Summary: The focus of the thesis with the topic The comparation of women's characters in fairy tales and proses of Božena Němcová is compared female characters in selected Czech and Slovak fairy tales and proses of Božena Němcová. The emphasis is on description of the relationship between the two genres in terms mythic-archetypal and also in terms of narrative methods. The work focuses on a comparison of some key themes in the life of the female character, such as the theme of motherhood, marriage or family togetherness. Methodologically the work embodied in narratology, the theory of gender and psychoanalysis. This theoretical bases allow to define the differences between the heroines of fairy tales and prose works and point out the blending of the two genres on the plane of the women's characters.

Depuis la nuit des temps, le sujet se pose à lui-même la question de savoir ce qui il est. Chercher une parole pour la haine était une façon de mettre en évidence, au cœur de cette passion (la passion de la haine), l’être parlant, sa fatalité et sa révolte. Les hommes de la Grèce antique ont répondu par le mythe. Dans cette tentative de représenter la question des origines et de l’impossible, ils ont intégré la haine. La haine surgit comme un reste provenant de temps immémoriaux, elle est liée à la rencontre de l’humain avec le langage et, également, au mouvement qui l’éloigne de l’Autre, lieu du langage, pour prendre le risque de devenir sujet du désir. Il s’agit de repérer la haine et ses fonctions dans la subjectivité : cela implique de prendre en compte les façons adoptées par le sujet pour penser et traiter le réel auquel il a affaire. Le mythe et la tragédie, mettant en récit les pires violences (le matricide, l’inceste, le cannibalisme, l’infanticide, le parricide, le meurtre, le massacre), situent une haine qui peut, ainsi que les récits le présentent, se déchaîner si elle n’est pas traitée par le symbolique. Les crimes semblent ignorer l’écoulement des siècles, ils se répètent inlassablement, et la haine reste une compagne constante des positions du sujet face à son destin. Or, si le sujet maintient sa quête d’explication des pulsions destructrices qui l’occupent, et s’il tente toujours d’énoncer comment sa subjectivité se tient avec l’époque qui l’accueille, il ne peut pas faire appel au mythe, ni à un quelconque discours de portée universelle reconnaissant ses solutions singulières pour traiter sa propre altérité. Face à un discours qui cherche à « enterrer » le sujet de la parole, au fondement de la civilisation et du lien social, la littérature et l’art prennent le relais et proposent des représentations susceptibles « d’entourer » la passion haineuse, et de mobiliser le sujet du désir. La psychanalyse répond, de son côté, par la prise en considération des solutions singulières et de la responsabilité éthique, tant du clinicien que de l’analysant, dans leur maintien, leur restauration, leur changement. / Since the dawn of time, the subject has wondered about what he is. Looking for a hate speech was a way to highlight the speaking being, his fate and his rebellion, in the center of this passion (the passion of hate). Men from Ancient Greece responded through myth. In their attempt to represent the question of the origins and of the impossible, they integrated hate. Hate arises like remnants from immemorial time; it is linked to human encounter with language and with movement separating it away from the Other, the place of language, in order to take the risk of becoming the subject of desire. Tracing hate and its functions in subjectivity: this implies to take into account the ways adopted by the subject to think and deal with real. Myth and tragedy, taking into account the worst human violence (matricide, incest, cannibalism, infanticide, parricide, murder, massacre), put into place a hate that can, as tales depict it, lash out if it is not treated by the symbolic. Crimes seem to ignore the flow of centuries and are repeated endlessly, and hate remains a constant companion of the positions of the subject facing his destiny. However, if the subject maintains his quest to explain the destructive impulses that occupy him, and if he always tries to state how his subjectivity is held together with the age in which he lives, he cannot appeal to myth, nor to any speech of universal scope acknowledging his own singular solutions to deal with his own alterity. Facing a discourse attempting to "bury" the subject of speech, at the foundation of civilization and of social ties, literature and art take over and offer performances which can "surround" the hateful passion, and mobilize the subject of desire. Psychoanalysis responds, in turn, by the consideration of singular solutions and ethical responsibility of the clinician and the analysand, in their maintenance, restoration and changes.

