O ponto fundamental desta tese é a comprovação de que os mitos e arquétipos presentes na obra em prosa de Mário de Sá-Carneiro auxiliam na formação de uma visão de mundo do autor. Mitos e arquétipos representam motivos, elementos temáticos fundamentais que aparecem e se repetem nos textos literários ao longo do tempo e revelam metaforicamente um conjunto de valores. Cada autor tem a sua mitologia particular, ou seja, mesmo que a criação literária seja feita pelo desejo consciente do artista de construir o seu texto, esses elementos temáticos aparecem em sua obra, tenha ele consciência disso ou não. Então, fez-se um levantamento dos principais mitos e arquétipos presentes na obra em prosa de Mário de Sá-Carneiro, depreendendo-se os valores ideológicos, éticos e estéticos que eles representam, para assim mostrar que eles auxiliam na sua visão de mundo. Os principais mitos encontrados foram o de Eros e Thanatos, de Salomé, da busca, e o da criação. Os arquétipos fundamentais são o do fidalgo simbolista assim nomeado dentro desta tese, a partir do arquétipo identificado por Edmund Wilson, em sua obra O Castelo de Axel e o da femme fatale. A partir de então, percebeu-se que estes elementos temáticos supracitados revelam alguns valores fundamentais para o autor, forjando uma visão de mundo que se caracteriza por alguns pontos basilares. Um deles é a insatisfação com a realidade, que se tenta resolver com a criação de uma arte tida como genial e superior. Esse sentimento de descontentamento é fruto também do fato de o artista moderno não se adaptar ao mundo de sua época, por isso seu refúgio na arte (que muitas vezes descamba para a estetização da vida), e em uma espécie de dandismo heróico. Isso dá um tom trágico e grandioso à existência desse indivíduo, considerado superior aos demais. Outro ponto importante da visão de mundo de Sá-Carneiro é a noção de que o amor só se resolve na morte. A causa central disso é uma concepção dicotômica da mulher tida ou como femme fatale ou burguesa ingênua , que impede a concretização de um relacionamento maduro e saudável. / The fundamental point of this thesis is the corroboration that the myths and the archetypes of the works of Mário de Sá-Carneiro assist in the formation of his vision of the world. Myths and archetypes represent motifs, thematic elements that appear many times in universal Literature and can reveal a set of values in a metaphoric way. Each writer has his own mythology, and even the literary creation is made in a conscious way, these thematic elements appear in his work, even he doesn´t know that. Then, this thesis made a research of the main myths and archetypes that is relevant in the literary works of Mário de Sá-Carneiro, perceiving the ideological, ethical and aesthetic values that they represent, in order to show how they assist in his set of values. The main myths that were found are Eros e Thanatos, Salomé, the quest and the creation. The main archetypes found were symbolist noble that are named this way from the archetype found by Edmund Wilson, in his work Axel´s Castle and the femme fatale. These thematic elements reveal some author´s essential values, forging his vision of the world, which is characterized for some basic points. One of them, is the sentiment of dissatisfaction with the reality, and the artist tries to solve it with the creation of some superior and brilliant form of art. This feeling of dissatisfaction is also cause by the fact that the modern artist is not well adapted in his own world, because of that he escapes to the art (that in many cases leads to a kind of stylization of life), and to a form of heroic dandyism. All of this gives a tragic and magnificent tone to this individual´s existence, which is considered superior among the others. Another important point in Mário de Sá-Carneiro´s vision of the world is the idea that love can only be resolved by death. It is caused by a dichotomy in the vision of the woman that is considered as a femme fatale or a naïve bourgeois woman that hinders a mature and healthy relationship.

