Une lecture attentive du 'Mémoire sur diverses manifestations de la vie individuelle' de Gobineau, l’ouvrage le plus injustement méconnu de Gobineau, permet d’y repérer l’influence de la mystique Shî ite, et plus précisément de la philosophie orientale de Mollâ sadrâ qui en constitue la clé. Elle permet également non seulement de remettre l’'Essai sur l’inégalité des races humaines' à sa place dans l’œuvre de l’auteur, et de lui rendre ainsi justice ; mais elle en révèle aussi la profonde unité, elle-même indissociable de la vie de Gobineau et de sa vie éminemment romanesque. / Attentively deliberating 'Mémoire sur diverses manifestations de la vie individuelle', the unfairly least known work of Gobineau, we discover the influence and inspiration he receives from Shi ite mysticism, and more precisely from the oriental philosophy of Mollâ Sadrâ, which is the key code to comprehend this work. It not only returns 'Essay on the Inequality of the Human Races' to its proper place among the author's works, but also does him the justice he deserves. It also reveals his profound integrity, the indivisible feature of Gobineau's life and its eminently fictional dimension.

Esta dissertação de mestrado é resultado da apreciação crítica de seis gravuras de Salvador Dalí para os livros Inferno e Paraíso, da Divina Comédia de Dante Alighieri. Para o Inferno selecionamos: Canto XIV - Os Blasfemos; Canto XXIII - Os Hipócritas; e Canto XXIX - Os Causadores de Discórdias. Para o Paraíso optamos por: Canto XI - A Poeira das Almas; Canto XII - São Boaventura Fala a Dante; e Canto XX - A Constelação dos Espíritos Abençoados. As gravuras foram selecionadas de modo a proporcionar o melhor cenário possível para a comparação, uma vez que a proposta de Salvador Dalí para a narrativa de Dante mostra-se específica para cada livro da Comédia. Com o propósito de tornar a comparação efetiva, optamos por uma análise formal alicerçada em manifestos, diários e produções em outros suportes que não somente o da gravura. Esperamos contribuir com um debate ainda em formação sobre significados, bem como contribuir para a produção de conhecimento acadêmico sobre a circulação dessa obra em território nacional. / This dissertation represents the results of a critical appraisal for six prints by Salvador Dalí of Hell and Paradise books from Dante Alighieri\'s Divine Comedy. For Hell we have selected: Canto XIV - The Blasphemers; Canto XXIII - The Hypocrites; and Canto XXIX - The Causing of Disagreements. For Paradise we have chosen: Canto XI - The Dust of Souls; Canto XII - St. Bonaventure Speaks to Dante; and Canto XX - The Constellation of Blessed Spirits. The pictures were selected to provide the best possible scenario for the comparison, since Salvador Dalí\'s proposal to Dante\'s narrative appears to be specific to each book of the Comedy. In order to do an effective comparison, we have chosen not only engravings, but a formal analysis based on manifests, journals and other media productions. We intent to improve with discuss about meanings of Dali\'s work as an illustrator for the Divine Comedy, as well as contribute to the production of academic knowledge of the circulation of its content in Brazil.

