This essay is a work on Mircea Eliades's interpretation of the religious human understood as "homo religiosus" and the role of the shaman from the Eliade perspective. In Eliade human existence consists of a dichotomy between the sacred and the profane. The question is whether one can understand the concept of Eliades “axis mundi”, center of the universe? Can we create an understanding of human existence with Eliade? Can one use  phenomenology of religion as perspective for the exploration of “reality”? Furthermore, this paper aims to understand the role of the shaman has religious worldviews. Shamaism  is through an ecstatic technique traveling to other cosmic plane, in order to gain knowledge that would otherwise not be reached. Two short chapters also show examples of Swedish religious phenomenological research by Ake Hultkrantz and Carl Johan Gurt. The key issues are: What is Shamanism? How can we understand  Eliades philosophical exposition of man as homo religosus? Are Eliades theories (by Hultrantz and Gurt) represented in the Swedish scientific research? And, what is today's religion phenomenological research (by Gurt)? / Denna uppsats är ett arbete om Mircea Eliades tolkning av den religiösa människan förstådd som homo religiosus och shamanens roll hos Eliade. Hos Eliade är den mänskliga existensen uppdelad i en dikotomi mellan det heliga och det profana. Kan vi skapa en förståelse av människans existens med Eliade och hur kan vi använda religionsfenomenologin som utgångspunkt för utforskandet av ”verkligheten”?  Uppsatsens vidare syfte är att förstå vilken roll shamanen har för religiösa världsbilder. Shamanens verksamhet och centrala uppgift  är att genom en extasteknik färdas till andra kosmiska plan, för att där få kunskap som annars inte kan nås. Två korta kapitel visar även  exempel på svensk religionsfenomenologisk forskning genom Åke Hultkrantz och Carl Johan Gurt. De centrala frågorna är: Vad är shamanism? Hur ser Eliades filosofiska utläggning om människan ut? Finns Eliades teorier (genom Hultrantz och Gurt) förankrade/representerade i svensk religionsvetenskaplig forskning? Och, hur ser dagens religionsfenomenologiska forskning ut (genom Gurt)?

Made available in DSpace on 2016-08-03T12:19:02Z (GMT). No. of bitstreams: 1 ALINE GRASIELE ARAUJO RAMALHO.pdf: 596067 bytes, checksum: 10c98b1456a39eae25cd36510d32a39e (MD5) Previous issue date: 2012-03-26 / This research investigates the symbolization process on Mircea Eliade s thought. The study on religious symbolism includes categories of the human as well as concepts and experiences with the sacred lived by the religious men. The world is revealed through symbols, in which it is possible to achieve a better understanding of the human being. This research assistson the understanding of religion as a phenomenonof the culture, whereas the symbolism reveals the mode of human being in the world. This work contemplates the proposal of Eliade s hermeneutics, which refers to a study for the search of meaning and significations in religious documents. Besides the understanding of the hermeneutical method, the possibility of a new epistemology of symbolwas examined. Eliade s propositionon religious symbolism is also explored in the identification of what is considered to be passive and dynamic in the process of religious symbolism, and how this dialectical relation happens. Passivity and dynamic are implicit categories on Eliade sthought,therefore this subject composes an hermeneutic effort to understand the author. The redefinition of religious symbolsis another step that had been observed in the process of symbolization. The redefinition is worked in respect to the experienced sense crisis in the contemporaneity. This is a work that highlights the importance of considering the various disciplines to the comprehension of the religious phenomenon, having a well-establishedphenomenological approach. As this research seeks to interpret the religious data in order toreach the essence or the structure that is present in all religious manifestations, we could say this research grasps both phenomenological and hermeneutical proposition. This study can be characterized by an interpretation of Eliade sthought, where systematization and new possibilities of readings of his worksare presented. / A pesquisa investiga o processo de simbolização no pensamento de Mircea Eliade. A investigação sobre o simbolismo religioso abrange as categorias do humano bem como as concepções e experiências com o sagrado, vivenciadas pelo homem religioso. O mundo se revela através dos símbolos, sendo possível através deles ter uma melhor compreensão do ser humano. A pesquisa auxilia na compreensão da religião enquanto fenômeno da cultura, considerando que o simbolismo revela o modo de ser humano no mundo. O trabalho contempla a proposta da hermenêutica eliadiana, que se refere a um estudo pela busca do sentido e das significações nos documentos religiosos. Além da compreensão do método hermenêutico foi verificada a possibilidade de indicação para uma nova epistemologia dos símbolos. A proposta de Eliade sobre o simbolismo religioso é também explorada na identificação do que há de passivo e dinâmico no processo de simbolização religiosa e como ocorre essa relação dialética. Passividade e dinâmica são categorias implícitas no pensamento de Eliade, portanto, essa temática constitui-se num esforço hermenêutico para compreender o autor. Outra etapa que foi observada no processo de simbolização foi a ressignificação dos símbolos religiosos. A ressignificação é trabalhada em relação à crise de sentidos vivenciada na contemporaneidade. Um trabalho que ressalta a importância da consideração das diversas disciplinas para compreensão do fenômeno religioso, mas que tem seu enfoque fenomenológico bem demarcado. Poderíamos dizer que a pesquisa abarca tanto as propostas da fenomenologia quanto da hermenêutica, na medida em que visa uma interpretação dos dados religiosos para se chegar à essência ou a uma estrutura que se encontra presente em todas as manifestações religiosas. A investigação pode ser caracterizada como uma interpretação do pensamento de Eliade, onde são apresentadas sistematizações e novas possibilidades de leituras de suas obras.