O ponto fundamental desta tese é a comprovação de que os mitos e arquétipos presentes na obra em prosa de Mário de Sá-Carneiro auxiliam na formação de uma visão de mundo do autor. Mitos e arquétipos representam motivos, elementos temáticos fundamentais que aparecem e se repetem nos textos literários ao longo do tempo e revelam metaforicamente um conjunto de valores. Cada autor tem a sua mitologia particular, ou seja, mesmo que a criação literária seja feita pelo desejo consciente do artista de construir o seu texto, esses elementos temáticos aparecem em sua obra, tenha ele consciência disso ou não. Então, fez-se um levantamento dos principais mitos e arquétipos presentes na obra em prosa de Mário de Sá-Carneiro, depreendendo-se os valores ideológicos, éticos e estéticos que eles representam, para assim mostrar que eles auxiliam na sua visão de mundo. Os principais mitos encontrados foram o de Eros e Thanatos, de Salomé, da busca, e o da criação. Os arquétipos fundamentais são o do fidalgo simbolista assim nomeado dentro desta tese, a partir do arquétipo identificado por Edmund Wilson, em sua obra O Castelo de Axel e o da femme fatale. A partir de então, percebeu-se que estes elementos temáticos supracitados revelam alguns valores fundamentais para o autor, forjando uma visão de mundo que se caracteriza por alguns pontos basilares. Um deles é a insatisfação com a realidade, que se tenta resolver com a criação de uma arte tida como genial e superior. Esse sentimento de descontentamento é fruto também do fato de o artista moderno não se adaptar ao mundo de sua época, por isso seu refúgio na arte (que muitas vezes descamba para a estetização da vida), e em uma espécie de dandismo heróico. Isso dá um tom trágico e grandioso à existência desse indivíduo, considerado superior aos demais. Outro ponto importante da visão de mundo de Sá-Carneiro é a noção de que o amor só se resolve na morte. A causa central disso é uma concepção dicotômica da mulher tida ou como femme fatale ou burguesa ingênua , que impede a concretização de um relacionamento maduro e saudável. / The fundamental point of this thesis is the corroboration that the myths and the archetypes of the works of Mário de Sá-Carneiro assist in the formation of his vision of the world. Myths and archetypes represent motifs, thematic elements that appear many times in universal Literature and can reveal a set of values in a metaphoric way. Each writer has his own mythology, and even the literary creation is made in a conscious way, these thematic elements appear in his work, even he doesn´t know that. Then, this thesis made a research of the main myths and archetypes that is relevant in the literary works of Mário de Sá-Carneiro, perceiving the ideological, ethical and aesthetic values that they represent, in order to show how they assist in his set of values. The main myths that were found are Eros e Thanatos, Salomé, the quest and the creation. The main archetypes found were symbolist noble that are named this way from the archetype found by Edmund Wilson, in his work Axel´s Castle and the femme fatale. These thematic elements reveal some author´s essential values, forging his vision of the world, which is characterized for some basic points. One of them, is the sentiment of dissatisfaction with the reality, and the artist tries to solve it with the creation of some superior and brilliant form of art. This feeling of dissatisfaction is also cause by the fact that the modern artist is not well adapted in his own world, because of that he escapes to the art (that in many cases leads to a kind of stylization of life), and to a form of heroic dandyism. All of this gives a tragic and magnificent tone to this individual´s existence, which is considered superior among the others. Another important point in Mário de Sá-Carneiro´s vision of the world is the idea that love can only be resolved by death. It is caused by a dichotomy in the vision of the woman that is considered as a femme fatale or a naïve bourgeois woman that hinders a mature and healthy relationship.

Les représentations artistiques de la transgression aux XXe et XXIe siècles offrent souvent au regard un spectacle violent et macabre. Son intensité attesterait l’existence d’une "pulsion de mort" (Freud, 1920) tout comme elle scellerait ce lien entre l’érotisme et la mort dépeint par Georges Bataille. Déjouer un tel "terrorisme de la transgression", qui épuise aussi bien l’œuvre que son spectateur, invite à démasquer le conformisme et les falsifications de telles entreprises. Aux antipodes de ces postures, existent d’autres manières d’envisager la transgression en art afin de faire de celle-ci l’occasion d’un questionnement en profondeur, ébranlant toute certitude. Ce « dandysme de la transgression » engage un travail formel intense. L’analyse d’un vaste corpus, aussi bien littéraire (Wilde, Barbey d’Aurevilly, Bataille, Genet…) plastique (Blake, Cocteau…) que cinématographique (Visconti, Bresson…), révèle un spectre de stratégies visant à jouer, affronter ou dépasser la transgression. Seule une attention aiguë portée aux spécificités de ces univers artistiques permet