por su singularidad destacan sesenta y seis ejemplares de defensas y fragmentos de defensa de elefante de época fenicia, algunas de ellas con inscripciones que documentan, por primera vez, el comercio eborario en época fenicia en nuestra península. El laboratorio de conservación y restauración del museo ha continuado con los trabajos iniciados en el arriba mencionado convenio y actualmente tiene, como una de sus líneas de trabajo, la conservación de los materiales recuperados del mismo que se concreta en la implementación de un programa de conservación que contempla actuaciones ANTES, DURANTE y DESPUÉS de la intervención arqueológica subacuática. La investigación realizada en esta tesis doctoral tiene como objetivo establecer estrategias óptimas para la conservación del marfil de procedencia subacuática. Esta investigación nace de la necesidad de conservar estas defensas de elefante, ya que son escasos los procedimientos de conservación conocidos por su escasa presencia en los yacimientos arqueológicos. En la investigación se han contemplado diferentes aspectos, tales como el estudio de la composición y estructura jerárquica del marfil, la comprensión del impacto de los factores de alteración propios del medio subacuático así como de los procesos de deterioro que generan. Todos estos aspectos han aportado luz acerca de los procedimientos de conservación más adecuados, que responden a las especiales características del marfil de procedencia subacuática, en concordancia con los criterios deontológicos de la conservación. A través de la fase práctica del trabajo de investigación hemos caracterizado marfil arqueológico anegado procedente del Bajo de la Campana que, por comparación con marfil no degradado y el estudio de las condiciones de enterramiento en el yacimiento, nos ha permitido definir su estado de conservación, la extensión de su degradación y cómo afecta a sus propiedades físico-mecánicas originales. Debido a que los tratamientos de secado y consolidación tradicionales no resultan efectivos para este tipo de material, hemos profundizado en la valoración de la aplicabilidad a piezas de marfil arqueológico subacuático de un procedimiento diseñado inicialmente para otras disciplinas, como es el procedimiento de la plastinación en medicina. El estudio llevado a cabo ha ensayado este procedimiento en el marfil arqueológico anegado del Bajo de la Campana, demostrándose una satisfactoria efectividad, lo cual hace que este método constituya una posible alternativa a la conservación del marfil de procedencia subacuática. / [CA] La present tesi doctoral es concep com una investigació original duta a terme arran del projecte d'intervenció arqueològica al jaciment subaquàtic del Bajo de la Campana, San Javier (Múrcia), que es va desenvolupar gràcies al conveni signat entre el Ministeri de Cultura d'Espanya i l'Institute of Nautical Archaeology de la Texas A & M University durant el període 2007-2011. Com a resultat d'aquests treballs d'intervenció arqueològica s'ha recuperat un carregament extraordinari d'un vaixell fenici, que es troba dipositat en el Museo Nacional de Arqueología Subacuática de Cartagena. Per la seva singularitat destaquen seixanta-sis exemplars de defenses i fragments de defensa d'elefant d'època fenícia, algunes d'elles amb inscripcions que documenten, per primera vegada, el comerç d'ivori en època fenícia a la Península Ibèrica. El laboratori de conservació i restauració del museu ha continuat amb els treballs iniciats en l'esmentat conveni i actualment té, com una de les seves línies de treball, la conservació dels materials recuperats del mateix