This thesis will explore the proposal that Neil Gaiman’s The Sandman is, as Gaiman describes it in its epilogue, a “story about stories” (The Wake, epilogue). Its particular focus will be on Gaiman’s conception of humans as essentially narrative beings, who use narratives to interact with the world around them, to impose order on information, to provide interpretive paradigms, and as models for their behaviour. Gaiman has not only explored this idea, but used the fantastic mode to create a universe in which these types of ‘interpretive narratives’ directly affect physical reality. Gaiman’s ideas about the way narratives work have been heavily influenced by both postmodern and Jungian legacies. The thesis will propose that the dynamic between postmodern intertextuality and the Jungian idea of the archetypes is a driving force in The Sandman. While Gaiman embraces a playful, bricoleur intertextuality, he also retains a belief that humans can invoke the archetypes to access profound meanings, which transcend the particularities of their expression in any individual instances. Under these influences, Gaiman concieves of a postmodern, Jungian approach to mythology. We will see that Gaiman’s interactions with narrative, postmodernism and Jungianism eventually lead him to formulate an ethic for the contemporary world, and that he encodes it in his own mythology. This ethic both empowers individuals and demands that they take responsibility for their power. It also focuses on how the individual can productively and tolerantly interact with a heteroglossic world. Instead of a fact to be sought out, meaning becomes a process of active creation.

Este trabalho objetiva investigar e compreender sobre os câmbios estéticos da figura do anjo na publicidade e suas inúmeras significações representadas simbolicamente em campanhas e anúncios. Por ser objeto de estudo ressurgente, o anjo torna-se mito atemporal, que transpassa os séculos, atualizando-se como imagem, a fim de adaptar-se aos preceitos da contemporaneidade. Em face disso, esta produção científica será embasada em pesquisa teórica e qualitativa obtendo resultados através da coleta de anúncios retirados de meios impressos e internet, tendo como suporte antropológico a História da Arte e consequentemente o campo da Estética da Comunicação. Visa, dessa forma, compreender o mito alado e seu desmembramento em arquétipos, de maneira que permita analisar a utilização do símbolo como linguagem, pois ao permitir que a leitura do mundo seja realizada através do seu constante ressurgimento como mito, o anjo se recontextualiza através de mudanças estéticas, buscando tornar-se sempre atual para a sociedade, sendo representado imageticamente de distintas formas na publicidade. / This study has the objective to investigate and understand about the aesthetic changes at Angel figure in the advertising and its many meanings, represented symbolically in campaigns and ads. By be object of study resurgent, the angel becomes timeless myth that pierces the centuries and has been updated as image in order to adapt to the precepts of contemporary times. On the face of it, this scientific output will be grounded in research theoric and qualitative, through getting results by collecting removed ads from printed and internet media, having as anthropological support the Art history and consequently the field of Aesthetics of Communication . Visa thus understand the winged myth and its dismemberment in archetypes, so that the analysis of the use of this symbol as language, can allowing the reading of the world through of its constant resurgence as myth, this way the angel is recontextualised through changes aesthetic, seeking to become ever present to society and be represented imagetically in different ways in the advertising.

Esta dissertação de Mestrado se ocupa da compreensão simbólica da trajetória do técnico do voleibol, relacionada com a figura mítica de Quíron e seus atletas, avaliando a importância do técnico como elemento fundamental para a construção do atleta. Este último, por suas muitas similaridades com o mito do herói, passa a ser entendido como uma figura ímpar, com o quê podemos entender suas façanhas. Sincronicamente, o atleta, por representar uma condição heroica, reclama pela presença fundamental de um mestre em sua formação. O mestre se atualiza na figura do treinador, aproximando-se e amplificando esta visão com o mito de Quíron. Destas associações decorrem elementos básicos para a melhor compreensão do desenvolvimento e estruturação de personalidade do atleta, embasando o aprimoramento do seu rendimento. Do encontro simbólico do técnico-mestre com seu atleta-herói, estuda-se o fenômeno da liderança, ampliado com mitologemas em que personagens líderes se fazem presentes. A par da amplificação mítica, a dissertação buscou elementos, para melhor compreensão da presente temática, em dados biográficos decorrentes de entrevistas com três técnicos do voleibol brasileiro, medalhistas olímpicos como jogadores ou técnicos: Bebeto de Freitas, Bernardinho e Giovane. No mito do herói são descritos sua origem, sua natureza, características de personalidade, condições de nascimento e morte, seus trabalhos e ritos iniciáticos, além de sua importância civilizatória. No mito de Quíron, descrito de forma detalhada, retoma-se a temática de sua origem, seu nascimento, sua criação e recebimento dos ensinos das artes, circunstâncias e consequências de seu ferimento, bem como sua nobreza de caráter. A dissertação tece considerações gerais sobre o quanto sua realização mobilizou emocionalmente o autor, a par de fazer comentários sobre os ensinamentos encontrados nas falas dos três técnicos. Ela explicita, fundamentalmente, a correlação simbólica entre a figura do técnico de voleibol, exercendo-se pela função polar do mentor, com a figura do atleta deste esporte, na função polar complementar do aprendiz / This master degree dissertation occupies of a symbolic comprehension of the volleyballs coach pathway related with the mythic figure of Quiron and its athletes, evaluating the coachs importance as a fundamental element for the athletes construction. The athlete, as it has a lot of similarities with the heros myth is understood as a unique figure, as we can understand its achievements. Synchronously, the athlete, as a representative of a heroic condition, asks for the masters presence in its formation. The master actualizes in the coachs figure approximating and increasing this view with the Quirons myth. Result of these associations derives basic elements for a better comprehension of the development and structuring of the athletes personality basing the refinement of its performance. The symbolic meeting between master-coach and hero-athlete, the leadership phenomenon is studied, amplified with the mythologems where leaders characters are presented. The dissertation searched elements, for a better comprehension of the set of themes presented, in the biographical information of the three coaches, olympic medalists, as an athlete or as a coach, of the Brazilian volleyball: Bebeto de Freitas, Bernardinho and Giovane. The heros myth is described in: its origin, its nature, personality traits, birth and death conditions, its works and beginning ceremonies, its civilization importance. In the Quirons myth, detailed described, retakes the origin of its themes, birth, as it was created and how received its instructions about arts, the circumstances they were wounded and the consequences of its wound, as the nobility of its character. The paper shows general considerations on how its realization emotionally mobilized its author, along with comments and observations on teachings found in the speeches of the three coaches. The paper explains, fundamentally, the symbolic correlation between the volleyballs coach, playing by the mentors polar function, with the figure of the volleyballs athlete, playing by the complement polar function of apprentice