le dévoilement de trajectoires singulières, aux enjeux opposés : là où l’émergence de la transgression pose parfois problème (Bresson), c’est ailleurs dans l’impossibilité de lui échapper que réside le drame (Lynch). À y regarder de plus près, le secret de l’esthétique et de l’éthique des œuvres, à l’ère contemporaine, se déchiffrerait tout particulièrement dans l’observation du sort réservé aux limites et aux interdits. Doit aussi être soutenue la thèse d’un rôle central non plus d’une hypothétique "pulsion de mort" mais de l’inceste au cœur de toute démarche transgressive authentique. / Artistic portrayals of transgression in the 20th and 21st centuries often present a violent, macabre spectacle. Its intensity would appear to simultaneously attest to a "death wish" (Freud, 1920) and forge a link between eroticism and death as depicted by Georges Bataille. Thwarting such "transgression terrorism", which exhausts both the work and the spectator, is an invitation to unmask the conformism and falsification involved in such endeavours. At the opposite extreme to these approaches exist other manners of envisaging transgression in art that seek to use it as an occasion for in-depth questioning or to shatter certitudes. This "transgression dandyism" involves intensive formal work. Analysis of a vast corpus, at once literary (Wilde, Barbey d’Aurevilly, Bataille, Genet…), plastic (Blake, Cocteau…) and cinematographic, reveals an array of strategies aiming to play on, confront or transcend transgression. Only on examination of the particularities of these artistic universes do singular trajectories with antithetical goals become manifest: whereas for one creative mind the emergence of transgression occasionally presents a problem (Bresson), for another the drama resides in the impossibility of escaping it (Lynch). On closer scrutiny, the secret of aesthetics and ethics in contemporary works might be elucidated by observing the fate reserved for limits and taboos. That the central role in any authentic transgressive approach is no longer played by a hypothetical "death wish" but by incest is also tenable.

Cette étude de l’œuvre d’Albert Cossery interroge les relations entre parole et silence qui la gouvernent. Sous cet angle, le paradoxe s’impose comme une clé de lecture essentielle. Il permet de questionner le statut d’une écriture suspendue à la menace de son extinction. Dans un premier temps, la thèse envisage la dimension existentielle de la création littéraire pour Cossery, ce qui soulève une triple problématique touchant l’autobiographie, le rapport au temps et l’inscription dans l’espace. A chaque fois, un même constat s’impose : écrire est aussi vital que subsidiaire, car le dandy Cossery entend faire de sa vie une œuvre, sublimer le monde tangible, et y affirmer sa liberté. En toute cohérence, ses huit récits principaux, que la deuxième partie analyse dans leur épaisseur diégétique, s’accordent à révéler l’imposture universelle, à promouvoir une résistance active à son règne avant de plaider pour une résistance passive. C’est une révolution solitaire qui se trouve proposée et qui redéfinit le rapport de l’individu au réel. Un tel parcours de création, orienté vers la paix intérieure et le silence littéraire, vise à l’épure. Dans la dernière partie, l’écriture de Cossery, examinée dans ses aspects historiques, génériques et stylistiques, apparaît promise à une esthétique de la faute, au risque de passer pour une faute d’esthétique. Sa finalité est, là encore, méta-discursive. Son but n’est plus de se multiplier en livres ni de se constituer en œuvre, mais de se taire et de se laisser vivre dans la réception. L’écriture fonde un pacte de lecture qui se résorbe dans sa propre finalité. En foi de quoi, elle dessine, dans sa progression, un mouvement spiralaire. Le silence qui suit l’écriture est celui d’un bonheur de vivre enfin réalisé. / To wonder about the writing status of Albert Cossery’s literary work and understand the connection between the words and the silence leads to three directions (autobiography, time, space) which come down to the same conclusion: it is as essential to write as it is to stop writing. The dandy Cossery turns his life into an art and transcends the world. Therefore, his eight main novels bring to light a universal deception, followed by an active resistance to face it and finally a passive resistance driving to freedom. It is an individual revolution that will help oneself to relocate within the world. This path to inner peace and literary silence is an outline. From a linguistic point of view (literary movement, genre and stylistic), Cossery’s writing includes deliberate errors that make it aesthetic. Its ending is here again outside literature. His intention is not only to build a literary work but to keep silent and live it the way it is perceived. In the end, three approaches of the writing have been presented and three similar and paradoxal conclusions have been found out: writing claims the end of its own writing. The overall theme of this thesis shapes it into a spiral. The silence that follows the writing enables the happiness of living.