Many anthropological studies have shown the prevalence of the sacred in primitive societies, manifested primarily in significant gestures such as exchanges, rituals, festivals, and the use of time and space. Some studies, in particular those of Roger Caillois and Mircea Eliade, have demonstrated that traces of the sacred, though seemingly displaced, remain present in modern and secular societies. This thesis will examine and bring to light these remnants of sacred behavior in the contemporary settings of the stories of Gabrielle Roy, focusing primarily on food-sharing, gift-giving, and festivals. Each analysis presented will detail how different aspects of the sacred are manifested in contemporary, though fictional, society, and each will permit individuals to identify ways in which modern man, whether religious or secular, is still very connected to sacred practices.

The purpose of the present dissertation is to study the elaborations of the initiation myth in contemporary Italian author Alessandro Baricco. The theoretical and methodological framework consists mainly of Mircea Eliade’s phenomenological theory of initiation. It is argued that the categories of space and time are interdepent in religious thought and should thus be studied as a unit, through the notion of the chronotope. The dissertation therefore proposes to introduce the concept of the chronotope of initiation as an operative tool, the intersection of the theories of Eliade and Mikhail Bakhtin, for the literary subgenre of the initiation novel. A hermeneutical analysis of the novels Oceano mare, Emmaus and Mr Gwyn demonstrates that the initiation myth is present in all three novels. The symbolism of death and rebirth is coherently enacted as a movement via the categories cosmos-chaos-cosmos, for which the author uses the symbolism of the earth to define cosmos (regularity and structure) and water symbolism for the regenerating chaos (dissolution and renewal). The different chapters of analysis accentuate the interaction of space and time within the different phases of the initiation pattern: the profane, the threshold, the sacred, the centre (the place where the actual ritual is enacted) and the return, which are all defined as chronotopes. The analysis shows that although the chronotope of initiation – the concept intending the fusion of the temporal event of ritual at the spatial centre – assumes different forms throughout the corpus, its function remains unmodified, with its purpose being the creation of ontological change. In its inherent structure, the chronotope of initiation unites antithetical spatial and temporal characteristics. Spatially it unites infinite and dissolving chaotic space with the constitutive envelope or sacred vertical centre, and temporally it brings together the ultimative ontological change at a fixed, historical moment with the eternal, sacred, time opened by ritual, representing the coincidentia oppositorum of the sacred. The analysis also shows that the so-called “portraits of the ineffable”, present in all three novels, reflect the same qualities. As immanent works of art, they function as thresholds into the infinite. From a chronological perspective, the dissertation shows a modification of the initiation pattern in Baricco’s writing: from the classical form in Oceano mare, via a more realistic application in Emmaus, to the most elaborate, meta-literary adaption in Mr Gwyn. Nevertheless, the use of the pattern and its thematic coherence reveals that Baricco consciously elaborates on the pattern to suit the contemporary context.

