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1	A ético-poética do trabalho sobre si por meio da dramatização de contos filosóficos com mitema iniciático na formação inicial de educadores / The ethic-poetics of the work on yourself by means of the dramatization of philosophical tales with initiatic mytheme in the initial training of educators Pereira, Theda Cabrera Gonçalves 30 March 2015 (has links) Esta pesquisa de doutoramento em Educação na Universidade de São Paulo (USP)/ Brasil teve financiamento CAPES, 2011/2012/2013 e FAPESP 2013/2014/2015. Trata-se de uma investigação acerca do trabalho sobre si (GURDJIEFF, 1990, 1993, 2002, 2003; OUSPENSKY, 1995, 2009; Shah apud VARELLA, 2009; STANISLAVSKI, 1977; TOPORKOV, 1991, GROTOWSKI,1997; BROOK, 1997, 2000) na formação inicial de educadores por meio da dramatização de contos filosóficos (CARRIÈRE, 2004, 2008) com o mitema (DURAND, 1988) iniciático (ELIADE, 2004, 2010; GUSDORF, 2003). A pesquisadora teve a oportunidade de pôr em prática suas propostas por meio da condução de estágios no núcleo de dramatização de contos do Lab_Arte - laboratório experimental de arte-educação e cultura- FE- USP. Os principais eixos metodológicos da pesquisa foram:1) a parte empírica da pesquisa: dramatização de contos filosóficos com mitema iniciático junto aos educadores em formação inicial; 2) o diálogo entre a parte empírica e seus registros com o referencial teórico hermenêutico-fenomenológico (RICOEUR, 1988, 2006, 2013) da mitohermenêutica (ORTIZ-OSÉS, 2003; FERREIRA-SANTOS, 2005; FERREIRA-SANTOS & ALMEIDA, 2012). A tese se apresenta, respectivamente, com dois níveis narrativos: um primeiro nível com as experiências e um segundo nível com as leituras decorrentes do trabalho de investigação, ambos entrecruzados pelos contos filosóficos de forma metalinguística. Acompanha ainda um vídeo-poesia encartado em DVD com registro audiovisual da experiência. / This doctoral research in Education at the University of São Paulo (USP) / Brazil had CAPES funding, 2011/2012/2013 and FAPESP 2013/2014/2015. This is a research about the work on yoursef (GURDJIEFF, 1990, 1993, 2002, 2003; OUSPENSKY 1995, 2009; Shah apud VARELLA, 2009; STANISLAVSKI, 1977; TOPORKOV, 1991, GROTOWSKI, 1997; BROOK, 1997 2000) in the initial training of educators by means of the dramatization of philosophical tales (CARRIÈRE, 2004, 2008) with the initiatic (ELIADE, 2004, 2010; GUSDORF, 2003) mytheme (DURAND, 1988). The researcher had the opportunity to put in place its proposals by the means the leading of the internships at the core of dramatization of tales at the Lab_Arte- experimental laboratory of art education and culture- FE- USP. The main methodological axes of the research were: 1) the empirical part of the research: dramatization of philosophical tales with initiatic mytheme together educators in initial training; 2) the dialogue between the empirical part and their records with the theoretical framework of the hermeneutic-phenomenological (RICOEUR, 1988, 2006, 2013) of mythe-hermeneutic (ORTIZ-OSÉS, 2003; FERREIRA-SANTOS, 2005; FERREIRA-SANTOS & ALMEIDA, 2012). The thesis is presented, respectively, with two narrative levels: the first level with the experiences and a second level with readings arising from the research work, both of crisscrossed by philosophical tales of metalinguistic form. Still attached a video-poetry in DVD with audiovisual record of experience. Contos filosóficos Dramatização Dramatization Ethic-poetics Ético-poética Formação de professores Initiatic mytheme Mitema iniciático Philosophical tales Teacher training Trabalho sobre si Work on yourself
