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O presente estudo propõe-se a explorar a carga de afinidades entre a poesia de Adélia Prado e a obra de Guimarães Rosa Grande sertão: veredas. Os aspectos característicos da poeta, que se aproximam e se afastam daqueles do escritor, mostram uma poética em que se reconhece a presença do romance, que a própria Adélia Prado assume como matriz de inspiração de seu fazer poético. Posteriormente, a pesquisa particulariza-se em relacionar trechos do romance rosiano a alguns poemas de Poesia Reunida e A duração do dia, em que a autora, movida pela percepção híbrida do sagrado em meio ao cotidiano, faz uso da linguagem como canal de passagem do imanente para o transcendente e da relação possível entre a experiência mística e a poesia, configurando-se para a poeta Grande sertão: veredas como sua Bíblia Literária. / The present study proposes to explore the burden of affinities between the poetry of Adelia Prado and the work of Rosa Grande sertão: veredas. The characteristic features of the poet, that approach and recede from those of the writer, show a poetics which recognizes the presence of the novel, which takes itself as matrix Adelia Prado inspiration of his poetic. Subsequently, research particularizes in excerpts of the Rosa\'s novel relate to some poems of Reunited Poetry and The duration of the Day, in which the poet, driven by the perception hybrid of the sacred amid the everyday uses of language as a channel for passage of immanent to the transcendent and the possible relationship between mystical experience and poetry, becoming Grande sertão: veredas as \"Literary Bible\" for her.

L’étude des disciples de Philippe permet de souligner l’importance de la fonction « pharmakologique » du religieux : le magnétisme était la force mystérieuse et parfois inquiétante qui permettait de rétablir l’équilibre des fluides. Le christianisme des disciples de Philippe les portait à souligner l’importance de la prière et à imaginer un magnétisme supérieur, un « magnétisme spirituel », mais ils gardaient souvent la terminologie magnétique : il était encore question de « fluides », de « rayons » et d’ « énergies ». Les différents acteurs, très influencés par l’occultisme de leur temps, importèrent en fait des éléments exogènes au sein d’un ésotérisme occidental originellement chrétien, tels le magnétisme animal et les spéculations orientalisantes des Théosophistes anglo-saxons pour préfigurer, en fin de compte, la nébuleuse « mystique ésotérique » des courants plus ou moins liés au New Age de la deuxième partie du XXe siècle. / Studying the disciples of Philippe makes it possible to underline the importance of the "pharmakologic" function in religion: magnetism was the mysterious and sometimes troubling force that made it possible to restore balance to the fluids. The Christianism of the disciples of Philippe led them to underline the importance of prayer and to imagine a superior magnetism, a "spiritual magnetism", but they often retained the magnetic oriented terminology: there were still "fluids", "rays" and "energies". The various actors, highly influenced by the occultism of their time, actually imported exogenous elements into a Western esotericism that was originally Christian, such as animal magnetism and the Easternising speculations of the Anglo-Saxon Theosophists in order to foreshadow, in the end, the "mystic-esoteric nebulous" of trends more or less tied to the "New Age" of the second half of the 20th century.