Made available in DSpace on 2016-04-28T19:34:00Z (GMT). No. of bitstreams: 1 Silas Gutierrez.pdf: 796305 bytes, checksum: 3899480ce63a2186c61561a627dde2b4 (MD5) Previous issue date: 2015-08-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work studies the christian jewish myth as a discursive element that gives meaning and value Fernão Cardim letters. Through the studies proposed by Mircea Eliade (2000, 2000a, 2010, 2011, 2012, 2013) and the research conducted by the Bakhtin Circle (1975,1981,1997,2003, 2009), we see how the myth made up by language, creates realities and projects the reader for a supersensible plan. One of the main points of Eliade's studies is to question how the myth or mythical resonances interpose in the lives of human beings in their daily lives, and the religious phenomenon, in the author's opinion, is realized through images and symbols in a mythical context, for a specific type of language because religious symbolism refers to the deeper aspects of life and experience of human being in relation to the world. In our research, we notice that the Colonial Brazil is described mainly as a majestic spatiality; the jesuit creates, as an accomplished painter, a splendid environment and evokes the beauty of nature. Finally, we find that the myth is a way of being of language covering senses regulatory processes; these are related to subjects historically situated in places and different times in relation or not to the same enterprise enunciation. Thence, it follows that the christian jewish myth, seen as an ideological sign, is filled with meaning and purpose, it can be the representation, the ordering and systematization of historical and material relations of a given society / Este trabalho estuda o mito judaico cristão como elemento discursivo que confere significado e valor às cartas do jesuíta Fernão Cardim. Por meio dos estudos propostos por Mircea Eliade (2000, 2000a, 2010, 2011, 2012, 2013) e pelas pesquisas realizadas pelo Círculo Bakhtiniano (1975,1981,1997,2003, 2009), observamos como o mito, constituído pela linguagem, cria realidades e projeta o leitor para um plano suprassensível. Um dos pontos principais dos estudos de Eliade é questionar como o mito ou ressonâncias míticas interferem na vida do ser humano em seu cotidiano, sendo que o fenômeno religioso, na opinião do autor, se concretiza por meio de imagens e símbolos em um contexto mítico, por um tipo específico de linguagem, pois o simbolismo religioso refere-se aos aspectos mais profundos da vida e da experiência do ser em relação ao mundo. Em nossa pesquisa, observamos que o Brasil Colônia é figurativizado, sobretudo, como uma espacialidade majestosa; o jesuíta cria, como um exímio pintor, uma ambiência voltada para o grandioso e evoca a beleza da natureza. Por fim, constatamos que o mito é um modo de ser da linguagem que abrange processos de regulação de sentidos; estes estão relacionados a sujeitos historicamente situados em lugares e momentos distintos em relação ou não a um mesmo empreendimento enunciativo. Daí, em-se que o mito judaico cristão, visto como um signo ideológico, é preenchido de sentido e finalidade, podendo ser a representação, a ordenação e a sistematização das relações histórico-materiais de uma dada sociedade

Although the ‘death of God’ theology attracted considerable attention during the 1960s, in recent decades it has fallen into neglect. Nonetheless, the issues raised by the ‘death of God’ theology were important ones and it remains an interesting question whether the ‘death of God’ theologians were able to make substantial contributions to them. This thesis re-examines the work of the ‘death of God’ theologians. It argues that the popular view – that the ‘death of God’ theology represented a common tendency, or movement, towards atheism among certain prominent American Protestant theologians – is mistaken. Through a series of detailed studies of Thomas J.J. Altizer (chapters 3 and 4), William Hamilton (Chapter 5), Paul van Buren (Chapter 6), and Harvey Cox (Chapter 7), the thesis shows not only that the significance of the ‘death of God’ theologians has been widely misinterpreted, but that their work contains a number of features which have been under-emphasised or even overlooked. The aim of the thesis is to provide a more balanced contemporary reading of their work. The work of Altizer receives special attention and a case is made for the view that he should be read as a Protestant mystic of a peculiar sort.

This essay explores the way in which priests and church-musicians choose music for different ceremonies such as funerals, sunday service, baptism and weddings. The questions at issue regard how the clerks personal preferences, the Swedish Church’s cultural heritage and the attending community contributes to the musical choice at large. Other complementing questions explore how different rooms affect what is seen as suitable music, and also how the clerks value live music compared to pre-recorded music in the halls of ceremony. The exploration and answering of these questions were done through interviewing both priests and church-musicians. In the analysis of the produced material mainly Bourdieu's concepts of taste, fields, illusio, habitus, cultural-, and educational capital were applied. To further grasp the intricate inner workings of the church-musicians and the priests reasoning when selecting music, such as emphasizing openness, inclusion and musical width, the study also give valuable insights in the significance of how the fields of the clerks interact with the field of the assembly, the cultural heritage of the national church and societal norms as a whole, most notably in regards to the selective struggle between tradition and renewal. The findings in this essay contributes to the academic field with new knowledge of how music is used in religious contexts to mediate theological messages and aesthetics. As such, this essay is more focused on the horizontal, rather than the vertical, aspects of how music is interacted with, thus shaping peoples expectations and perceptions of different rooms and of the church services. These aspects play a pivotal part in keeping the identity of the given community alive, and is therefore an important phenomenon to understand in regards to the Swedish Church.

