Thesis (Ph.D. (Industrial Sociology))--North-West University, Potchefstroom Campus, 2008.

Thesis (Ph.D. (Industrial Sociology))--North-West University, Potchefstroom Campus, 2008.

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-15Bitstream added on 2014-06-13T20:07:06Z : No. of bitstreams: 1 bernardes_cd_dr_sjrp_parcial.pdf: 131506 bytes, checksum: b61e96e0fc149b40b46eb07f77cc1058 (MD5) Bitstreams deleted on 2015-06-25T13:00:56Z: bernardes_cd_dr_sjrp_parcial.pdf,. Added 1 bitstream(s) on 2015-06-25T13:03:19Z : No. of bitstreams: 1 000619081_20161512.pdf: 118890 bytes, checksum: 999f060d13bd016c6c6a36f085a2618f (MD5) Bitstreams deleted on 2017-01-02T15:03:47Z: 000619081_20161512.pdf,. Added 1 bitstream(s) on 2017-01-02T15:05:06Z : No. of bitstreams: 1 000619081.pdf: 990823 bytes, checksum: aeff84ed92c2ab0bea7e4988d1a54f13 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O tema da viagem de Odisseu foi largamente retomado pela tradição literária após a Odisséia de Homero, seja para confirmar o ideal do herói nostálgico, que anseia o retorno à pátria, seja para reafirmar o ímpeto do eterno navegador de mares. Nikos Kazantzakis (1883-1957) igualmente retoma o Odisseu lendário, insatisfeito com o retorno ao lar, como seu protótipo de herói e constrói, na modernidade, o poema épico Odisséia (1938), a partir do canto XXII no verso 477 do poema de Homero, sendo Odisseu levado a um novo itinerário ao deixar Ítaca definitivamente. Embora se baseie na obra clássica, recuperando personagens e a estrutura épica, Kazantzakis participa de seu tempo, compondo um novo Odisseu representante do mundo moderno, próximo das filosofias de Nietzsche e de Bergson. Como figura “entre mundos”, o Odisseu de Kazantzakis recupera as antigas delineações de Homero e incorpora as questões da modernidade: o niilismo, a desesperança, a multiplicidade. No entanto, além de prolongar os feitos de Odisseu e a narrativa de Homero, Kazantzakis compõe um poema épico de dimensões admiráveis – 33.333 versos de 17 sílabas poéticas, em 24 cantos – contrariando (e reafirmando) as intenções inovadoras de seus contemporâneos da primeira metade do século XX. A epopéia configura na modernidade um gênero considerado esgotado, que teria dado lugar ao romance como gênero mais apropriado às produções modernas. Esta investigação, no entanto, procura evidenciar que o épico de Kazantzakis, ainda que represente um anacronismo em tempos modernos e, para muitos, uma afronta às normas estéticas, é, assim como muitas das obras de sua época, a confirmação das intenções inovadoras em tempos de crise, por meio da incorporação de uma trajetória filosófica de Odisseu baseada no niilismo heróico de cunho nietzschiano e na evolução criadora de Bergson... / The theme of Odysseus‟ journey was broadly retaken by the literary tradition after Homer‟s Odyssey, whether to confirm the nostalgic ideal of the hero yearning to return to his homeland, or to reaffirm the impetus of the eternal navigator. Nikos Kazantzakis (1883-1957) also incorporates as his prototypical hero the legendary Odysseus, unhappy about returning home, and writes, in the modernity, the epic poem Odyssey (1938), based on the canto XXII and on the verse 477 of Homer‟s poem, and taking Odysseus to a new route when he leaves Ithaca for good. Although based on the classic work, restoring its characters and its epic structure, Kazantzakis takes part of his own time, creating a new Odysseus, now representative of the modern world, and close to the philosophies of Nietzsche and Bergson. As a figure “between worlds”, Kazantzakis‟s Odysseus recovers the old delineations of Homer and incorporates the issues of modernity: nihilism, hopelessness, and multiplicity. However, besides prolonging Odysseus‟ prowess and Homer‟s narrative, Kazantzakis wrote an epic poem of remarkable dimensions –– 33,333 verses of 