(in English): The main objective of the thesis Jules Barbey d'Aurevilly between romanticism and decadence is not only to describe Barbey's novels Un Prêtre marié and L'Ensorcelée but specially to put these two works into context of decadent aesthetics. At the beginning of this work stood the question of whenever we can consider Jules Barbey d'Aurevilly (similarly to Charles Baudelaire) to be a pioneer of the decadent movement. We will be analysing generally universal themes, such as love, pride or revolt, but we will see them through the prism of decadence, allowing them to obtain new meanings. The same motive of love, standing for passion in a romantic work, attains in Barbey's universe a character of a pathological instinct. We have divided our work into three chapters. The first one represents a theoretical part, in which we had put Barbey's work into its literary-historical context, and we had shown the topics of the generation of "disenchanted" romantics preceding the generation of decadents. Consequently, we have arrived at the main motives of decadence par excellence. The second chapter, in which we focus on the novel Un Prêtre marié, is then the essential core of our work. Through character analysis we study motives such as hysteria, incest, pride, sadomasochism, sexuality and others,...

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Title: “All roads here always lead to irony”. Verbal irony as a mean of presenting dandyismin the novels ‘Faserland’, by Christian Kracht and ‘Att komma hem ska vara en schlager’, byPer Hagman. A contrastive analysis. Author: Hanna JulinSupervisor: Bärbel WestphalExaminator: Corina Löwe Summary: The aim of this study is to investigate how verbal irony is used in fiction to indicatedandyism in pop-modern literature. It is a contrastive study based on Christian Kracht’s novelFaserland (1995), which is considered to be a romana à clef in the German popliterature. Attkomma hem ska vara en schlager (2004), by Per Hagman is a Swedish novel comparative tothe German „pop-novel“. The analysis has shown that the verbal irony primarily has threefunctions: social criticism, distancing and self-criticism. These elements correspond withdistinctive features which are typical of the dandy. Irony itself, according to Barbey (1987),Schickedanz (2000) and Rauen (2010) among others, is a distinctive feature of the classicaldandy figure, as well as of the pop-modern one. However, further research consisting of bothsynchronic, diachronic and contrastive analysis is relevant, as the dandy, according to Hörner(2008) and Tietenberg (2012) among others, always renews himself – so that his image alwaysappears elegant, modern, original and rebellious in his contemporary society.

During the early 19th century, the flautist became known as a frivolous “dandy” figure whose extravagant appearance suited his light and virtuoso playing. He becomes a so-called professional virtuoso, generating his own income in the absence of aristocratic patronage while entertaining the rising bourgeois public, who demands light yet virtuoso performances. Many artists are disillusioned in this sphere where the arts seem to be reduced to something that is merely utile to the public – a form of entertainment; a social tool. The greatest concern of writers and poets is that the universal truth of their modern reality will not be expressed in art. It becomes the quest of these seemingly disempowered intellectuals to fight this tendency and to express the existential anguish, uncertainty and ennui of the modern materialist society through their art. It is against this background that the concept of the flautist as “aristocratic virtuoso” is developed. This idea opposes the concept of the “professional virtuoso” of the early 19th century. In this society where artists have to find their voice without the support of the aristocratic classes, 19th century disillusioned poet Charles Baudelaire develops the concept of a symbolic cultural aristocracy, wherein the artist is a privileged outsider “on the inside”; a spectator who takes up all of everyday existence, and transforms it into a profound poetic reality. It is with this theory in mind that I develop my thesis of the flautist as aristocratic virtuoso – a figure who captures the universal beauty of his time through his music and shares it with his audience. This dissertation is, therefore, a study of the events that brought about this re-definition of the role of the flautist in the 19th century. It explores the contribution of prominent composers, the impact of the Société Nationale de Musique Française and the French Flute School, as well as the development of the instrument. AFRIKAANS : Gedurende die vroeë 19de eeu onderskei die fluitis hom as ‘n byna windmakerige “dandy” figuur; sy fisieke voorkoms