2	A ético-poética do trabalho sobre si por meio da dramatização de contos filosóficos com mitema iniciático na formação inicial de educadores / The ethic-poetics of the work on yourself by means of the dramatization of philosophical tales with initiatic mytheme in the initial training of educators Theda Cabrera Gonçalves Pereira 30 March 2015 (has links) Esta pesquisa de doutoramento em Educação na Universidade de São Paulo (USP)/ Brasil teve financiamento CAPES, 2011/2012/2013 e FAPESP 2013/2014/2015. Trata-se de uma investigação acerca do trabalho sobre si (GURDJIEFF, 1990, 1993, 2002, 2003; OUSPENSKY, 1995, 2009; Shah apud VARELLA, 2009; STANISLAVSKI, 1977; TOPORKOV, 1991, GROTOWSKI,1997; BROOK, 1997, 2000) na formação inicial de educadores por meio da dramatização de contos filosóficos (CARRIÈRE, 2004, 2008) com o mitema (DURAND, 1988) iniciático (ELIADE, 2004, 2010; GUSDORF, 2003). A pesquisadora teve a oportunidade de pôr em prática suas propostas por meio da condução de estágios no núcleo de dramatização de contos do Lab_Arte - laboratório experimental de arte-educação e cultura- FE- USP. Os principais eixos metodológicos da pesquisa foram:1) a parte empírica da pesquisa: dramatização de contos filosóficos com mitema iniciático junto aos educadores em formação inicial; 2) o diálogo entre a parte empírica e seus registros com o referencial teórico hermenêutico-fenomenológico (RICOEUR, 1988, 2006, 2013) da mitohermenêutica (ORTIZ-OSÉS, 2003; FERREIRA-SANTOS, 2005; FERREIRA-SANTOS & ALMEIDA, 2012). A tese se apresenta, respectivamente, com dois níveis narrativos: um primeiro nível com as experiências e um segundo nível com as leituras decorrentes do trabalho de investigação, ambos entrecruzados pelos contos filosóficos de forma metalinguística. Acompanha ainda um vídeo-poesia encartado em DVD com registro audiovisual da experiência. / This doctoral research in Education at the University of São Paulo (USP) / Brazil had CAPES funding, 2011/2012/2013 and FAPESP 2013/2014/2015. This is a research about the work on yoursef (GURDJIEFF, 1990, 1993, 2002, 2003; OUSPENSKY 1995, 2009; Shah apud VARELLA, 2009; STANISLAVSKI, 1977; TOPORKOV, 1991, GROTOWSKI, 1997; BROOK, 1997 2000) in the initial training of educators by means of the dramatization of philosophical tales (CARRIÈRE, 2004, 2008) with the initiatic (ELIADE, 2004, 2010; GUSDORF, 2003) mytheme (DURAND, 1988). The researcher had the opportunity to put in place its proposals by the means the leading of the internships at the core of dramatization of tales at the Lab_Arte- experimental laboratory of art education and culture- FE- USP. The main methodological axes of the research were: 1) the empirical part of the research: dramatization of philosophical tales with initiatic mytheme together educators in initial training; 2) the dialogue between the empirical part and their records with the theoretical framework of the hermeneutic-phenomenological (RICOEUR, 1988, 2006, 2013) of mythe-hermeneutic (ORTIZ-OSÉS, 2003; FERREIRA-SANTOS, 2005; FERREIRA-SANTOS & ALMEIDA, 2012). The thesis is presented, respectively, with two narrative levels: the first level with the experiences and a second level with readings arising from the research work, both of crisscrossed by philosophical tales of metalinguistic form. Still attached a video-poetry in DVD with audiovisual record of experience. Contos filosóficos Dramatização Ético-poética Formação de professores Mitema iniciático Trabalho sobre si Dramatization Ethic-poetics Initiatic mytheme Philosophical tales Teacher training Work on yourself
3	Le mythe de la fin du monde dans Les chaises de Ionesco et Fin de partie de Beckett Manascurta, Calin 04 1900 (has links) À partir d’un dispositif théorique et méthodologique emprunté au structuralisme figuratif de Gilbert Durand, ce mémoire propose une exploration du Mythe de la Fin du Monde dans quelques unes de ses manifestations romanesques et théâtrales. Les postulats de base qui fondent notre démarche sont au nombre de trois : a) l’œuvre littéraire possède toujours un substrat mythique ; b) un mythe représente un noyau de mythèmes, dont le trait définitoire est la redondance ; c) il n’y a pas de version privilégiée ou primitive du mythe, qui doit être vu comme une constante de l’esprit humain. Au niveau des applications pratiques, notre travail s’articule en deux démarches complémentaires, reprises d’une section à l’autre. Dans un premier temps, en nous appuyant sur le corpus romanesque – où le