On a souvent défini le soufisme comme le voyage de l’esprit, dont le but est de chercher la vérité et de percer l’opacité de monde des mystères. Ainsi, dans son interprétation de l’existence, Ibn ‘Arabi estime que le monde est créé à partir d’un souffle divin : « Sois » (Kun), adressé aux êtres afin qu’ils sortent hors de la préexistence pour entamer une existence effective. Cette interprétation laisse admettre que le monde naquit de la langue et que toutes les créatures sont issues de cette parole. Ainsi, l’ordre divin est une parole (kalima) et toute parole est blessante, notamment parce que le mot « kalima » est dérivé du kalam (blessure). Selon Ibn ‘Arabi, le kalam est la trace laissée sur le blessé. Dans ce cadre, l’ordre divin « sois » (Kun), en rendant manifeste les images de la préexistence, devient une blessure créatrice.Meddeb et Khatibi suivent les mêmes voies qu’Ibn ‘Arabi. Ils ont investi la notion de blessure pour construire une vision du monde. Leur expérience consiste à affranchir l’homme des entraves qui réduisent sa liberté et sa mobilité sous toutes leurs formes. Mais cette expérience s’applique à transgresser la loi pour pouvoir accéder à la vérité. En effet, la vérité que cherchent nos auteurs est différente de la religion et de la raison qui entravent l’homme. Pour transcender le préconçu afin de créer un monde nouveau, Meddeb et Khativi sont partis de la blessure de la langue puisque la culture arabe est fondée sur la lettre et le miracle linguistique, sur la langue coranique comme idéal. Ils se sont intéressés à la langue, depuis la lettre jusqu’à la phrase et au texte. Dans leur cheminement, ils ont opté pour le mélange des langues, une attitude qui vise à déposséder la langue arabe de sa pureté et de sa vérité divine pour la rendre à l’homme. Afin toujours de rendre la langue à l’histoire, ils sont passé de la langue coranique à la quête d’un autre idéal dans les traces que propose la poésie antéislamique, l’image du corps, les rituels et les métaphores. Ce métissage linguistique, culturel et religieux aboutit ainsi à une autre vision du monde. En effet, cette autre vision correspond à la reconstitution d’une forme de totalité humaine qui coïncide avec la littérature et la diversité des langues contre une totalité divine incarnée dans le Coran et le mysticisme religieux. Dans cet ordre d’idées, prôner la totalité, l’amour et la reconnaissance de l’autre devient une réponse au conservatisme islamiste et donne une nouvelle image de l’islam, différente de celle brouillée de violence. Ainsi, Meddeb et Khatibi repensent quelques convictions considérées comme fondamentales dans la religion islamique, mais qui le figent dans la violence et l’enfermement. Ainsi, le mysticisme s’écarte de Dieu pour devenir un moyen de penser un humanisme dans un monde en crise. / Sufism has often been defined as a journey of the mind, the purpose of which is to seek the truth and pierce the opacity of the world of mysteries. Thus, in his interpretation of existence, Ibn 'Arabi believes that the world is created from a divine breath: "Be" (Kun), addressed to beings so that they go out of pre-existence to begin a true existence. This interpretation suggests that the world was born of language and that all creatures are born of this word. Thus, the divine order is a word (kalima) and every word is offensive, especially because the word "kalima" is derived from kalam (wound). According to Ibn 'Arabi, kalam is the scar left on the wounded. In this context, the divine order "be" (Kun), by making manifest the images of pre-existence, becomes a creative wound.Meddeb and Khatibi follow the same path as Ibn 'Arabi. They have supported the notion of injury to build a vision of the world. Their experience is to free man from all the shackles that reduce his freedom and mobility. But this experience is applied to transgressing the law to be able to access the truth. Indeed, the truth that our authors seek is different from the religion and reason that hinder man. To transcend the preconceived idea of creating a new world, Meddeb and Khatibi built their arguments on the wound of language since the Arab culture is based on the letter and the linguistic miracle, on the Koranic language as an ideal. They were interested in the language, from the letter to the sentence and the text.In their journey, they opted for the mixing of languages, an attitude that aims to deprive the Arabic language of its purity and its divine truth in order to give it to mankind.In order to always make language history, they have moved from the Koranic language to the quest for another ideal in the traces of pre-Islamic poetry, the image of the body, rituals and metaphors.This linguistic, cultural and religious cross-fertilization leads to another vision of the world. Indeed, this other vision corresponds to the reconstitution of a form of human totality that coincides with literature and the diversity of languages against a divine totality incarnated in the Koran and religious mysticism. In this vein, advocating totality, love and recognition of the other becomes a response to Islamist conservatism and gives a new image of Islam, different from that blurred with violence. Thus Meddeb and Khatibi are redefining some beliefs that are considered fundamental in the Islamic religion, but that consign it to violence and confinement. Thus, mysticism deviates from God to become a means to humanism in a world in crisis.