que es concreta en la implementació d'un programa de conservació que contempla actuacions ABANS, DURANT i DESPRÉS de la intervenció arqueològica subaquàtica. La investigació realitzada en aquesta tesi doctoral té com a objectiu establir estratègies òptimes per a la conservació de l'ivori de procedència subaquàtica. Aquesta investigació neix de la necessitat de conservar aquestes defenses d'elefant, perquè són escassos els procediments de conservació coneguts per la seva escassa presència en els jaciments arqueològics. En la investigació s'han tingut en compte diferents aspectes, com ara l'estudi de la composició i estructura jeràrquica de l'ivori, la comprensió de l'impacte dels factors d'alteració propis del medi subaquàtic, així com dels processos de deteriorament que generen. Tots aquests aspectes han aportat llum sobre els procediments de conservació més adients, que responen a les especials característiques de l'ivori de procedència subaquàtica, en concordança amb els criteris deontològics de la conservació. A través de la fase pràctica del treball de recerca hem caracteritzat l'ivori arqueològic negat per les aigües procedent del Bajo de la Campana que, per comparació amb ivori no degradat i l'estudi de les condicions de soterrament en el jaciment, ens ha permès definir l'estat de conservació, l'extensió de la seva degradació i com afecta a les propietats físico-mecàniques originals. Perquè els tractaments d'assecatge i consolidació tradicionals no resulten efectius per a aquest tipus de material, hem aprofundit en la valoració de l'aplicabilitat a peces d'ivori arqueològic subaquàtic d'un procediment dissenyat inicialment per a altres disciplines, com és el procediment de la plastinació en medicina. L'estudi dut a terme ha assajat aquest procediment en l'ivori arqueològic negat per les aigües del Bajo de la Campana, demostrant-se una satisfactòria efectivitat, la qual cosa fa que aquest mètode constitueixi una possible alternativa a la conservació de l'ivori de procedència subaquàtica. / Buendia Ortuño, MDM. (2016). LA CONSERVACIÓN DEL MARFIL DE PROCEDENCIA SUBACUÁTICA: LAS DEFENSAS DE ELEFANTE DEL BAJO DE LA CAMPANA (SAN JAVIER, MURCIA) DEL MUSEO NACIONAL DE ARQUEOLOGÍA SUBACUÁTICA [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/61775

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-03-06T16:28:59Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_DeslocamentoApropriacoesDesign.pdf: 13713523 bytes, checksum: 1242d56928c9880e52d8c75857883d1e (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-03-06T16:29:58Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_DeslocamentoApropriacoesDesign.pdf: 13713523 bytes, checksum: 1242d56928c9880e52d8c75857883d1e (MD5) / Made available in DSpace on 2017-03-06T16:29:58Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_DeslocamentoApropriacoesDesign.pdf: 13713523 bytes, checksum: 1242d56928c9880e52d8c75857883d1e (MD5) Previous issue date: 2011 / Esta dissertação tem como objeto de estudo os processos de apropriação e deslocamento de objetos de design no território da arte, presentes em trabalhos de Fernando e Humberto Campana tendo como perspectiva o mesmo tipo de procedimento verificado na obra de Marcel Duchamp / This thesis aims to study the processes of appropriation and displacement of design objects in the territory of art found in works of Fernando and Humberto Campana from the perspective of the same type of procedure found in the work of Marcel Duchamp.

Reprend en partie: Diss.--Fachbereich Altertumswissenschaft--Berlin--Freie Universität, 1997. / Bibliogr. p. 275-277. Résumé en anglais.