L'expérience mystique n'est pas étrangère à la notion de plaisir spirituel. Mais quels sont lesmodes d'expression littéraire de ce plaisir à travers la diversité des écoles et des traditionsmystiques? On se propose, dans ce travail, d'interroger deux moments particulièrement richeset intenses dans l'histoire de la mystique universelle : la poésie mystique persane du XIIIesiècle, et la littérature spirituelle française du premier XVIIe siècle. Le corpus comprend unouvrage majeur de la poésie mystique persan, lu dans la langue originelle : le Dîvân de Djalalod-dîn Rûmî et une oeuvre emblématique de la mystique française: l'Épithalame de Jean deSaint-Samson. Bien qu'appartenant à des époques et à des sphères culturelles profondémentdifférentes, ces textes présentent des caractéristiques communes qu'il s'agira d'analyser, tantsur le plan de l'écriture que sur celui de la spiritualité. L’imaginaire du corps, en particulier,comme aussi le symbolisme métaphorique feront l'objet d'une enquête spécifique. Cette étudecomparative permettra d'élucider les courants souterrains d'un langage mystique qui s'inscritcertes dans telle ou telle tradition spirituelle, mais qui ignore, paradoxalement, les frontièresusuelles de l'orthodoxie confessionnelle. / The mystical experience is not foreign to the concept of spiritual pleasure. But what are themodes of the literary expression of pleasure amongst the diverse schools and mysticaltraditions? In this work, we examine two specific rich, and intense periods in the history ofuniversal mysticism: Persian mystical poetry of the thirteenth century and French spiritualliterature of the first half of the seventeenth century. The corpus includes a major work ofPersian mystical poetry, read in its original language, Divan of Jalal ad-Din Rumi and theemblematic work of the French mystic Jean de Saint-Samson, Epithalame. Although theybelong to profoundly different times and cultural enviroments, these texts have commonspiritual and literary characteristics. We will analyze these similarities, with particular focuson the fantasy of the body as metaphorical symbolism. This comparative study will elucidatethe undercurrents of a mystical language which exposes a unique spiritual tradition, butignores, paradoxically, the usual boundaries of religious orthodoxy.

Made available in DSpace on 2017-06-01T18:12:52Z (GMT). No. of bitstreams: 1 adriana_barata_santos_figueira.pdf: 731010 bytes, checksum: 0aa615cff01e2cb4341d46c54bf227df (MD5) Previous issue date: 2014-12-15 / Currently live a culture marked by satisfaction of individual wishes. This fact has influenced many aspects of life in society, including in the field of religion. The present work investigates the human subjectivity to it, placing the man in contemporary times, immersed in the transience of relationships and attitudes, is checked as the spirituality presents itself in your life. From a rereading of the religious phenomenon and a new look about this experience that "you don't know where it comes from or where it goes," considered here according to the vision of Vannini (2005) an experience of the spirit, the religiosity enters the lives of people no longer as an illusory and misleading experience as was advocated for a long time. She goes on to meet the new demands requested by this new man. / Vive-se atualmente uma cultura marcada pela satisfação dos desejos individuais. Esse fato tem influenciado diversos aspectos da vida em sociedade, dentre eles, do campo da religiosidade. O presente trabalho investiga a subjetividade humana para que, situando o homem na contemporaneidade, imerso na efemeridade de relações e atitudes, seja verificada como a espiritualidade se apresenta em sua vida. A partir de uma releitura do fenômeno religioso e de um novo olhar sobre essa experiência que você não sabe de onde vem, nem para onde vai 1, considerada aqui segundo a visão de Vannini (2005) uma experiência do espírito, a religiosidade entra na vida das pessoas não mais como uma experiência ilusória e enganadora como foi preconizada por muito tempo. Ela passa a atender a novas demandas solicitadas por esse novo homem.

This study aims to articulate on the basis of Jean-Luc Marion's philosophy a mystical interpretation of subjectivity. The first chapter follows Marion's reading of the history of metaphysics, in order to set-up the transcendental conditions of the mutual exclusion of God and the self. The second chapter takes up Marion's alternative to expand the field of philosophical rationality which metaphysics had limited. Marion proposes a phenomenology of givenness to overcome the limits of metaphysical thought. The final chapter attempts to establish a link between mysticism, understood in the specific sense of the primacy of the Good over Being, and the gifted, or the new figure of subjectivity. keywords : Jean-Luc Marion, history of metaphysics, phenomenology of givenness, saturated phenomenon, mystical theology

Julia Palmer, a little-known religious poet, composed two centuries-collections of one hundred poems intended to be sung as hymns-in the two years between 1671 and 1673. Palmer's manuscript is unique in that its author was perhaps the only self-taught Nonconformist woman to have composed centuries during the Restoration period. Although religion shaped the lives of most British citizens at the time, the public literary expression of spiritual experiences-particularly by middle-class women-was uncommon within conventional Puritanism. The poetry's hybrid of forms, proliferation of religious themes, and undertones of political subversion offer an important glimpse into the way Puritan women writers of the seventeenth century manipulated literary discourse to meet their needs. Palmer negotiates contemporary sociopolitical issues by using poetic forms and themes consistent with biblical, puritan, and social standards. Palmer's centuries fuse the seventeenth-century spiritual journal with the eighteenth-century hymn. Applying the personal introspection of the journal to public worship would not become customary until the eighteenth century. This thesis analyzes Palmer's poetry in light of other Restoration writing as well as religious, sociopolitical, and gendered contexts in order to position it as an early form of eighteenth-century Dissenting poetry.