Il lavoro si propone di indagare la prospettiva ermeneutica sviluppata dallo studioso belga Julien Ries, padre di una disciplina oggi nota come antropologia religiosa o simbolica. Irriducibile alla storia delle religioni, alla fenomenologia o all’ermeneutica del sacro, essa si configura piuttosto come loro virtuosa sintesi, entro la quale convergono metodi e approcci antropologici complementari, che integrandosi vicendevolmente formano una disciplina umanistica in grado di evidenziare le strutture fondamentali di homo religiosus quale categoria decisiva dell’antropologia simbolica. In questo lavoro abbiamo indagato le strutture teoretiche sottese all’impianto riessiano, ovvero la struttura concettuale di un’opera il cui taglio è altrimenti prettamente storico. Individuati i riferimenti principali di Ries in Jacques Vidal, Mircea Eliade, Gilbert Durand e Carl Gustav Jung, si è proceduto nell’indagine con una duplice preoccupazione: evidenziati gli snodi principali della teoresi dei quattro studiosi in ordine alla questione dell’esperienza religiosa, si sono poi confrontati tali risultati con l’utilizzo e la valorizzazione riessiana di tali approcci. Delineate così le linee di sviluppo di un’antropologia simbolica, il lavoro apre nuove prospettive in direzione di una “nuova ontologia simbolica”, che si pone alla base di una disciplina in grado di rinnovare le basi stesse dell’antropologia tout court. / The aim of the present work is to investigate the hermeneutical perspective developed by the Belgian scholar Julien Ries, founder of a discipline known as religious or symbolic anthropology. Irreducible to history of religions, phenomenology or to hermeneutic, it is rather a synthesis of them, in which converge different methods and approaches. The result of this virtuous integration is a humanistic discipline that clarifies the fundamental structures of homo religiosus, as an essential category of religiosus anthropology. In this work we studied the theoretical structures which innervate Ries’ point of view, namely the conceptual structure of a work otherwise merely historical. Once being identified the principal Ries’ sources in Jacques Vidal, Mircea Eliade, Gilbert Durand and Carl Gustav Jung, we worked with a double concern. Firstly, we have clarified the chief points of the perspective of the four scholars, in order to clarify their position concerning religious experience; secondarily, we compared these results with Ries’ valorisation of them. After having developed the basis of a symbolic anthropology, this work opens to further perspectives towards a “new symbolic ontology”, in order to renew anthropology tout court.

Une interrogation sur la nature et les pouvoirs de l’art traverse les journaux intimes de Mircea Eliade, Eugène Ionesco, Mihail Sebastian et Nicolae Steinhardt. Cette interrogation remonte aux débats littéraires de la Grande Roumanie, contexte historique d’où émergent ces écrivains. A cette période est aussi liée leur pratique du journal intime, genre qui caractérise la ‘jeune génération’, groupement de jeunes acteurs culturels lancé par Eliade. Les réceptions (selon le terme de H. R. Jauss) des œuvres d’art que ces quatre auteurs consignent dans leurs journaux intimes permettent d’illustrer trois pouvoirs de l’art mis en relief par leur jeunesse roumaine et leur cheminement après la guerre. L’art a un pouvoir formateur : il les enseigne en leur ouvrant des mondes présentés par les œuvres. Il a aussi un pouvoir nationaliste car, dans le nouvel état-nation roumain, dans le contexte d’une « littérature mineure », l’art tendait à être politisé et l’état roumain pratiqua une politique nationaliste qui n’épargna pas le domaine des arts. Enfin, l’art a un pouvoir thérapeutique car il permet d’aborder des expériences douloureuses telles que celle de la crise nationaliste roumaine, par des voies indirectes et plus attrayantes. Les quatre journaux intimes, établis à partir de textes publiés en Roumanie et en France, font découvrir quatre cheminements qui se croisent et s’éclairent mutuellement, notamment sur leurs relectures difficiles du passé roumain. Le parcours de Ionesco ressort particulièrement comme celui d’une thérapie par l’art et d’un ‘travail de mémoire’, selon le terme de Ricœur, sur son passé personnel et sur le XXe siècle européen. / Reflections about the nature and powers of art pervade the diaries of Mircea Eliade, Eugène Ionesco, Mihail Sebastian, and Nicolae Steinhardt. These reflections stem from the literary debates in fashion in Greater Romania in which all four authors took part. Their practice of diary keeping also goes back to this period. It especially characterized a group of young intellectuals launched by Eliade called the ‘Young Generation.’ The diary genre lends itself well to a type of study H. R. Jauss has called ‘reception.’ The receptions of art in the four diaries illustrate three powers of art. Art has a formative power: it teaches by opening the receiver to the world proposed by the work of art. Art also has a nationalistic power: as an instrument of national-identity building for the new Romanian nation-state, art did not escape the danger of politicization characteristic of so-called ‘minor literatures,’ a term this dissertation discusses, and the Romanian state practiced nationalist policies with regards to the arts. Lastly, art has a therapeutic power: it can help in coming to terms with painful experiences like that of the Romanian nationalist catastrophe by indirect and more attractive means. The text of the four diaries is here established from fragments published in Romanian and in French publications. The diaries reveal four lives that crossed paths and that shed light on each other and especially on the difficult re-readings of the Romanian past. Ionesco’s diary in particular emerges as an example of a therapy by art and of what Paul Ricœur has called a ‘work of memory,’ about his personal history, that of his generation and of twentieth-century Europe.

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