Este trabalho tem por objetivo investigar a re-significação de artefatos, mediada pelas inter-relações entre arte, design e tecnologia, na obra de Fernando e Humberto Campana. Esta pesquisa analisa e discute como acontecem os processos dinâmicos de revalorização dos artefatos, por meio de refuncionalizações, no mobiliário dos irmãos Campana, no período compreendido entre 1989 e 2008. Os designers possuem uma obra caracterizada pela intervenção dos materiais, muitos destes industriais e incomuns ao mobiliário. Partindo do material, que é o ponto principal de seu trabalho, os irmãos desenvolvem uma linguagem híbrida; utilizam processos artesanais e o gesto corresponde aos movimentos: trançar, enrolar, envolver, combinar. Estas práticas expressam conceitos e visões sobre o design e o papel da tecnologia nos processos de fabricação. A fabricação independe de processos mecanizados em muitos móveis; em outros é empregada tecnologia de ponta. Desta forma, os designers fazem várias propostas, desde os diálogos com as possibilidades de fabricação, passando por conceitos que remetem à arte de vanguarda e da década de 1960, passando por conceitos do design pós-moderno, abordando questões como reuso, reciclagem e ready made. Permitem um olhar de mediação sobre as várias faces do Brasil: a pobreza, o desenvolvimento, o artesanato, o design, o luxo, a multiplicidade e a criatividade. Com estas propostas, os designers acabam por re-significar a visão de pensar e fazer design. A percepção, discussão e análise destas questões foram desenvolvidas com base em procedimentos metodológicos adotados, tais como: análise de material de divulgação dos irmãos Campana, como a mídia impressa e eletrônica; análise semiótica, com base nos fundamentos de Charles S. Peirce; análise das interações entre design e tecnologia, a partir de termos associados ao design dos irmãos Campana; análise do hibridismo cultural e como este se apresenta na obra dos designers. A partir da análise do mobiliário, é possível perceber a gestualidade dos irmãos Campana, que convida a repensar a história do design brasileiro. / This study aims to investigate the re-signification of artifacts, mediated by the inter-relationships between art, design and technology, in the work of Fernando and Humberto Campana. This research examines and discusses how to place the dynamic processes of revaluation of artifacts through rework of function, the furniture of the Campana brothers in the period between 1989 and 2008. Designers have a work characterized by the intervention of materials, many of the industrial and unusual furniture. Based on the material, which is the main point of their work, the brothers develop a hybrid language; craft and use cases corresponding to the gesture movements: braid, curl, involve, combine. They express concepts and views on the design and the role of technology in manufacturing. They employ manufacturing processes of independent mechanized in many mobile and in other high technology is employed. Thus, designers have several proposals, from the dialogues with the possibilities of manufacturing, through concepts that refer to the art and avant-garde, to the art of the 1960s, through concepts of post-modern design, addressing issues such as reusing, recycling and ready made. They look for a mediation on the many sides of Brazil: poverty, development, craft, design and luxury, the multiplicity and creativity. With these proposals, the designers will ultimately mean re-thinking of the vision and drive design. The perception, discussion and analysis of these issues were developed based on methodological procedures adopted, such as analysis of material to disseminate the Campana brothers, as printed and electronic media, semiotic analysis, based on the grounds of Charles S. Peirce, analysis of interactions between design and technology, from terms associated with the design of the Campana brothers; hybridism and cultural analysis of how this is presented in the work of designers. From the analysis of furniture, it is possible to see the gestures of the Campana brothers, who calls to rethink the history of Brazilian design.

Este trabalho tem por objetivo investigar a re-significação de artefatos, mediada pelas inter-relações entre arte, design e tecnologia, na obra de Fernando e Humberto Campana. Esta pesquisa analisa e discute como acontecem os processos dinâmicos de revalorização dos artefatos, por meio de refuncionalizações, no mobiliário dos irmãos Campana, no período compreendido entre 1989 e 2008. Os designers possuem uma obra caracterizada pela intervenção dos materiais, muitos destes industriais e incomuns ao mobiliário. Partindo do material, que é o ponto principal de seu trabalho, os irmãos desenvolvem uma linguagem híbrida; utilizam processos artesanais e o gesto corresponde aos movimentos: trançar, enrolar, envolver, combinar. Estas práticas expressam conceitos e visões sobre o design e o papel da tecnologia nos processos de fabricação. A fabricação