This thesis examines the theme of desert as literary environment in modern Arabic short story. The aim of this thesis is to analyze the short story's texts dealing with the desert. This topic will be approached in terms of semantic-symbolic analysis, which will be matched by the relationship between nature and the environment as a landscape, and nature as a source of mythological and fantastic ideas, which are reflected in the life of literary figures and story construction. The work includes a search for an answer to the question of what is the diference between the author who has direct access to the desert and the other one who deals with urban or other environments according to the geographic origin. The work is divided into three parts, which then develop symbolic, mythological and anthropological analysis of selected texts. Key words: desert, Ibrahim al-Koni, symbols, mysticism, modern Arabic literature

This journey based narrative inspired by the traditional narrative of the Major Arcana cards in the tarot, centers on The Fool and his interactions with the rest of the Major Arcana. The Fool’s journey centers on memory, regaining personal power, admitting and accepting weakness, and creating a personal place in relation to a larger world. This evolution throughout the journey is explored through detailed repeating imagery and symbols drawn from a mixture of traditional tarot imagery and the author’s personal image set created for this narrative.

Daniel Faria (1971-1999) est l’auteur de trois livres de poésie, Explicação das Árvores e de Outros Animais ; Homens que São Como Lugares Mal Situados et Dos Líquidos, publiés pour la première fois chez un éditeur à la visibilité réduite, Fundação Manuel Leão. L’intérêt littéraire de son œuvre est avéré, mais cette dernière souffre encore d’un manque d’attention. Entre la perspective théologique qui tend à épuiser l’œuvre, à la circonscrire, les lectures passionnelles où il n’est plus question de la poursuite d’un sens, de la quête de la dimension herméneutique, et quelques articles littéraires, la poésie de Daniel Faria accuse, du point de vue du travail universitaire, un réel déficit. Pour lever l’indétermination dans laquelle se trouve la poésie de Daniel Faria et ainsi échapper aux risques d’une extension de lectures qui tendent, avec précipitation, vers l’idée première d’une œuvre incompréhensible, sensible en cela à la seule question de l’expérience du transcendant, notre étude se propose de suivre la démarche herméneutique qui garantit le statut fondamental d’altérité du texte. L’objectif est dès lors relativement clair : soustraire l’œuvre poétique de Daniel Faria de toute expérience affective, resituer sa poésie, la repositionner dans le champ des études littéraires pour enfin arriver à une lecture plus pertinente de son œuvre, au plus près de la vérité textuelle de l’œuvre. Tel est l’enjeu de cette étude : préciser la portée de cette poésie, en soulignant la constance et la cohérence d’une réflexion qui associe expérience poétique et expérience mystique, et élucider leurs rapports sans déposséder l’expérience mystique de son essence propre. / Daniel Faria is the author of three books of poetry, Explicação das Árvores e de Outros Animais ; Homens que São Como Lugares Mal Situados et Dos Líquidos, published for the first time at a editor at the reduced visibility, Fundação Manuel Leão. The literary interest of its work is proved true, but the latter still suffers from an inattention. Between the theological prospect which tends to exhaust the work, to confine it, the passionate readings where it is not any more question of the pursuit of a sense, a quest of the hermeneutic dimension, and some literary articles, Daniel Faria's poetry accuses, from the point of view of the university work, a real deficit. To raise the indecision in which is Daniel Faria's poetry and so to escape the risks of an extension of readings which aim, with haste, towards the first idea of an incomprehensible, sensitive work in it at the only question of the experience of the transcendent, our study suggests following the hermeneutic approach which guarantees the fundamental status of otherness of the text. The objective is relatively clear from then on: shield Daniel Faria's poetic work of any emotional experience, re-place its poetry, reposition it in the field of the literary studies to arrive finally at a more relevant reading of its work, as closely as possible to the textual truth of the work. Such is the stake in this study: specify the reach of this poetry, by underlining the constancy and the coherence of a reflection which associates poetic experience and mystic experience, and to clarify their reports without dispossessing the mystic experience of its appropriate essence.

