Cette étude aborde le thème de la quête de vérité menée par l’acteur. Partant du « paradoxe de l’acteur » qui met en lumière la tension qui se joue entre Forme et Spontanéité, ainsi que sa difficulté à être simultanément artiste et œuvre d’art. Or une recherche comparative sur le théâtre Occidental/Oriental, et d’autres sources telles que les pensées de Georges Gurdjieff et de François Delsarte nous ont conduit à considérer le travail du comédien d’un point de vue trinitaire, en prenant en compte les trois éléments essentiels que sont son corps, son émotion et son esprit. La quête de vérité que mène l’acteur tout au long de sa vie doit s’enraciner dans une compréhension de sa propre nature trinitaire et d’un éventuel manque d’harmonie qui peut résulter dans des comportements automatiques et stéréotypés. Cette vision nous a servi de base pour mener une étude de la pensée de certains grands réformateurs du théâtre du XXe siècle. Ainsi, les méthodes de Jerzy Grotowski et d’Etienne Decroux sont analysées à partir des approches de l’organicité et de l'artificialité selon la perspective de Grotowski. Notre but est de trouver une possible complémentarité entre les travaux de ces deux investigateurs, dans la quête de l’équilibre du trinôme corps-émotion-esprit. Finalement, l’acteur doit cultiver simultanément ses trois centres pour unifier le créateur, l’artisan et la matière de son œuvre, et retrouver ainsi sa vraie Présence sur scène. / This study begins with the actor’s quest for truth. Starting from the « actor’s paradox » which shines light on the tension that plays between Form and Spontaneity, and the difficulty of being simultaneously artist and work of art. A comparative research of Occidental/Oriental theatre, and other sources such as the thoughts of George Gurdjieff and François Delsarte led us to consider the work of the actor from the point of Trinitarian view, taking into account the three essential elements that are his body, his emotion and his mind. The quest for the truth that drives the actor has to begin with the comprehension of his own nature of this human trinity; before the understanding of its fragmentation, that is, the lack of harmony that can exist between these three principle functions and the danger of falling into automatic and stereotypic behaviors and reactions. This study allows us to observe the thought of certain great theatre reformers of the 20th century. Therefore, methods of Jerzy Grotowski and Etienne Decroux are analyzed using approaches of organicity and artificiality from the perspective of Grotowski. Our objective is to find a possible complementarity between the works of these two researchers in the quest for balance of the trinity body/emotion/intellect. Finally, the actor must simultaneously cultivate the three centers in order to unify the creator, the artisan and the matter of his work, and find his true presence on stage.

Tudo inicia com o verbete de um dicionário não convencional. A revista Documents, na qual se publicava o Dictionnaire Critique, era editada pelo escritor francês Georges Bataille quando ele escreveu sobre o informe: um termo que \"serve para desclassificar\"; um vocábulo que não existe para dar significado a determinadas coisas, mas para instigar \"tarefas\"; uma noção antagônica a toda \"sobrecasaca matemática\"; uma disrupção ao academicismo \"que geralmente demanda que cada coisa tenha sua forma\". Esta dissertação fundamenta-se na acepção batailliana, destrinchando nuances, revisitando múltiplas leituras feitas a posteriori, buscando compreender o verbete em meio a todo conjunto do Dicionário Crítico, e, por fim, aceitando a diversidade e as contradições da rede de relações que Bataille instituía. Alicerçado nesse verbete acerca do informe, estabeleço uma operação crítica de observação do mundo, a qual irradia uma série de questões para além daquelas enfrentadas à época pelo grupo surrealista da Documents. Informes, no plural, apresenta um campo de diálogo entre trabalhos artísticos, projetos arquitetônicos, obras literárias. A crise do ideal de forma não é unívoca. O informe lança uma ilimitada multiplicidade de questões; nesta dissertação, apresentam-se algumas delas em um labirinto que põe em contato o Partially Buried Woodshed de Robert Smithson, o Tent Pile do Formlessfinder, a Endless House de Frederick Kiesler, o apartamento de A Espuma dos Dias, o Gutter Corner Splash e as espirais de Richard Serra, a crise da arte como ciência europeia por Edmund Husserl, os Sacchi de Alberto Burri, o vão livre do Masp e o pré-artesanato nordestino