17 poetic syllables, along 24 Cantos –– contradicting (and reassuring) the innovative intentions of his contemporaries in the first half of the 20th century. In the modernity, epic poetry configures a genre considered to be already exhausted, and which would have given rise to the novel as a genre much more suitable to the modern productions. This research, however, intends to show that the Kazantzakis‟s epopee, even being an anachronism in the modern times and, for many, an affront to aesthetic standards, is, like many of the works of his time, the confirmation of innovative intentions that take place in times of crisis, through the incorporation of a philosophical trajectory of Odysseus based upon Nietzsche‟s heroic nihilism and on Bergson‟s ...(Complete abstract click electronic access below)

Verifica e analisa o encadeamento ideológico utilizado por Homero para ordenar as mortes dos principais heróis gregos do ciclo épico; o ideal guerreiro da bela morte e o ideal heróico da glória imperecível; o destino do homem comum e o destino do herói; a vontade de Zeus e o plano de Zeus; a morte dos heróis; os jogos fúnebres, registrados na Ilíada e na Odisséia. Para a coleta dos dados utiliza-se de leitura sistemática, abrangendo textos de autores antigos e de autores contemporâneos, verificando o comportamento dos helenos do período Homérico diante da morte. Aponta como principais resultados: há um encadeamento ideológico que liga as mortes dos principais heróis homéricos, tecido pelo poeta e baseado no ciclo épico; há um plano de Zeus para eliminar os principais heróis porque as mortes destes heróis causam sofrimento nos deuses; as crenças na vida depois da morte e os processos funerários adotados pelos gregos do período Homérico ainda estavam em formação; os antigos gregos não mantinham uma crença sistemática em uma idéia de ressurreição da alma ou em uma idéia de vida pós-morte. Conclui que há uma diretriz ideológica que ordena a trama épica nos poemas homéricos; esta ordenação leva os heróis a cumprirem seus destinos, seguindo um encadeamento que leva em consideração o grau de honra e excelência guerreira; os ritos fúnebres dos gregos do período Homérico estavam se consolidando e Homero colaborou neste processo de consolidação, que já estava concretizado no período Clássico. / It verifies and analyzes the enchainment ideological used for Homer to order the death of Greek heroes principal of the epic cycle; the warrior ideal of the death beauty and the heroic ideal of the imperishable glory; the fate of the common man and the fate of the hero; the will of Zeus and the plain of Zeus; the death of heroes; the funeral games, registered in the Iliad and Odyssey. The data were obtained through: systematical reading of texts produced by ancients authors and by contemporarys authors, verifying the behavior of the Greeks of the Homeric period in the face of death. It points to as main results: there is a enchainment ideological what tie the deaths of the Homeric heroes principal, weaved for the poet and based in the epic cycle; there is a plain of Zeus to eliminate the heroes principal because the death these heroes cause suffering in the gods; the believe in the afterlife and the funerals processes adopted to the Greeks of Homeric period still were in formation; the Greek ancients not keep one systematic belief in one idea of resurrection of the soul or in one idea of life after-death. It finishes that there is a ideological directrix what order the epic plot in the Homeric poems; this ordering carry the heroes to accomplish their fates, following a enchainment what take into account the degree of the honor and warrior excellence; the funerals rites of the Greeks of Homeric period were consolidating and Homer collaborate in this process of the consolidation, what already was materialized in the Classic period.