independe de processos mecanizados em muitos móveis; em outros é empregada tecnologia de ponta. Desta forma, os designers fazem várias propostas, desde os diálogos com as possibilidades de fabricação, passando por conceitos que remetem à arte de vanguarda e da década de 1960, passando por conceitos do design pós-moderno, abordando questões como reuso, reciclagem e ready made. Permitem um olhar de mediação sobre as várias faces do Brasil: a pobreza, o desenvolvimento, o artesanato, o design, o luxo, a multiplicidade e a criatividade. Com estas propostas, os designers acabam por re-significar a visão de pensar e fazer design. A percepção, discussão e análise destas questões foram desenvolvidas com base em procedimentos metodológicos adotados, tais como: análise de material de divulgação dos irmãos Campana, como a mídia impressa e eletrônica; análise semiótica, com base nos fundamentos de Charles S. Peirce; análise das interações entre design e tecnologia, a partir de termos associados ao design dos irmãos Campana; análise do hibridismo cultural e como este se apresenta na obra dos designers. A partir da análise do mobiliário, é possível perceber a gestualidade dos irmãos Campana, que convida a repensar a história do design brasileiro. / This study aims to investigate the re-signification of artifacts, mediated by the inter-relationships between art, design and technology, in the work of Fernando and Humberto Campana. This research examines and discusses how to place the dynamic processes of revaluation of artifacts through rework of function, the furniture of the Campana brothers in the period between 1989 and 2008. Designers have a work characterized by the intervention of materials, many of the industrial and unusual furniture. Based on the material, which is the main point of their work, the brothers develop a hybrid language; craft and use cases corresponding to the gesture movements: braid, curl, involve, combine. They express concepts and views on the design and the role of technology in manufacturing. They employ manufacturing processes of independent mechanized in many mobile and in other high technology is employed. Thus, designers have several proposals, from the dialogues with the possibilities of manufacturing, through concepts that refer to the art and avant-garde, to the art of the 1960s, through concepts of post-modern design, addressing issues such as reusing, recycling and ready made. They look for a mediation on the many sides of Brazil: poverty, development, craft, design and luxury, the multiplicity and creativity. With these proposals, the designers will ultimately mean re-thinking of the vision and drive design. The perception, discussion and analysis of these issues were developed based on methodological procedures adopted, such as analysis of material to disseminate the Campana brothers, as printed and electronic media, semiotic analysis, based on the grounds of Charles S. Peirce, analysis of interactions between design and technology, from terms associated with the design of the Campana brothers; hybridism and cultural analysis of how this is presented in the work of designers. From the analysis of furniture, it is possible to see the gestures of the Campana brothers, who calls to rethink the history of Brazilian design.

La fascination exercée par le mythe d’Orphée sur des artistes, des écrivains, des musiciens et des poètes semble pérenne. Comme toujours, au vingtième siècle des auteurs reviennent aux personnages mythiques d’Orphée et d’Eurydice. En 1914, un jeune poète italien nommé Dino Campana compose Canti Orfici (Chants Orphiques), un recueil de poèmes uniques. En 1926, une pièce de théâtre, Orphée, est composée et montée par un artiste français remarquable : Jean Cocteau, qui voyait l’interprétation contemporaine du poète inspiré et de lui-même dans ce sujet. Il reprend le mythe une fois de plus dans un de ses grands films, Orphée, en 1950. Une femme écrivain belge, Marguerite Yourcenar compose un roman, La Nouvelle Eurydice qui est publié en 1931 et en 1991. Auteur portoricaine de nombreuses œuvres critiques, Iris M. Zavala a écrit un roman théorique, El sueño del amor (Le rêve de l’amour) en 1998. L’histoire et le mythologique s’entrecroisent dans ce roman polyphonique. Elle ressuscite ce mythe pour parler des préoccupations aux Caraïbes et de son écriture afin de détacher Eurydice du récit mythique. La comparaison de ces textes soigneusement choisis et placés ensemble, bien que l’on n’en a pas l’habitude, serait intéressante et complémenterait des recherches antérieures dont elle profiterait. Cette étude comparatiste se propose alors de mettre en valeur le genre par l’explication et la révelation de différences et similarités importantes entre ces visions variées du mythe d’Orphée pour dévoiler la richesse de ces textes inspirés par la mythologie grecque qui par conséquent prouve celle d’Orphée et Eurydice, qui retentissent toujours dans une variété de genres artistiques de nos jours car