pela ótica de Lina Bo Bardi, a Torsione de Giovanni Anselmo somada a tantos outros trabalhos da dita Arte Povera, o Monumento a Bataille de Thomas Hirschhorn, o Merzbau de Kurt Schwitters, o Vortex do Raumlabor, o empilhar de telhas de Wang Shu, a entropia que se ausenta em O ateliê vermelho de Henri Matisse, o estúdio de Rémy Zaugg projetado pelo Herzog & de Meuron, a Mesa de Nelson Felix, o Fun Palace de Cedric Price, o Granby Four Streets do Assemble, os inacabados prisioneiros de Michelangelo. Essa polifonia consubstancia-se nos dezenove ensaios que se seguem. Tal como uma entrada de dicionário, cada texto é autossuficiente; entretanto, suas questões ricocheteiam ao longo da dissertação. Inspirado no Dictionnaire Critique e no livro Formless: A User\'s Guide, de Yve-Alain Bois e Rosalind Krauss, faço um emaranhado de heterogêneas rela- ções a partir de diferentes autores, artistas, arquitetos. Não há uma mesma unidade nem métrica para os ensaios: as estruturas textuais são diversas, os tamanhos são distintos, e sua leitura também não se faz exigente em ordem sequencial.. Há uma metalinguagem entre o informe e o (não)formato deste Informes. O que se intenta é o enfrentamento às convenções, ao status quo, ao senso comum. Uma busca deste mestrando para não ver o mundo como conjunto de formas, as quais obrigatoriamente devamos nos enquadrar. Afinal, já dizia Bataille, \"o universo é algo como uma aranha ou um escarro\". / Everything begins with an entry of an unconventional dictionary. The magazine Documents, in which the Dictionnaire Critique was published, was edited by the French writer Georges Bataille when he wrote about the formless: a term that \"serves to bring things down\"; a word that does not exist to give meaning to certain things, but to instigate \"tasks\"; an antagonistic notion to any \"mathematical frock coat\"; a disruption to academicism that \"generally requiring that each thing have its form\". This dissertation is based on the bataillian sense of the formless, unraveling nuances, revisiting multiple readings made a posteriori, seeking to understand the entry in the midst of all set the Critical Dictionary, and, finally, accepting diversity and contradictions of the network of relationships that Bataille instituted. From this entry on the formless, I establish a critical operation for observing the world, which radiates a number of issues beyond those that the Surrealist group faced at the time of Documents magazine. Formlesses, in plural, present a field of dialogue between artistic works, architectural projects, literary writings. The crisis of the ideal of form is not univocal. Formless launches unlimited and multiple questions, which, on this dissertation, present themselves in a labyrinth that put in contact the Partially Buried Woodshed by Robert Smithson, the Tent Pile by Formlessfinder, the Endless House by Frederick Kiesler, the apartment of L\'Écume des Jours, the Gutter Corner Splash and the spirals by Richard Serra, the crisis of art as a European science by Edmund Husserl, the Sacchi by Alberto Burri, the great span of Masp and the northeastern pre-crafts from the perspective of Lina Bo Bardi, the Torsione by Giovanni Anselmo together with many other of the Arte Povera, the Monument to Bataille by Thomas Hirschhorn, the Merzbau by Kurt Schwitters, the Vortex by Raumlabor, the stacking of tiles of Wang Shu, the absence of entropy in The Red Studio by Henri Matisse, the atelier of Rémy Zaugg designed by Herzog & de Meuron, the Mesa by Nelson Felix, the Fun Palace by Cedric Price, the Granby Four Streets by Assemble, the unfinished prisoners of Michelangelo. This polyphony is embodied on the following nineteen essays. Like a dictionary entry, each text is self-sufficient; however, their issues ricochet throughout the dissertation. Inspired by the Dictionnaire Critique and the book Formless: A User\'s Guide, of Yve-Alain Bois and Rosalind Krauss, I make a tangle of heterogeneous relationships from different authors, artists, architects. There is neither unity nor metric on the essays: the textual structures are diverse, their sizes are different, and it is not necessary to read them in a sequential order. There is a metalanguage between the formless and the (non)format of this Formlesses. What I attempt is to confront the conventions, the status quo, the common sense. A search of this graduate student for not to see the world as a set of forms, in which we must necessarily fit in. After all, as Bataille had already said, \"the universe is something like a spider or spit\".