mythe nous semble abondant et complet – nous identifions les redondances internes et génériques que nous qualifions de «mythèmes». Dans un second temps, nous vérifions la présence et le fonctionnement de ces mythèmes dans le corpus dramatique. / Within the theoretical and methodological framework of the figurative structuralism devised by Gilbert Durand, this work sets out to explore the Myth of the End of the World based on two corpora: five novels and two plays. Three main postulates underlie our research: a) the literary work is always based on a mythical substratum; b) myth is an aggregation of mythemes, whose defining characteristic consists in their redundancy; c) myth is a constant of the human spirit and therefore none of its versions takes precedence over another. As far as the applications of the theory are concerned, our work is articulated in two distinct phases, repeated form one section to another. Based on the body of novels, where the myth manifests itself in its most complete and abundant form, phase 1 is devoted to the identification of redundancies, both internal to each work and generic, that are categorized as mythemes. Phase 2 verifies their presence in the body of plays. Mythe Mythème Imaginaire Structuralisme figuratif Fin du monde en littérature Théâtre de l'absurde Gilbert Durand Eugène Ionesco Samuel Beckett Myth Mytheme Imaginary Figurative structuralism End of the world in literature Theatre of the Absurd
4	Le mythe de la fin du monde dans Les chaises de Ionesco et Fin de partie de Beckett Manascurta, Calin 04 1900 (has links) À partir d’un dispositif théorique et méthodologique emprunté au structuralisme figuratif de Gilbert Durand, ce mémoire propose une exploration du Mythe de la Fin du Monde dans quelques unes de ses manifestations romanesques et théâtrales. Les postulats de base qui fondent notre démarche sont au nombre de trois : a) l’œuvre littéraire possède toujours un substrat mythique ; b) un mythe représente un noyau de mythèmes, dont le trait définitoire est la redondance ; c) il n’y a pas de version privilégiée ou primitive du mythe, qui doit être vu comme une constante de l’esprit humain. Au niveau des applications pratiques, notre travail s’articule en deux démarches complémentaires, reprises d’une section à l’autre. Dans un premier temps, en nous appuyant sur le corpus romanesque – où le mythe nous semble abondant et complet – nous identifions les redondances internes et génériques que nous qualifions de «mythèmes». Dans un second temps, nous vérifions la présence et le fonctionnement de ces mythèmes dans le corpus dramatique. / Within the theoretical and methodological framework of the figurative structuralism devised by Gilbert Durand, this work sets out to explore the Myth of the End of the World based on two corpora: five novels and two plays. Three main postulates underlie our research: a) the literary work is always based on a mythical substratum; b) myth is an aggregation of mythemes, whose defining characteristic consists in their redundancy; c) myth is a constant of the human spirit and therefore none of its versions takes precedence over another. As far as the applications of the theory are concerned, our work is articulated in two distinct phases, repeated form one section to another. Based on the body of novels, where the myth manifests itself in its most complete and abundant form, phase 1 is devoted to the identification of redundancies, both internal to each work and generic, that are categorized as mythemes. Phase 2 verifies their presence in the body of plays. Mythe Mythème Imaginaire Structuralisme figuratif Fin du monde en littérature Théâtre de l'absurde Gilbert Durand Eugène Ionesco Samuel Beckett Myth Mytheme Imaginary Figurative structuralism End of the world in literature Theatre of the Absurd