Inserida no intercâmbio teórico entre a psicanálise e a antropologia estrutural, a presente pesquisa busca analisar os papéis e implicações da noção de mito para a constituição de um projeto de formalização da experiência psicanalítica. Em pesquisa anterior, constatamos como na conferência O mito individual do neurótico (1953), Jacques Lacan realizou a aplicação do modelo lógico através da qual o antropólogo Claude Lévi-Strauss tratou da estrutura mítica a fórmula canônica do mito (1955) ao caso freudiano do Homem dos Ratos. Desta premissa, uma questão se impôs: em que medida o modelo da estrutura inerente ao fenômeno mítico foi condição necessária para a apropriação lacaniana do ideário estrutural e quais os efeitos de tal momento constitutivo sobre seu futuro projeto de formalização da clínica psicanalítica. Com tal objetivo em vista, mapeamos inicialmente na obra de Freud as dimensões do tema do mito. Vimos como sua aparição é contemporânea à emergência da psicanálise como uma prática clínica, e como está ligado a um programa antropológico de universalização das descobertas psicanalíticas, cuja maior expressão é a publicação de Totem e Tabu (1912-13) e sua ampliação do valor metodológico da lógica mítica para a apreensão da origem da cultura. A partir de uma revisão das leituras e críticas à psicanálise pelas principais vertentes da antropologia no início do século XX, observamos como o valor epistêmico-metodológico da obra freudiana apenas será plenamente reconhecido com o advento do projeto estrutural de antropologia engendrado por Lévi-Strauss e responsável por inscrever o mito como objeto privilegiado de estudo. Acompanhamos os principais movimentos de Lévi-Strauss pela análise mítica (1949; 1955; 1964; 1985), ressaltando o papel central do modelo da fórmula canônica do mito. A análise das derivações matemáticas de seus termos fundamentais levou-nos a reconhecer seu valor para a psicanálise lacaniana. Neste modelo, Lacan encontrará (a) uma noção de estrutura que assimila a dimensão da dialética e do impossível em seus termos, (b) a base de sua teoria do significante, (c) um meta-modelo de formalização que o acompanhará por toda 9 sua obra. A partir desta revisão analisaremos se os desvios conceituais da assimilação lacaniana do modelo de Lévi-Strauss, poderiam retroativamente contribuir para uma revisão do valor da análise mitológica para além dos limites psicanalíticos. Para tal, nos valeremos de uma releitura das análises estruturais do mito de Édipo e do Homem dos Ratos. Cientes dos limites de nosso recorte, indicamos ao fim possíveis desdobramentos deste percurso para pesquisas futuras / Situated in the theoretical debate between psychoanalysis and structural anthropology, this research aims to analyse the roles and implications of the concept of myth for the establishment of formalizations project of psychoanalytical experience. In previous research, we found that in the conference The neurotic \'s individual myth (1953), Jacques Lacan applied the logical model by which the anthropologist Claude Lévi-Strauss read the mythic structure the canonical formula of myth (1955) to revised the Freudian case of the Rat Man. From this premise, a question remained: to what extent the model of the structure inherent of the mythical phenomenon was necessary for the appropriation of Lacanian ideas structural condition and what the effects of such constitutive moment on his future formalizations of the psychoanalytic practice. With this aim in view, we initially mapped in Freud\'s work the dimensions of the theme of the myth. We saw how its appearance is contemporary to the emergence of psychoanalysis as a clinical practice, and how it is connected to an anthropological program of universalization of the psychoanalytic discoveries, whose highest expression is the publication of Totem and Taboo (1912-13) and its expansion of the methodological value the mythical logic to apprehend the origin of culture. From a review of the readings and critiques of psychoanalysis by the anthropologists in the early twentieth century, we saw how the epistemic and methodological value of Freud\'s work will be fully recognized with the advent of structural anthropology introduced by Lévi-Strauss, and responsible for signing the myth as a privileged object of study. We followed the Lévi-Strausss main movements in mythical analysis (1949, 1955, 1964, 1985), highlighting the central role of canonical formula of myth. The analysis of the mathematical derivations of its fundamental terms led us to recognize its value to Lacanian psychoanalysis. In this model, Lacan find (a) a type of structure that assimilates the dimension of the dialectic and the theme of impossible in its terms, (b) the basis of his theory of the signifier, (c) a meta-model for formalizing remains 11 throughout his work. From this review we analyse if the conceptual deviations of Lacanian assimilation of Lévi-Strauss model, could retroactively contribute to a revision of the value of the mythological analysis beyond the psychoanalytic limits. To this goal, we reread the structural analysis of the myth of Oedipus and the Rat Man. Aware of the limits of this research, we indicate possible outcomes at the end for future studies