Nicolas de Vérone est un poète franco-italien du XIVe siècle, courtisan de Nicolas Ier d’Este, à qui il dédicace, en 1343, une de ses œuvres. Il a écrit 3 poèmes épiques de forme métrique identique mais d’inspirations profondément différentes : la Pharsale (3166 vers) raconte la guerre armée qui opposa César et Pompée en Thessalie pour la maîtrise de Rome, la Prise de Pampelune, ou Continuation de l’Entrée d’Espagne (6116 vers), est un récit qui se rattache à la tradition des aventures de Roland et de Charlemagne en Espagne avant la défaite de Roncevaux et la Passion (994 vers) narre les derniers jours de la vie du Christ.Ces 3 chansons de geste sont rédigées en franco-italien, cette langue hybride purement littéraire et probablement jamais parlée qui permet aux auteurs italiens d’adapter la geste et les héros français à un public aristocratique et bourgeois d’une Italie du Nord déjà pré-humaniste. Chacune puise son contenu à des sources clairement identifiées : les Fet des Romains, compilation française d’histoire ancienne du XIIe siècle, l’Entrée d’Espagne, épopée carolingienne d’un anonyme Padouan, la Chronique de Turpin et les Evangiles, auxquels il convient d’ajouter quelques légendes apocryphes largement répandues au Moyen Age.Les thématiques sont classiques et la lutte armée y occupe une place de choix mais le cadre des aventures narrées est singulièrement novateur en ce qu’il ne conserve aux différents éléments surnaturels de la tradition épique qu’une place minime et purement ornementale : le divin se réduit jusqu’à l’inconsistance et Dieu est un Dieu caché.Cela vient du fait que l’esprit de la chanson de geste est réinterprété à l’aune des conceptions pré-humanistes : le héros épique s’apparente désormais à un personnage romanesque et l’épaisseur psychologique qu’il gagne lui confère un statut nouveau d’homme placé au centre du monde. Le projet politique de Nicolas de Vérone est d’une étonnante modernité et prône une véritable démocratie, à l’image de la République romaine des libertés. Le sens moral de l’œuvre réserve à la prudence une place centrale en en faisant le fondement de toute action juste et droite.C’est que le sens philosophique des textes est lui-même tout à fait inédit : l’auteur concilie les vertus chrétiennes classiques et une sagesse néo-stoïcienne. Ainsi, l’humilité se fait ascèse et la mort héroïque du martyr de la foi s’apparente aux exemples des sages antiques. L’exigence de modération et la volonté de ne s’étonner de rien (nihil mirari) bien loin de la fortitudo épique, ainsi que le respect de sa nature apparaissent comme des impératifs nouveaux. Nicolas de Vérone ne nie pas la difficulté d’un tel idéal et réserve une place, à côté de la vertu absolue du sage, pour une sagesse domestique purement humaine et une parénétique. La morale s’est faite optative. / Nicolas of Verona was a 14th Century Franco-Italian poet, courtier to Nicolas Ist of Estonia, to whom, in 1343, he dedicated one of his works. He wrote 3 epic poems identical in their metrical form but each of profoundly different inspiration: La Pharsale (3166 verses) speaks of the military war between Caesar and Pompey of Thessaly for the control of Rome, la Prise de Pampelune, or Continuation de l’Entrée d’Espagne (6116 verses) is an account which relates to the traditional adventures of Roland and of Charlemagne of Spain prior to the defeat at Roncesvalles and the Passion (994 verses) narrates the last days of Christ.These 3 chansons de geste were written in Franco-Italian, a purely hybrid literary language which was probably never spoken but which enabled Italian authors to adapt la geste and French heroes for a already pre-humanist North Italian aristocratic and bourgeois audience. Each draws its content from clearly identifiable sources: The Fet des Romains, a French compilation of 12th Century ancient history, l’Entrée d’Espagne a Carolingian epic about an anonymous man from Padua, The Chronicles of Turpin and The Gospels to which it would be proper to add certain apocryphal captions commonly used in the middle ages.The set of themes are classical and the military struggle plays an important role but the setting of the adventures which are told is particularly innovative in that it only keeps a minimal and purely ornamental role for the supernatural elements of traditional epic: The divine is reduced to insubstantiality and God is a hidden God.This stems from the fact that the spirit of the chanson de geste was re-interpreted insofar as was possible in the pre-humanist conception. Henceforth the epic hero had similarities to storybook characters and the psychological depth he acquired conferred him a new status that of a man placed in the centre of the world. The political project of Nicolas of Verona was of an astonishing modernity and advocated a true democracy in the image of the freedom of the Roman Republic. The moral sense of the work reserves a central role for caution by making it the foundation of every fair and just action.The philosophical sense of the text is in itself totally original: the author reconciles classical Christian virtues and neo-stoic wisdom. Thus, humility becomes ascesism and the heroic death of the martyr for his faith is allied to that of an ancient sage. The demand for restraint and the determination to be surprised by nothing (nihil mirari), far from the epic fortitudo, as well as the respect for the nature of man appear as new imperatives. Nicolas of Verona doesn’t deny the difficulty of such an ideal and sets it along side that of the absolute virtue of the sage for purely human domestic wisdom and a parenetic. The moral is of the essence.