5	El mito de la Quintrala : Estructuras simbólicas en dos novelas de Gustavo Frías / The myth of La Quintrala : The symbolic structures in two novels by Gustavo Frías Belmar Shagulian, Jasmin January 2017 (has links) The purpose of this comparative study is to analyse La Quintrala’s myth as a symbolic discourse, thereby filling a gap in the previous studies about La Quintrala. The theoretical and methodological framework of this analysis consists of a hermeneutical approach based on the method of figurative structuralism: mythocriticism. This is a dual classification method of symbols: Diurnal and Nocturnal Orders that expose the symbolic structures formed by symbols and archetypes found in mythemes in a compilation of corpora. The first one is Gustavo Frías’ novels Tres Nombres para Catalina: Catrala (2008) and Tres nombres para Catalina: la doña de Campofrío (2008); the second is a historic essay (hypotext), Benjamín Vicuña Mackenna’s Los Lisperguer y la Quintrala (1944), and four novels: Magdalena Petit’s (2009) La Quintrala, Mercedes Valdivieso’s (1991) Maldita yo entre las Mujeres, Virginia Vidal’s (2002) Oro, veneno y puñal, and Gustavo Frías’ El Inquisidor (2008). Mythocriticism is employed in the analysis to show what the mythical structure of the hero’s journey (Separation, Initiation, Return) reveal. Such journey is combined structurally with the Mother archetype (White, Red and Black Goddess), the intrinsic archetype of La Quintrala’s myth. The heroic structure unveils its own mythemes, La Quintrala’s and the first corpus’s mytheme through the diachronic and synchronic flow of the hero’s journey. This method permits to identify and compare the progression of the symbolic structures. The analysis demonstrates a transformation of the symbolic structures between both corpora. This survey reveals that Vicuña Mackenna and Petit, and partially Vidal and El Inquisidor, exhibit an inclination to the diurnal symbols that strengthen, through a heterodiegetic narrator, the representations of the witch-femme fatale, counteractive attributes of the Red and Black Goddesses in the myth. Valdivieso, on the other hand, shows a propensity to the nocturnal symbols of inversion and intimacy that emphasize the Red Goddess’ features, though the novel also exposes La Quintrala as a witch-femme fatale. This exposure occurs through the use of both an autodiegetic narrator –La Quintrala– and a heterodiegetic one –the hypotext embodied in the popular voice– that appear to contrast each other. Finally, in Tres Nombres para Catalina, La Quintrala as the autodiegetic narrator dominates the whole story. She personifies the Great Goddess archetype who bestows her new positive attributes during the adventure. This novel assumes primordially the nocturnal symbolism incarnated by both the mystical and the synthetical structures and relegates the diurnal discourse of the hypotext to a secondary position in the narrative. Nonetheless, Tres Nombres para Catalina’s narrative still relies on the hypotext to reproduce and reconstruct all the mythemes in the myth of La Quintrala. Conclusively, the results of this analysis indicate that the identification of all the mythemes supports the hypothesis of a transformation in the symbolic structures which characterize La Quintrala in both corpora. This reveals the embodiment of Tres Nombres para Catalina’s own mytheme, consisting of a vindication and a recognition to her indigenous heritage, and the acceptance of her mestizaje. As a consequence, Tres nombres para Catalina, in comparison to the second corpus, diverges and expands the symbolic structures, but still shows a continuity of the myth. Quintrala myth Durand Campbell symbol symbolical structure mytheme imaginary Frías Valdivieso Vidal Vicuña Mackenna The Great Goddess Diurnal Order Nocturnal Order figurative structuralism Quintrala myt Durand Campbell symbol simbolisk struktur mytem imaginära Frías Valdivieso Vidal Vicuña Mackenna Stora Moder Dagens ordning Nattens ordning figurativ strukturalism Quintrala mito Durand Campbell símbolo estructura simbólica mitema imaginario Frías Valdivieso Petit Vidal Vicuña Mackenna Gran Diosa Régimen diurno Régimen nocturno estructuralismo figurativo Specific Literatures Litteraturstudier

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