Ces deux volumes présentent les résultats de recherches doctorales dans le domaine de la philosophie illuminationiste (ishrâqî). Le premier volume contient lédition cri-tique du Kitâb al-rumûz wa-l-amthâl al-lâhûtiyya fî l-anwâr al-mujarradat al-Malakûtiyya (Le livre des symboles et des paraboles divines à propos des lumières immatérielles du Malakût), un traité de noétique composé au XIIIème siècle AD par al-Shahrazûrî al-Ishrâqî. Ce premier volume comporte également une description et une tentative de classification des manuscrits ayant servi à létablissement de la stemma. Le second et présent volume offre une brève introduction à la vie et luvre de lauteur ainsi quune analyse détaillée déléments tant internes quexternes visant à confirmer lattribution de ce traité à al-Shahrazûrî, à soutenir lhypothèse de sa dimension illu-minationiste, objet de ces recherches, et à tenter de proposer une fourchette de da-tes pour la composition de cet ouvrage. La seconde partie de ce volume consiste en la première traduction annotée de ce traité en une langue occidentale, à savoir le français. These two volumes present the results of doctoral researches in the field of illumi-nationist (ishrâqî) philosophy. The first volume displays the critical edition of the Kitâb al-rumûz wa-l-amthâl al-lâhûtiyya fî l-anwâr al-mujarradat al-Malakûtiyya (the Book of the divine symbols and parables about the immaterial lights of the Malakût), a noetical treatise composed in the XIIIth century AD by al-Shahrazûrî al-Ishrâqî. This first volume also contains a description and an attempt of classification of the manuscripts used for the establishment of the stemma. The second and present vol-ume offers a brief introduction to the life and work of the author as well as a de-tailed analysis of internal and external elements aiming to confirm the attribution of this treatise to al-Shahrazûrî, to support the hypothesis of its illuminationist dimen-sion, subject of these researches, and to tempt to propose a range of dates for the composition of this work. The second part of this volume consist in the first anno-tated translation of this treatise in a Western language, i.e. French.

In our modern world, a signifi cant number of traditional values have been dramatically manipulated, taking on new meanings and definitions quite diff erent from their original or natural signifi cance. Moreover, these traditional values are being replaced by new ones deemed more suitable to today’s world. Ideas such as selfl essness, humility, and longing, among others, have seemingly lost value as a consequence of the frantic pace of modern life and replaced by self-centredness, greed,aridity, exteriority, which will have a direct impact on our surrounding environment. Let’s imagine a land in which selfi shness is not a priority. Instead, replace it with a society driven by humane preferences. Would the architecture of that society still look like ours does today? Would it be as unsociable as it is in our so-called advanced civilization? This thesis investigates this query through a juxtaposition of the traditional values of a Persian art with the demands of modern life. It is a study of the calligraphic art of Iran as a transcendental practice, highly intertwined with strong emotions, wherein the intention of the research is to discover the relationship between Persian calligraphy and architecture. Presenting calligraphy as a context for understanding architecture has the potential to get beyond ourselves in the spaces we author. This research aims to allow the essence of Persian calligraphy into modern space as a means to revive the true essence of architecture: reunion of feeling and space, a concept that is given too little attention in our current architecture.

This thesis is a comparison of the philosophical systems of Zen Buddhism, which is an Eastern Philosophy, with Ludwig Wittgenstein&rsquo / s philosophical studies, who is an extraordinary name of the Western Philosophy in the 20th century. The history and sources of Zen Buddhism were given with its adoption in the use of language and arts. Besides, this study exemplifies the philosophy of Zen Buddhism with the examples from the life story of Wittgenstein. The thesis is written with a full awareness of the sensitivity of comparing different systems which always embody counterexamples and speculations. This is the reason why speculative ideas and resources were deliberately ignored. The aim is to contribute the cultural life of Turkey by taking such a subject to the academic milieu. Moreover, Turkey is the passage of the East and the West both geographically and culturally. There are resemblances between Zen and Wittgenstein by means of method and the useof language. Furthermore, it was given the names of the books that Wittgenstein read and the philosophers who influenced Wittgenstein. The parallels between Zen and Wittgenstein are justified.