passend by sy ligte, dartelende tog uiters virtuose spel. Hierdie vroeë 19de eeuse fluitis staan bekend as die professionele virtuoos, omdat kunstenaars nie meer die beskermheerskap van die aristokrasie geniet nie, en vir hulle bestaan afhanklik word van die bourgeois publiek wat indrukwekkende, dog verteerbare vermaak van musici vereis. Verskeie kunstenaars voel vervreem in hierdie sfeer waarbinne die kunste gereduseer word tot iets wat “van nut” is vir die publiek. Die grootste kommer van skrywers en digters is dat dit wat van universele waarde in die realiteit van hulle epog is, nie tot uitdrukking kom in die kunste nie. Skrywers en intellektuele voel hulleself ontmagtig en dit word hulle doel om teen hierdie tendens te stry en deur hulle kuns die eksistensiële angs, onsekerheid en leegheid van die moderne materiële bestel uit te beeld. Dit is in hierdie denkraamwerk dat die konsep van die fluitis as “aristokraat virtuoos” sy oorsprong het. Hierdie idee staan vanselfsprekend in teenstelling met die “professionele virtuoos” van die vroeë 19de eeu. In ʼn samelewing waar die kunste sonder die reële gegewe van die aristokratiese beskerming en bevordering ʼn medium moet vind waarbinne hulle eie moderniteit uitgedruk kan word, ontwikkel die 19de eeuse ontnugterde digter Charles Baudelaire die konsep van ʼn nuutgevonde simboliese “kulturele” aristokrasie. Hy ontwikkel ʼn interessante dualiteit rondom die kunstenaar wat as bevoorregte objektiewe buitestaander ten nouste betrokke is by die samelewing en wat daarvoor verantwoordelik is om die tydelike met die ewige te verbind deur sy/haar kuns. Dis vanuit hierdie idee dat ek ʼn saak maak vir die fluitis as aristokraat virtuoos – as figuur wat binne die medium van musiek die skoonheid van sy tyd vasvang en met sy gehore deel. My studie is dus ‘n ondersoek rondom die gebeurtenisse wat hierdie hervorming in die 19de eeu meebring. Ek bestudeer komponiste wat ‘n belangrike bydrae lewer tot die fluitrepertorium, en ondersoek die stigting van die Société Nationale de Musique Française en die Franse Fluitskool, en die ontwikkeling van die instrument self. Copyright / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

Alone in a Crowd: Charles Baudelaire and 20th-Century and Contemporary Art The dissertation called Alone in a Crowd explores the influence of the poet Charles Baudelaire's personality and work on 20th-century and contemporary art. Due to the field of study, the main focus is on the visual arts, but literature, music, philosophy, and film are also included to a large extent. This dissertation is divided into four substantive chapters. The first chapter, The Inner Message, introduces the poet's life, his family and acquaintances, as well as Baudelaire's poetry collection The Flowers of Evil. Themes of evil, ugliness, fear, death, and even a relationship to their mother, father and women are common for 20th-century and contemporary artists. This chapter presents Félicien Rops, James Ensor, Edvard Munch, Hans Bellmer, Francis Bacon, Joel-Peter Witkin, Kurt Cobain, members of the Young British Artists group, Lars von Trier, and others. The second chapter pursues the correspondence theory. The character of the Swedish philosopher Emanuel Swedenborg and his successor, William Blake, is followed by Baudelaire's understanding of sensual and spiritual correspondences, as his principles are adopted by modern artists in a distinct manner. The third chapter called "On the Edge of Society" covers the curse...

The thesis attempts to describe the life and work of Jiří Karásek ze Lvovic through an analysis of his lifestyle, i.e. the way in which he organized, embellished and individualized his life. Karásek sought to shape his existence as an artwork, in accordance with the inspirational concepts of the contemporary and antecedent thinkers and artists (e.g. Oscar Wilde, Walter Pater and Maurice Maeterlinck). He accented its integrity and orientation towards beauty. In accord with his aesthetic vision (and his literary work) Karásek conditioned beauty with sadness and pain and attempted to emphasize melancholic beauty, unity in disunion. For that purpose he would accentuate particularly the disintegrative, critical elements, evoking the impression of unsuccessful, self-destructive endeavor to reach life's high ideal. This corresponded with his tragic concept of the artist immolating himself for his Art. I approach Karásek's lifestyle through the use of the terms youth and (eternal) boyhood, which Karásek himself employed as symbols of mournfully beautiful existence in his literary work. I define a youth - in accordance with the romantic and symbolist interpretation - as a person at odds with reality (contemporary truths, customs and rules), a solitary, unique being, trying to construct a new world - only...