A temática do duplo é assunto recorrente dentro da Literatura desde tempos primordiais, sendo encontrada nela diferentes formas de constituição da duplicidade. O presente trabalho tem como objetivo analisar as obras Amphytruo, do escritor latino Plauto e O Homem Duplicado, do escritor português José Saramago por meio da investigação do tema do duplo presente nas duas obras em questão. Dessa forma, o diálogo entre as obras se estabelece por meio do mito de Anfitrião, que é retomado pelos dois escritores transfigurado segundo a intenção de cada um. Nosso proposito é, amparados pela literatura comparada, investigar como o tema do duplo é tratado em cada obra, para qual direcionamento a crise identitária imanente em cada uma aponta e examinar quais mecanismos intertextuais cada escritor se vale para compor suas obras retomando/renovando seu protótipo. A análise das referidas obras tem, como apoio teórico, os estudos bakhtinianos sobre o dialogismo e os elementos intertextuais de acréscimo, supressão, inversão e deslocamento. Por meio da análise empreendida, verificamos como os autores retomam o tema do duplo para abordar a cisão da identidade dos sujeitos de suas épocas. Do estudo podemos apreender que a literatura clássica, por ser monolítica, não assume dimensões dramáticas, diferente da literatura moderna que atinge, com maior frequência, desfechos trágicos. / The theme of the double is recurring issue in the literature since early times, founding it up different forms of constitution of duplicity. This study aims to analyze the works Amphytruo, of the Latin writer Plautus and O Homem Duplicado, of the Portuguese writer Jose Saramago by investigating the theme of this double in the two works in question. Thus, the dialogue between the works is established through the myth of Host, which is taken up by two writers transfigured for the intentions of each. Our purpose is supported by comparative literature to investigate how the theme of the double is treated in each work, to which direction the immanent identity crisis points in each and examine what intertextual mechanisms each writer uses to create his works returning / renewing its prototype. The analysis of these works has as theoretical support, Bakhtin studies on dialogism and the intertextual elements of addition, deletion, inversion and displacement. Through this analysis, we examine how the authors take up the subject of the double to approach the identity split of the subjects of their times. From this study we learn that the classic literature, for being monolithic, does not assumes dramatic dimensions, unlike the modern literature which affects, more often, tragic endings.

A pesquisa desenvolvida propõe a ideia do operador técnico como o principal realizador da visualidade da cena, expondo um traçado sobre a problemática do uso equivocado das diversas tecnologias no palco. Como solução aponta para o conceito do homem-máquina, criado a partir da junção do operador e do dispositivo técnico como figura única e indissociável. Define esse operador como um artista que, imbuído dos conhecimentos necessários para a manipulação técnica ao vivo, transforma a máquina em geradora de potência poética no lugar de mero produto mercadológico. Para enfatizar esse conceito, paralelamente a pesquisa teórica é proposto como objeto de estudo um experimento prático que se apropria do texto A Tempestade, de William Shakespeare, através de um levantamento e de uma ressignificação dos arquétipos encontrados no original em símbolos imagéticos criados em cena. / The developed research suggests the idea of technical operator as the main director of the visuality of the scene, by discussing the issues related to misuse of various technologies on stage. As a solution, it points to the concept of human-machine, created from the joint of the operator and the technical device as single and inseparable figure. It defines the operator as an artist who, imbued with the knowledge required for the live technical manipulation, transforms the machine into a generator of poetic power instead of mere marketable product. To emphasize this concept, in addition to theoretical research is proposed as an object of study, a practical experiment that appropriates the text The Tempest by William Shakespeare, through a survey and a redefinition of the archetypes found in the original version into imagery symbols created on scene.