In the fictional world of the twentieth century author, Georges Bernanos, a medieval spirituality is reflected through Christocentric imagery. This study highlights the Christocentric focus of medieval spirituality found in three bernanosian characters: Donissan in Sous le Soleil de Satan, Chantal in La Joie, and le cure d'Ambricourt in Journal d'un cure de campagne. Two medieval images, the Mirror and the Way, provided a backdrop for considering common thematic characteristics. This study is divided into two parts. Part One comprises two chapters which present background for textual analysis in Bernanos' three novels. Chapter one explores formative elements in medieval spirituality. These include: descriptions of the medieval mindset, clerical and ecclesial influences, devotional trends related to themes of Christocentric imitation, edification images, specifically, the Mirror and the Way, and chivalry. Chapter two presents formative elements in Bernanos' spirituality. Familial, clerical and ecclesial influences of his childhood contributed to his Christocentric spirituality. Biographical descriptions of Bernanos' adolescent and adult years reveal similarities of his lived experience to medieval themes of pilgrimage, chivalry and imitation. In Part Two, Donissan, Chantal and le cure are considered in the context of medieval trends to imitate Christ. Images of the Way and the Mirror emerge in the four chapters of this section. In chapter three, a textual analysis is presented which juxtaposes virtuous qualities of each main character to the virtues of the medieval devotion to the Infancy. In chapters four and five, the characters are described in relation to another major devotional trend of medieval times: the Passion. Chapter four considers the bernanosian saints as imitators of Jesus' agony while chapter five addresses their imitation of his Way of the cross. In both chapters, imagery related to medieval Christ-like imitation is identified. Chapter six highlights themes of death and resurrection, the culminating steps of the medieval journey of imitation. Descriptions of Bernanos' saintly instruments of grace emphasize their adherence to the medieval pursuit towards wholeness. Dawn imagery and the theme of communion of saints are treated in this discussion of transformation. Endnotes accompany each of the six chapters.

Title from PDF of title page. / Document formatted into pages; contains 112 pages. / Thesis (M.S.)--University of South Florida, 2003. / Includes bibliographical references. / Text (Electronic thesis) in PDF format. / ABSTRACT: The Florida Keys Coral Reef Monitoring Project (CRMP) began video transect sampling in 1996 and has continuously monitored 107 Florida Keys stations through 2002. The video was downward pointing and produced images from which planar projection data were calculated to determine percent cover of living benthic organisms. An absence of data assessing correlation between octocoral percent cover and octocoral abundance motivated a study to compare octocoral percent cover with abundance data acquired from the same video transects. The methods employed to extract octocoral abundance data from videotape were validated. Temporal changes in octocoral abundance, size and taxonomic group were determined by examination of video transects of 28 randomly selected stations from 1996, 1998, 1999, and 2002. Size classes were defined as [10cm, 10-40cm, ]40cm (short, medium and tall respectively). / ABSTRACT: Taxonomic groups were Gorgonia ventalina and "other octocorals" in three size classes, and Scleraxonia. An in situ study assessed the accuracy of video-derived counts. Average densities of G. ventalina and Scleraxonia were consistently about one colony/m2. Other octocoral as a group averaged 7-9 colonies/m2. When summarized by height, short and tall averaged about 1-2 colonies/m2, while colonies between 10 and 40 cm in height consistently averaged about 6 colonies/m2. Hurricane Georges, in September 1998, impacted the octocoral assemblage. Abundance declined most at stations near the storm center and stations in shallower water. Storm impact was related to octocoral height. Tall octocorals were removed more frequently than medium, short and encrusting forms. A dramatic increase of short individuals in 2002 is indicative of successful post-hurricane recruitment. By 2002, octocoral abundance had recovered to pre-hurricane levels. / ABSTRACT: This study demonstrated that abundance data can reliably be derived from archived video data, reinforcing the value of standardized video data archives. Octocoral abundance and octocoral percent cover are not strongly correlated because tall individuals disproportionately influence percent cover estimates. Nevertheless, trends in octocoral percent cover are reliable indicators of the trends in octocoral abundance. / System requirements: World Wide Web browser and PDF reader. / Mode of access: World Wide Web.