ils nous communiquent encore. L’écho du mythe d’Orphée suggère finalement qu’il y a une conversation entre le mythe et l’auteur qui s’inspire et expire la création d’un texte racontant une histoire à la fois ancienne et moderne. Nous allons traiter en premier temps les anciennes versions du mythe pour voir les images d’Orphée qui se trouvent dans les légendes et la mythologie grecques. Il faut donc exposer graduellement des éléments importants des narrations où figurent Orphée et/ou Eurydice de façons différentes dépendant de la version de l’histoire du chantre de Thrace. Cela nous permettra ensuite de regarder la ressuscitation de l’intérêt pour le mythe d’Orphée pendant le XXe siècle. Les éléments mythiques permanents et modifiés seront regardés attentivement par ces réinterprètes avec le but de montrer leur rôle sur le sens du mythe. Ceci faisant que nous cherchons à voir comment le sens du mythe est modifié en accord avec le genre du texte et le genre sexuel des auteurs de ces variations. Cette étude cherche à démontrer la valeur du genre qui par conséquence dévoile les raisons pour lesquelles certains réinterprètes s’identifient au chantre Orphée tandis que d’autres réinterprètes s’approprient Eurydice tout en ayant le même but de faire renaître ces personnages mythiques pour nous enchanter et inspirer avec leur voix éternelle. Nous proposons donc de compléter l’étude du mythe en suivant de près ces variations à travers l’objectif de notre hypothèse cherchant à enrichir aussi bien que inspirer les multiples recherches qui continuent même au delà du XXe siècle de regarder en arrière le mythe du chantre Orphée et de la nymphe Eurydice. / The fascination exerted by the myth of Orpheus on artists, writers, musicians and poets seems perennial. As always, in the twentieth century authors come back to the characters of Orpheus and Eurydice. In 1914, a young Italian poet named Dino Campana composed Canti Orfici (Orphic Songs), a collection of unique poems. In 1926, a theater play, Orphée, is composed and produced by a remarkable French artist : Jean Cocteau, who associated himself with the contemporary interpretation of the inspired poet in this subject. He comes back to the myth again in one of his great films, Orphée, in 1950. A Belgian woman writer, Marguerite Yourcenar composed a novel, La Nouvelle Eurydice which is published in 1931 and in 1991. A Puerto Rican author of numerous critical works, Iris M. Zavala wrote a theoretical novel, El sueño del amor (The dream of love) in 1998. History and the mythological intertwine in this polyphonic novel. She resuscitates this myth in order to speak about her preoccupations in the Caribbean and about her own writing so as to unatach Eurydice from the narrative of the myth.The comparison of these carefully chosen and unusually paired together texts would be interesting and would complement past researches from which it will profit. This comparative study proposes then to valorize genre and gender by explaining and revealing the important differences and similarities between these various visions of the myth of Orpheus in order to unveil the richness of these texts that are inspired by Greek mythology which consequently proves the value of Orpheus and Eurydice who still resound in a variety of artistic genres to this day since they continue to communicate with us. The echo of the myth of Orpheus finally suggests that there is a conversation between the myth and the author who is inspired and exhales the creation of a text that tells the story, which is ancient and modern at the same time.Firstly, we shall treat the ancient versions of the myth so as to see the images of Orpheus that can be found in Greek legends and myths. The important elements of the narrations including Orpheus and/or Eurydice will be shown gradually in accordance with the different versions of the story of the bard from Thrace. This will allow us to look at the resuscitation of interest in the myth of Orpheus during the 20th century. The permanent and modified mythical elements will be studied attentively by these reinterprets with the goal of showing their role in the meaning of the myth. This leads to our looking for ways to explore how the sense or the meaning of the myth is modified in accordance with the textual genre and the gender of the authors of these variations. This study seeks to underline the value of genre/gender which consequently unveils the reasons for which certain reinterprets identify with Orpheus while other reinterprets appropriate Eurydice with the same goal of allowing the rebirth of these mythical characters so that they may enchant and inspire us with their eternal voice. We propose then to complete the study of the myth by closely following these variations through the objective of our hypothesis while striving to enrich as well as inspire the multitude of researches that continue to look behind even past the 20th century to see the myth of Orpheus the bard and Eurydice the nymph.