Este estudo parte da idéia de que se pode encontrar, sob o processo de desenvolvimento da consciência, em O Dia dos Prodígios, obra da autora portuguesa Lídia Jorge, referências que remetem à maneira pela qual esta consciência se constitui nos habitantes de Vilamaninhos, cidade fictícia em que se inscreve a ação no romance. O objetivo desta pesquisa consiste em verificar o estado de consciência dos habitantes dessa aldeia e a dinâmica da passagem desse nível precário para outro, mais elevado, nas personagens femininas Branca Volante e Carminha Parda e na personagem masculina Macário, uma espécie de trovador medieval da aldeia. O exame leva em conta o confronto da aldeia com os soldados que, na narrativa, são os que se inserem no mundo da cultura e que vão levar à aldeia a notícia da Revolução dos Cravos, fato histórico que serve de pano de fundo para o desenvolvimento da trama. Também são examinadas as relações entre as personagens de Vilamaninhos e, ainda, entre estas e os soldados, a linguagem que utilizam; e a atmosfera mítica que permeia o romance. Além disso, investiga-se o contexto histórico da Revolução dos Cravos, que possibilita compreender o rudimentar nível de consciência dos camponeses em relação ao real, sua desarticulação em relação ao universo cosmopolita e seu conseqüente desencontro consigo mesmo, transformado em um ser esvaziado de sentido. Sendo assim, o fato de se apresentarem com um grau de consciência muito precário mostra a alienação do povo de Vilamaninhos, com relação ao restante da sociedade e instiga reflexões sobre as relações humanas. / The starting point for this study is the supposition that, under the process of consciousness development, in O Dia dos Prodígios, narrative work written by the contemporary Portuguese writer Lídia Jorge, lies a series of references to how the character\'s state of consciousness is and develops along the story. Thus the purpose of this analysis is to verify the state of consciousness of the inhabitants of Vilamaninhos, a small Portuguese village, as well as the dynamics of the transition from such precarious level to a more developed one, the latter illustrated by the female characters of Branca Volante and Carminha Parda, and also by the male character of Macário, who represents a kind of medieval troubadour of the village. This analysis takes into account the confrontation between the inhabitants and the soldiers, who represent the cultured and civilized world (in opposition to the archaic community of Vilamaninhos), and who will tell the villagers the great news about The Oillet Revolution, historic event that fits as a background for the development of the plot. Personal contacts among the villagers and with the outsiders (like the soldiers, for example), their language, the myths supporting their conception of reality are also examined. The socio-historical context of the Oillet Revolution is also investigated, for it helps to understand the villager\'s rudimentary state of consciousness as to the apprehension of reality, their disconnection with the civilized world and their consequent inner disconnection, which makes them sense-emptied individuals. Thereby, such rudimentary level of consciousness shows the villager\'s alienation relatively to the rest of society, and the study of this social situation instigates reflections about human relations.

Thesis advisor: Lisa Cuklanz / There are strict rules and expectations that govern the world’s idea of femininity and beauty. What are the repercussions of selecting one type of beauty to be ideal on a global scale? After watching the pageant and reading previous scholars’ findings, I argue that the Miss America Pageant presents its participants as women to be admired while its practices objectify women’s bodies. Several myths dictate how contestants should behave and historically diversity has failed to break into the pageant. On a global scale, Miss America has inspired other international beauty pageants, causing countries to compete with one another for the most beautiful woman. Selecting one beauty often times is based purely on appearance, like body type or racial characteristics. The implications of one beauty means that all women, all over the world, feel compelled to meet the standards set by this one beauty, this winner. In turn, women who do not measure up feel inadequate and strive to change their appearances to meet the mold. This model also homogenizes the concept of beauty that previously was diverse and culturally based. Pageants, like Miss America, therefore encourage women to objectify themselves in order to meet an international beauty standard that is historically based on white or western appearances. / Thesis (BA) — Boston College, 2013. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Communication Honors Program. / Discipline: Communication.