Depuis les années 1990, le flou a envahi les écrans, touchant toutes les productions audiovisuelles, qu’ils s’agissent des films d’auteur, des blockbusters, des séries, ou encore des publicités. S’il est le plus souvent devenu un composant narratif, voire purement « cosmétique », des longs-métrages, certains réalisateurs tentent de se dégager de cet usage normé afin de jouer avec son potentiel menaçant, que nous savons qualifié de symptomal. Le terme de « symptôme », qui se réfère à l’usage qu’en fait Georges Didi-Huberman, renvoie à un contre-régime de l’image qui vient soulever le régime figuratif. En privilégiant une approche esthétique, phénoménologique et sémiologique, notre thèse met au jour la puissance symptomale du flou, à savoir son potentiel figural, haptique ou encore informe. Selon la théorie développée par Georges Didi-Huberman à partir des écrits de Sigmund Freud, le terme de « symptôme »fait également écho au mouvement du temps, c’est-à-dire au travail qu’opèrent les hantises, les survivances au sein des images afin d’ébranler, de faire vaciller le régime figuratif. Le flou-symptôme est donc aussi envisagé à partir de l’angle du temps, d’un temps qui malmène la représentation, la narration. Notre attention se porte sur différents types de flou, qu’il enveloppe totalement ou partiellement l’image(faible profondeur de champ), s’immisce progressivement dans l’image (mouvement de mise au point), ou encore résulte d’un travail sur le montage rapide (flicker) et la matière (définition de l’image, flou atmosphérique). Dans ce travail, nous analysons toutes ces différentes formes de flou afin de révéler que si certains réalisateurs s’emploient à défaire la fiction première, c’est pour mieux esquisser de nouvelles lignes de fuite narratives, des vies nouvelles. / Since the 90s, blur has invaded screens through all audiovisual productions. This phenomenon can be found not only in arthouse movies but also in blockbusters, TV series, or commercials. Its recurrent appearance as a narrative component, or even “cosmetic”, led some directors to grow away from this standardized use and to fully develop its threatening potential, that we call here symptomal. Symptom,according to Georges Didi-Huberman's works, refers to a counter-regime in which the image upraises the figurative regime. By favoring an aesthetic, phenomenological, and semiologistic approach, this thesisreveals the symptomal power of the blur, namely its figural, haptic, and formless potential. According to the theory that Georges Didi-Huberman elaborated from Sigmund Freud's work, the term “symptom”resonates with the flow of time, id est the labor operated by hauntings and survivances within images in order to undermine and shake the figurative regime. Thus the blur-symptom is also envisioned through the scope of time, a time which destabilizes representation and narration. Our focus is on the different types of blur : an image completely or partially blurred (shallow depth of field), blurring through a motion in the focus (focus-through), or through flickers and even a processing of the matter (image definition andatmospheric blur). In this study, we analyze these different forms of blur to reveal that some directors strive to dismantle the original fiction. Doing so, they eventually sketch new narrative lines of flight, newlives.

La thèse entend proposer un commentaire de la Chanson de Roland, fondé sur l'analyse minutieuse de toutes les variantes qui nous soient parvenues. Cette prise en considération de l'ensemble des versions françaises, rompant avec le dogme de la précellence du manuscrit d'Oxford, s'explique logiquement par la nature mouvante des œuvres médiévales, mais s'enracine aussi dans la conviction d'une texture mythique du poème de Roncevaux. Aussi le recours à la mythologie comparée constitue-t-il une ligne de force majeure du présent travail : s'inscrivant dans la tradition des études indo-européennes telles que Georges Dumézil a contribué à les fonder, la thèse propose une comparaison morphologique entre les mythes de Baldr et de Roland. Cet essai de mythologie comparée forme un premier temps dans l'analyse de la texture mythique du poème et peut être considéré comme autonome. Il s'articule cependant avec le travail de comparaison typologique qui lui succède. La thèse se propose en effet d'étudier la Chanson de Roland à la lumière de l'hypothèse victimaire élaborée par René Girard, qui permet de penser sous un jour nouveau l'esthétique et l'idéologie de la chanson de geste. De fait, la poétique de la répétition et l'art de la symétrie sont justiciables de la théorie du désir mimétique, tout comme la crise épique entretient des analogies étroites avec le modèle de la crise sacrificielle. C'est autour de la question anthropologique de la violence et de l'ambiguïté de la figure du guerrier mythique que ce travail réconcilie deux méthodes réputées incompatibles et pourtant complémentaires dans l'analyse qu'elles proposent de l'ambivalence des héros épiques. / This doctoral thesis intends to propose a commentary of the Chanson de Roland, based on a meticulous analysis of all the variants which have reached posterity. By paying close attention to the whole of French versions and by refusing to comment the sole manuscript of Oxford, as most of scholars do, we comply with the unsettled nature of medieval poetry and furthermore support the idea that the Chanson de Roland should be considered as a myth. The comparative mythology thus constitutes a main thrust of this work : in the tradition on Indo-european studies as founded by Georges Dumézil, we compare the myth of Roland to the myth of Balder, on a morphological level. The essay of comparative mythology is the first part of our commentary and could be regarded as self-reliant. However, it forms a single entity with the essay of typological comparison which follows. The thesis actually intends to interpret the poem in the light of the theory developed by René Girard, which allows to analyze the aesthetics and the ideology of the chanson de geste in a new light. The poetic of repetition and the art of symmetry are closely linked to the hypothesis of mimetic desire, just like the epic crisis is closely linked to the model of the sacrificial crisis. By studying the anthropological question of violence and the ambiguous figure of mythical warrior, this work combines two approaches, deemed to be irreconcilable and nevertheless complementary, in the sense that they interpret in the same way the ambivalence of epic heroes.