Centrée sur la thématique de la « fureur héroïque » développée dans le dernier ouvrage écrit en langue italienne par Giordano Bruno, De gli eroici furori (1585), cette recherche explore une double problématique suivant deux perspectives. D’une part, du point de vue historique, quels sont les schèmes philosophiques qui peuvent être considérés comme des conditions de possibilité de l’émergence de la figure du Furioso, le philosophe-poète dont les poèmes et leur commentaire philosophique nous font suivre l’itinéraire affectif et cognitif dans sa poursuite d’une union naturelle et rationnelle avec le principe infini du réel ? Suivant une méthode archéologique, il s’agit de retrouver dans les strates de la culture philosophique des traces précises et exemplaires de la mise en place, de la transmission et de la transformation de ces schèmes fondamentaux chez des auteurs de l’Antiquité, du Moyen Âge ou de la Renaissance. D’autre part, du point de vue conceptuel, comment une expérience psychologique telle que cette rencontre noético-amoureuse, qui n’est jamais totalement aboutie en raison de la disproportion entre « le sujet » et « l’objet », et qui se présente, néanmoins, comme une dissolution de soi dans la disparition de la distinction entre sujet et objet, met-elle en oeuvre, paradoxalement, une constitution de soi ? / Focused on the theme of the “heroic frenzy” developed in Giordano Bruno’s last opus written in Italian language, De gli eroici furori (1585), this work explores a double issue from two perspectives. On the one hand, from an historical point of view, what are the philosophical schemes that may be considered as conditions of possibility for the emergence of the Furioso’s figure, the philosopher-poet whose poems and their commentary lead through a path of affects and knowledge in his own intellectual pursuit of a natural and rational bonding with the infinite principle of reality? Following an archeological method, specific and exemplary traces of these fundamental schemes are found within layers of philosophical culture, throughout works of authors of Antiquity, Middle Ages or Renaissance who set, relayed and modified them. On the other hand, from a conceptual point of view, the process of the Furioso’s psychological experience is studied. His both noetic and loving encounter with the Principle is never completely fulfilled because of the disproportion between “the subject” and “the object”. Nevertheless, it is presented as a dissolution of self by ending the distinction between the subject and the object. How does this experience paradoxically implements a constitution of self?

This study explores the representation of the hero in Lawrence and Andrew Wachowski’s Matrix film trilogy, which comprises The Matrix (Wachowski, Wachowski&Silver 1999), Matrix Reloaded (Wachowski, Wachowski&Silver 2003a) and The Matrix Revolutions (Wachowski, Wachowski&Silver 2003b). Special reference is made to how Neo embodies a postmodern view of heroism. This implies an exploration into the relationship between Neo, the protagonist and hero in the Matrix trilogy, and his mythological predecessors, as well as the relationship between the representation of Neo and ideas concerning heroism. In order to further understand the nature of heroism in the Matrix trilogy, the ideas of two philosophers, namely Friedrich Nietzsche (1844-1900) and Gilbert Keith Chesterton (1874-1936), are explored and compared. It is argued in this study that the heroism presented to the viewer by the Matrix trilogy can be interpreted as being representative of the meeting of the apparently contradictory ideas of these two philosophers. Both of these philosophers, though striving for a heroic ideal, arrived at vastly different conclusions. This study, whilst considering the nature of heroism in these two views, also seeks offer an examination of the relationship that Nietzsche’s and Chesterton’s writings have to one another. This examination is not an attempt to take sides with either of these philosophers, but merely to point out certain aspects of their two distinctive viewpoints as they relate to the films in question. This study especially seeks