Author: Charlotte Hedberg Affiliation: Stockholm School of Theology- University College Stockholm The inner revolution  A pilot study of Existential health in relation to mystical experience. The aim of the pilot study is to investigate five individuals self-rated health in relation to the existential aspects in secular contexts. Intensive experiences often lead to a new way of looking at life and a new orientation in life. The study builds on five qualitative interviews and theories of mysticism, existential health as well as alexithymia. The empiric material is analyzed through Pahnkes nine typologies for mystical experience aswell as the existential health facets stated in WHOQOL-SRPB.  The study found that all of the participants had experienced an increased self-rated existential health after their mystical experiences. The conclusion of the study states that mystical experiences has been positively affecting self-rated existential health in all eight existential health facets stated in WHOQOL-SRPB.  The results are discussed by adding theories of alexythymia and the role of interpretation.

[pt] A presente tese nasceu da seguinte observação: o leitor de literatura, ao se deixar levar pela obra, atendo-se ao seu ritmo, à sua ambiência, enfim, à sua trama, não disponibilizando demais a sua atenção para o sentido que subjaz ao texto, vivenciará momentos de verdadeira intensidade, pois estará inteiramente envolvido com o universo ficcional, a ponto de sentir a presença tangível daquilo que é evocado pela obra; o místico, ao colocar sua atenção na presença do divino, buscando adentrar em seu mistério, envolver-se-á a tal ponto com esta atmosfera sagrada que poderá vivenciar momentos intensos da presença realmente palpável de Deus. O cerne destas vivências está na relação espacial que o leitor tem com o texto e que o místico tem com o divino. Na tese, esta relação espacial é denominada de produção de presença, seguindo as concepções do teórico literário, Hans Ulrich Gumbrecht, sobre o tema. Demonstrar-se-á no decorrer dos capítulos deste trabalho a conjugação entre vivência mística e vivência estética, tendo por base os conceitos sobre os efeitos de presença. O liame entre estas vivências será abordado na tese a partir da leitura não interpretativa de crônicas e poemas de Cecília Meireles; procurou-se, a partir dos referidos textos, fazer apreciações que buscarão apontar os caminhos para os referidos momentos de intensidade. Por fim, cabe observar que as vivências estética e mística se dão a partir de verdadeiros exercícios práticos em que se destacam a educação dos sentidos e a disposição para contemplação, que em nível religioso está relacionado à busca de atenção no divino, e, em instâncias literárias, é a busca de uma concentração na obra, tendo em vista o encantamento, a apreciação e o deslumbramento por aquilo que é lido. / [en] The present thesis was born of the following observation: the reader of literature, by letting himself be carried away by the work, attending to its rhythm, its ambience, finally, to its plot, not giving too much attention to the sense that underlies to the text, he will experience moments of true intensity, because he will be totally involved with the fictional universe, to the point of feeling the tangible presence of what is evoked by the work; the mystic, by placing his attention in the presence of the divine, seeking to enter into his mystery, will be so deeply involved in this sacred atmosphere that he may experience intense moments of the truly palpable presence of God. The core of these experiences lies in the spatial relationship that the reader has with the text and that the mystic has with the divine. In the thesis, this spatial relationship is called production of presence, following the conceptions of the literary theorist, Hans Ulrich Gumbrecht, on the subject. In the course of the chapters of this work, the conjugation between mystical experience and aesthetic experience will be demonstrated, based on the concepts about the effects of presence. The link between these experiences will be approached in the thesis from the non-interpretative reading of Cecília Meireles chronicles and poems; From these texts, we sought to make judgments that will seek to point out the paths to the mentioned moments of intensity. Finally, it should be noted that the aesthetic and mystical experiences come from real practical exercises in which the education of the senses and the disposition for contemplation are emphasized, which on a religious level is related to the search for attention in the divine, and in instances literary, is the search for a concentration in the work, in view of the enchantment, the appreciation and the amazement by what is read.