Cette recherche porte sur l’entourage institutionnel de Georges Pompidou, Premier ministre d’avril 1962 à juillet 1968, puis président de la République de juin 1969 à son décès le 2 avril 1974. Histoire politique de l’administration, elle étudie l’organisation, la structure, et le fonctionnement des deux institutions coutumières que sont le cabinet du Premier ministre et le Secrétariat général de la présidence de la République sous Georges Pompidou. Elle analyse les évolutions de ces organes sur le temps long et étudie les adaptations apportées par Georges Pompidou en terme de rupture et de continuité. Elle s’interroge notamment sur le poids des héritages gaulliens et sur le rôle de Georges Pompidou dans la stabilisation des institutions de la Ve République. Cette recherche retrace également l’histoire des hommes et des femmes qui ont travaillé à ses cabinets civils et militaires à Matignon puis au Secrétariat général de l’Élysée entre 1962 et 1974. À travers l’étude de leur formation, de leur profil, de leur carrière, elle précise les caractéristiques propres à cet entourage politique et enrichit les travaux sur le personnel politico-administratif au cours des années 1960-1970. Enfin, l’analyse des relations entre Georges Pompidou et son entourage, entre ses collaborateurs et d’autres entourages politiques, pose la délicate question de l’influence de conseillers du Premier ministre puis du chef de l’État sur lui-même, et sur le processus décisionnel. / This research is about the institutionnal entourage of Georges Pompidou during his mandates as a Primer Minister (April 1962-July 1968) and as a President of the French Republic (June 1969-April 2th 1974, when he prematurely died). It focuses on two institutions whose organisation, structure and internal functioning have been empirically shaped : the Prime Minister Cabinet and the Secretary-Generalship of the Presidency. It analyses their long-term evolution and the way Georges Pompidou modified them, from both points of view of rupture and continuity. It interrogates the impact of the gaullist legacy and Pompidou's personal influence regarding the global stabilisation of the Fifth Republic's institutions. This research also aims to depict the history of men and women that worked for Pompidou in its civilian and military cabinets, in Matignon and at the Elysee's Secretary-Generalship between 1962 and 1974. A thorough exploration of their professional background, their profile and career allows us to describe the specificities of this political entourage. Furthermore, it contributes to the understanding of the political and administrative high-level servants during the 1960's and the 1970's. Finally, by analysing the relations between Georges Pompidou and his staff, and between this staff and other political circles, we get onto the sensitive question of influence. This research then tries to assess the influence that the advisors may have exerted on their Prime Minister and President, and on the decision-making process.