to investigate the claim that Neo is the embodiment of the Übermensch, the figure that most clearly resembles Nietzsche’s heroic ideal. Chesterton’s views of heroism are referred to in order to counter-balance and contextualise Nietzsche’s views on this. Mainly ethical aspects of the character and narrative of the hero are focused on in this study in order to show, firstly, that these more abstract aspects are implicit in the representation of the hero in the Matrix trilogy, and secondly, that the hero belongs to a moral taxonomy. The final aim of this study is to present a coherent view of the many facets of heroism that incorporates an assessment of how philosophy, ideology and semiology underpin the visual. / Dissertation (MA (Visual Studies))--University of Pretoria, 2007. / Visual Arts / unrestricted

De la céramique italiote du IVe siècle av. J.-C., qui reprend et adapte certains épisodes du cycle d’Achille particulièrement liés à l’univers funéraire (Néréides apportant les armes d’Achille, mort de Troïlos, mort de Penthésilée etc…), en insérant dans les scènes figurées des éléments de la culture locale, au mobilier funéraire étrusque (Tombe François, urnes, sarcophages peints et sculptés), en passant par les miroirs et les cistes prénestines des périodes classiques et hellénistiques, l’existence d’une codification et d’une transmission des schémas iconographiques est clairement visible entre les différentes cultures. Au Ier siècle av. J.-C. et au Ier siècle ap. J.-C., certains épisodes du cycle d’Achille continuent à peupler le répertoire figuré, d’autres disparaissent ne correspondant plus aux nouvelles aspirations des commanditaires et d’autres apparaissent, incarnant des valeurs propres à la culture romaine. A Rome, les sources écrites nous informent sur la présence d’Achille dans la sphère publique (temple de Neptune et Saepta Julia). L’usage de la copie et de la diffusion d’un chef-d’œuvre tel le groupe d’Achille et Chiron, s’insèrent dans une volonté d’imiter l’Urbs, centre du monde méditerranéen. Les peintres renouvellent le répertoire iconographique du cycle d’Achille en créant deux épisodes : la Découverte d’Achille à Skyros et Thétis dans les forges d’Héphaïstos. Ces deux épisodes trouvent un grand succès à Rome (Domus Aurea) et sur les parois des demeures pompéiennes et permettent à la figure d’Achille de se détacher du cycle troyen. Ainsi, le héros grec devient grâce aux adaptations stylistiques et techniques des peintres romains le symbole de la paideia tout en conservant son caractère héroïque / The italiote ceramic the fourth century B. C., which incorporates and adapts some episodes cycle Achilles particularly related to posthumous glorification (Nereids bringing the arms of Achilles, Troïlus death, death of Penthesilea, etc…) by inserting the figurative scenes elements of the local culture, in Etruscan funerary (François Tomb, urns, sarcophagi carved and painted) through mirrors an prenestines cysts, Classical and Hellenistic periods, the existence of a consolidation and a transmission of iconographic patterns with clearly visible between different cultures. The first century B. C., and the first century A. D., some episodes of Achilles cycle continue to populate the figurative repertory, others dissapear no longer corresponded to the new aspirations sleeping partners while others appear embodying specific Roman culture values. In Rome, written sources inform us about the presence of Achilles in the public sphere (Temple of Neptune and Saepta Julia). The use of copy and distribution of a masterpiece such as Achilles and Chiron group, are part of a desire to imitate the Urbs, the center Mediterranean world. Painters renew the iconography of Achilles cycle by creating two episodes: The Discovery of Achilles in Skyros and Thetis in the forges of Hephaestus. These two episodes are a big success in Rome (The Golden House) and on the walls of Pompeian houses and allow the figure of Achilles to detach from the Trojan cyle. Thus the Greek hero becomes through stylistic and technical adaptations of Roman painters symbol paideia while maintaining his heroic character.

No description available.