Thesis (MTh)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This study argues that rape is an instrument of patriarchy, functioning in the same way as torture to keep patriarchal power hierarchies intact. Rape robs women of their voices, making and keeping them invisible. The body is a symbol for power and the female body represents patriarchal angst about losing power. The development of ontologies of body over the ages is traced, showing how these ontologies eventually led to the dualistic devaluing of the body. The body came to be seen as a commodity while the so-called inner or spiritual world became the body of theology. The body of Christ in 1 Corinthians is analysed, showing how Paul placed the body in the centre of theology and Christian life, while he simultaneously undermined the seemingly natural societal hierarchies by (re)constructing the body of Christ in a subversive way. The body of Christ re-members (remembers and reconstructs) the body in a way that controverts the abuse of women’s bodies. By subverting patriarchy’s power hierarchies, by valuing bodies and thereby making them visible, by transforming bodies and by imagining a body beyond patriarchy, the body of Christ re-members the social and individual body in a way that resists the violently abusive patriarchal body. / AFRIKAANSE OPSOMMING: Hierdie studie argumenteer dat verkragting ’n instrument van patriargie is. Verkragting funksioneer op dieselfde manier as marteling met die doel om patriargale mag-strukture in stand te hou. Verkragting beroof vroue van hul identiteit en maak en hou hulle sodoende onsigbaar. Die liggaam is ‘n simbool van mag en die vroulike liggaam verteenwoordig patriargale angs oor magsverlies. Die ontwikkeling van liggaamsontologieë word nagespeur om aan te toon hoe hierdie ontologieë uiteindelik ontwikkel het tot ’n dualistiese devaluasie van die liggaam. Die liggaam is gesien as ’n kommoditeit, terwyl die sogenaamde innerlike of geestelike wêreld die liggaam van teologie geword het. Die liggaam van Christus in 1 Korintiërs word geanaliseer, om aan te toon hoe Paulus die liggaam in die sentrum van die Christelike lewe geplaas het, terwyl hy terselfdertyd die oënskynlik natuurlike samelewingshiërargieë ondermyn deur die liggaam van Christus op subversiewe wyse te (her)konstrueer. Die liggaam van Christus onthou en rekonstrueer die liggaam op so ‘n wyse dat dit die misbruik van vroue se liggame opponeer. Deur patriargie se magstrukture te ondergrawe, deur liggame te waardeer en hulle sodoende sigbaar te maak, deur liggame te transformeer en deur ’n liggaam anderkant patriargie voor te stel, onthou en rekonstrueer die liggaam van Christus die gemeenskaplike en individuele liggaam op ’n manier wat die gewelddadige misbruik deur die patriargale sisteem teëstaan.

This thesis examines the thought of Joan of Arc for categories of identity paving the way to modern nationalism. The underlying model for this undertaking is Ernst Kantorowicz's theory of the increasing depersonalization or abstractness of power. With this model as a guide, this thesis proposes a set of categories of identity on which the process of change put forward by Kantorowicz can be tracked. The thesis then classifies, against this backdrop, the individual categories as either progressive, i. e. abstract, or concrete, i. e. dependent on the older ideas of power and kingship, arguing that the concrete categories may be associated with the principles of popular mentality as described by Aron Gurevich. It turns out, however, that clear-cut criteria distinguishing concrete and abstract categories are difficult to establish and, at the end of the day, we have to settle for a simplifying and not entirely satisfactory classification. The analytical part of the thesis then examines what instances of categories of identity can be found in the minutes of the interrogation of Joan of Arc. The overwhelming majority of these categories of identity, it turns out, fall under the 'concrete' label. Such a result seems to correspond very well with the Gurevichian idea of difference, although by no means an absolute...