Devenu soudainement roi de France en 1498, Louis XII entreprend de reconstruire le château familial de Blois. L'aile Louis XII du château royal présente un programme iconographique sculpté exceptionnel réalisé de 1498 à 1503 environ, qui comporte plus de deux cents culots, gargouilles, masques grotesques, rosaces, monogrammes et emblèmes, entourant la figure équestre du roi et le décor de l'escalier. Les sources manuscrites relatives à la réalisation du décor sculpté ayant disparu presque en totalité, le parti pris a été de considérer dans la première partie les événements qui, du cadre historique aux restaurations des XIXe et XXe siècles, ont forgé l’identité actuelle du château. L'étude iconographique est abordée en seconde partie, incluant le décor sculpté du château de Blois, les enjeux ignorés du décor du grand escalier et de la voûte en relation avec la figure équestre, l'emblématique royale de Louis XII. La troisième partie permet d’insérer le décor sculpté dans le contexte de création de la sculpture dans les chantiers et ateliers de 1450 à 1520. De la seconde moitié du XVe siècle à 1520 / As soon as he become king of France in 1498, Louis XII undertake to rebuild the family castle of Blois. The Louis XII wing of the royal castle of Blois shows an exceptional iconographic and carved program done from 1498 to about 1503, which consists of more than two hundred culots, gargoyles, grotesques, masks, medallions, monograms, and emblems, surrounding the equestrian statue of the king and the staircase. As the manuscript archives relating to the carvings have almost completely disappeared, the objective has been to consider firstly the historical events up until the restorations of the 19th and 20th century that have contribued to the current identity of the château. An iconographic study is approached in the second part, including the sculpted decoration of the château, the relationship between the decoration of the grand staircase and the vault with the equestrian statue. The third part relate to the role of the carved decoration within the artistic context of buiding sites and workshops between 1450 to 1520

Propomos uma investigação simultaneamente histórica e epistemológica dos trabalhos de Georges Canguilhem, buscando alargar e aprofundar nossa compreensão dos critérios que determinam tanto a escolha dos objetos, quanto os métodos de investigação e regras para a escrita da história das ciências. Essa investigação é reforçada por uma reconstrução dos debates intelectuais nos quais Canguilhem esteve envolvido ao longo da sua carreira acadêmica, debates que conduziram a verdadeiras reviravoltas na elaboração do seu pensamento. Assim, essa pesquisa trata da formação acidentada de um pensamento e de uma obra preocupada com a elaboração de uma teoria da História das Ciências a partir da superação da falsa dicotomia entre internalismo e externalismo. / We propose a simultaneously historical and epistemological exploration of Georges Canguilhems work, seeking to broaden and deepen our understanding of the criteria that determine both how objects of study are chosen, and how the investigative methods and rules for writing the history of the sciences are defined. This exploration is further supported by a reconstruction of the intellectual debates in which Canguilhem became involved over the course of his academic career, leading to various twists and turns in his thought. Hence the project involves an inquiry into the eventful formation of a body of thought of key importance to the general theory of the History of Science, seeking to move beyond the dichotomy between internalism and externalism.

A dissertação traz uma aproximação entre os poetas simbolistas Alphonsus de Guimaraens e Georges Rodenbach por meio da análise dos temas da cidade morta e da noiva morta. Inicialmente, é feita uma leitura panorâmica da obra em verso e prosa do poeta mineiro, em que se pontua a discussão acerca da religiosidade em sua produção, a fim de mostrar que a presença desse tema está a serviço de um projeto estético consciente e contribui com a criação de uma atmosfera de mistério comum às cidades mortas e de devoção à amada morta, da mesma forma como ocorre no romance Bruges-la-morte. Nesse romance de Georges Rodenbach, a cidade morta aparece como uma espécie de entidade mística, e sua imagem confunde-se com a imagem da mulher morta, num jogo de espelhamentos. Baseado, em especial, no conceito de espelhamento de Starobinski, este estudo pôde evidenciar nas obras de Alphonsus e Rodenbach a percepção das cidades como estados de alma e a imagem da noiva morta como consequência dessa condição anímica. Essa proximidade entre as obras dos dois autores é evidência de como Alphonsus poderia ter se apropriado de temas advindos da obra de Rodenbach, da qual ele era leitor. Isso deixa em aberto a possibilidade de certos temas conhecidos da obra de Alphonsus, normalmente associados à sua vida pessoal, advirem da influência que sofreu das tendências a ele contemporâneas da poesia e prosa europeia. / The dissertation brings an approximation between the Symbolist poets Alphonsus de Guimaraens and Georges Rodenbach through the analysis of the themes of the dead city and the dead bride. Initially, a panoramic reading of the works in verse and prose of the Brazilian poet is done, in which a discussion concerning religiousness in his work is pointed out with the intention of showing that the presence of such theme serves a conscious aesthetic project and contributes with the creation of a mysterious atmosphere, which appears both in the dead cities and in the devotion to the dead loved one, just like it happens in the novel Bruges-la-morte. In this novel by Georges Rodenbach, the dead city appears as a kind of mystical entity and its image mixes with that of the dead bride, in a mirroring game. Based mainly on Starobinskis concept of mirroring, this study was able to evidence the perception of the cities as states of mind and the image of the dead bride as a consequence of such psychic condition in the works of Guimaraens and Rodenbach. These proximities between the works of both authors is evidence of how Guimaraens could have appropriated themes from the works of Rodenbach, of whom he was a reader. That leaves open the possibility that certain themes known in the works of Guimaraens, which are usually associated with his personal life, may have come from the influence he suffered from the European poetry of his time.