Released in 2019, the video game Death Stranding follows the monomythic structure described by Joseph Campbell in his 1949 book The Hero with a Thousand Faces. The journey begins with the protagonist, Sam “Porter” Bridges, reluctantly accepting his calls to adventure, and, as he begins to move west, he receives supernatural aid from an increasing number of helpers he encounters along the way. Crossing the thresh-old, into the world of danger and adventure, has him meeting the threshold guardian Higgs, the primary antagonist of the game. During this first stage, the player of the game learns how to control Sam’s movements and how to navigate this world to-gether with the Bridge Baby known as Lou, who helps Sam on his journey. The second stage of the journey has Sam moving through a road of trials, overcoming both the physical obstacles of the terrain and the emotional obstacles of the people he helps along the way. He is at one point tempted to adopt the Bridge Baby Lou, his primary helper, but resists said temptation and continues on his jour-ney, until he is finally reunited with his sister, Amelie, who is threatening to end hu-manity in an extinction event. The lessons he has learnt on his journey – to focus on helping others and only using violence when the situation calls for it – leads him to his apotheosis, which is the realization of the value of other people and the relation-ships between them. With this realization, and Sam’s physical manifestation of it in his embracing of Amelie, convinces her that humanity deserves to live to die another day, and so the world is saved from falling into ruin. The third stage of Sam’s journey has him struggling to return home, aided at long last by the help of the friends he made on his journey. Sam, however, is uninter-ested in the world he helped save, and aims to return to his life of solitude. Upon his atonement with his father, however, he resolves this internal conflict and he is now free to live life as he wishes – as a father to the now freed baby Lou. The use of game mechanics in Death Stranding ultimately provides the player with alternatives to violence, giving way to a narrative that can contain as-pects of the monomythic hero that are not exclusively related to the typical warrior hero seen in most action games. Instead, the game frames the tools of the warrior as the stepping-stone to the hero as lover, who uses more peaceful means to achieve their goals. This exemplifies the potential of the video game medium as a platform for the monomyth, and how games could come to encompass a wider variety of he-roic figures than those currently available. / Tv-spelet Death Stranding, som släpptes 2019, följer den monomytiska strukturen som beskrivs av Joseph Campbell i hans bok från 1949, The Hero with a Thousand Faces. Resan börjar med att huvudpersonen Sam "Porter" Bridges motvilligt accepterar hans uppmaningar till äventyr, och när han börjar färdas västerut får han övernaturlig hjälp från ett antal personer han möter på vägen. När han korsar tröskeln, in i en värld av fara och äventyr, möter han tröskelväktaren Higgs, spelets främsta antagonist. Under detta första steg lär sig spelaren hur man kontrollerar Sams rörelser och hur man navigerar i denna värld tillsammans med en Bridge Baby känd som Lou, som hjälper Sam på hans resa. Den andra etappen av resan rör sig Sam genom en väg av prövningar och övervinner både de fysiska hindren i terrängen och de känslomässiga hindren för de människor han hjälper på vägen. Han är vid ett tillfälle frestad att adoptera Lou, hans främsta medhjälpare, men motstår nämnda frestelse och fortsätter på sin resa, tills han slutligen återförenas med sin syster, Amelie, vars förmågor hotar att göra slut på mänskligheten i en utrotningshändelse. Lärdomarna han har fått sig på sin resa – att fokusera på att hjälpa andra och bara använda våld när situationen kräver det – leder honom till hans apoteasis, som är insikten om värdet av andra människor och relationerna mellan dem. Denna insikt, och Sams fysiska manifestation av det i hans omfamning av Amelie, övertygar henne om att mänskligheten förtjänar att leva för att dö en annan dag, och så räddas världen från att falla i ruin. Under den tredje etappen av Sams resa får han kämpa för att återvända hem, äntligen med hjälp av vännerna han fick på sin resa. Sam är dock ointresserad av världen han hjälpte till att rädda och siktar på att återvända till sitt liv i ensamhet. Efter sin försoning med sin far löser han dock denna interna konflikt och han är nu fri att leva livet som han vill – som en far till den nu frigivna babyn Lou. Användningen av spelmekanik i Death Stranding ger i slutändan spelaren alternativ till våld, vilket ger vika för ett narrativ som kan innehålla aspekter av den monomytiska hjälten som inte enbart är relaterade till den typiska krigarhjälten som ses i de flesta actionspel. Istället ramar spelet in krigarens verktyg som språngbrädan till hjälten som älskare, som använder mer fridfulla medel för att uppnå sina mål. Detta exemplifierar potentialen hos videospelsmediet som en plattform för monomyten, och hur spel kan komma att omfatta ett bredare utbud av heroiska figurer än de som finns tillgängliga för närvarande.