Rev. version of the author's Thesis (doctoral)--École pratique des hautes études, Paris, 1996. / Includes bibliographical references and index.

Made available in DSpace on 2015-04-17T15:01:39Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1215383 bytes, checksum: c25a1341e1c321cc08f721eb2de4ca69 (MD5) Previous issue date: 2011-07-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In this dissertation we propose to analyze the images pertaining to the book of Leviticus more necessary in Chapter Sixteen referring to the rite of the sacrifice in the huge day of the atonements. We have as one´s objective identify oneself the symbolic-mythical images are present at the representations of the priest and the scapegoat, symbols existing in sacrifice ritual, and as from of that list, to discuss what are the relations between the present images in the rite of the sacrifice and symbolic process existing in the imaginary of the rite of the atonement, therefore to analyze which imaginary of the sacrifice in Leviticus´which subjective messages in this practice. Our study is descriptive and bibliography with a qualitative approach we showed clearly the contributions about the Eliade s religion theories, the contributions about Durand´s general theory of the imaginary, Maffesoli, the studies about Cassirer´s symbols, and the analysis that deal with liability the symbolic questions, mythical, imaginary and religious. In this religious sciences context, comprise by a multidisciplinary field, assist the researcher to seize the religious phenomenon and the elements inherent to him like rituals, the symbols and myths which speak about a culture of the historical time determined. The images which have emerged from Leviticus´narrative and they are inherent to the sacrifice, they have appeared, amongst the analysis ruled by the psychology religion, a search of transcendence that it still presents oneself like desire in the humility, demonstrating the necessity about the meeting itself, in the individual process, moving aside the shadow, and restoring the light of the conscience. The same images combination, analyzing amongst hermeneutic symbolic, making use of the assuming the imaginary general of the theory, showed clearly a Heroic Structure, belonging to the Imaginary Daytime System, for sacrifice realized in the great day of the atonement in Leviticus. / Nesta dissertação nos propomos analisar as imagens constantes no livro do Levítico, mais precisamente no capítulo dezesseis, no que se refere ao rito do sacrifício no grande dia das expiações. Objetivamos identificar as imagens mítico-simbólicas presentes nas representações do sacerdote e do bode expiatório, símbolos existentes no ritual do sacrifício e, a partir dessa catalogação, discutir quais as relações entre as imagens presentes no rito do sacrifício e o processo simbólico existente no imaginário do rito de expiação, ou seja, analisar qual o imaginário do sacrifício no Levítico e quais as mensagens subjetivas a essa prática. Nosso estudo é descritivo e bibliográfico com abordagem qualitativa. Evidenciamos as contribuições das teorias da religião de Eliade, as contribuições da Teoria Geral do Imaginário de Durand, Maffesoli, dos estudos sobre os símbolos de Cassirer, e das análises que tratam com propriedade as questões simbólicas, míticas, imaginárias e religiosas. Nesse contexto as Ciências das Religiões, compostas por um campo multidisciplinar, auxiliam o pesquisador a apreender o fenômeno religioso e os elementos inerentes a ele, como os rituais, os símbolos e os mitos, que falam de uma cultura ou tempo histórico determinados. As imagens que emergiram da narração do Levítico e inerentes ao sacrifício sugerem, através de uma análise pautada pela psicologia da religião, uma busca de transcendência, que ainda se apresenta na humanidade como anseio, demonstrando a necessidade do encontro consigo mesmo, num processo de individuação, afastando a sombra e restaurando a luz da consciência. O mesmo conjunto de imagens, analisado através da hermenêutica simbólica, utilizando-se os pressupostos da Teoria Geral do Imaginário, evidenciou uma Estrutura Heroica, pertencente ao Regime Diurno do Imaginário, para o sacrifício realizado no grande dia das expiações no Levítico.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O objetivo desta tese à compreender como, no Conjunto Palmeiras, um bairro situado na periferia de Fortaleza, construiu-se, ao longo do tempo, a imagem de um bairro solidÃrio. Entende-se que tal imagem resultou tanto da mobilizaÃÃo em torno das demandas sociais para o bairro como do desenvolvimento de experiÃncias consideradas inovadoras no campo da economia solidÃria que o tornaram conhecido e reconhecido internacionalmente, sobretudo ao final da dÃcada de 1990, alvo de inÃmeros estudos acadÃmicos, detentor de visibilidade midiÃtica e premiaÃÃes. Em meados de 2000, tais iniciativas expandiram-se como polÃtica de governo, por meio da Secretaria Nacional de Economia SolidÃria (SENAES). O ponto central, desta forma, à entender de que modo essas iniciativas ditas solidÃrias foram sendo difundidas e adquiriram legitimidade perante o Estado e a sociedade civil e quais as implicaÃÃes desse processo que une duas lÃgicas aparentemente contraditÃrias. Para tanto, orientada por uma perspectiva metodolÃgica qualitativa, a tese teve como foco as seguintes questÃes: que atores sociais participam do processo de construÃÃo dessa imagem? De que maneira atuam? Qual a extensÃo das iniciativas ditas solidÃrias? Que percepÃÃo de solidariedade perpassa as relaÃÃes de parcerias firmadas entre os atores sociais envolvidos? Quais implicaÃÃes tendem a ocorrer com a institucionalizaÃÃo dessas iniciativas diante do carÃter solidÃrio que originalmente as particularizaram? Conclui-se que, atualmente, as iniciativas solidÃrias no Conjunto Palmeiras desenvolvem-se, do ponto de vista institucional, em um campo ainda nÃo definido. Se por um lado, buscam-se instrumentos cabÃveis à sua autonomia legal, por outro, ao se institucionalizarem tais experiÃncias, abre-se o caminho para que outros referenciais passem a demarcar estas iniciativas, provavelmente distintas daqueles que a embasaram em sua gÃnese. / The aim of this thesis is to understand how the neighbourhood Conjunto Palmeiras, located in the suburbs of Fortaleza, has built throughout time the image of a supportive neighbourhood. It is understood that this image is the result of movements related to social demands, such as the development of experiences considered to be innovative in the field of the supportive economy. Those movements, therefore, made Conjunto Palmeiras a target of an uncountable amount of academic studies, many of them awarded, which turned it into an internationally known and acknowledged neighbourhood, especially in the late 90âs. In the mid-2000s, those initiatives have been expanded as a Government policy by the National Secretary of Supportive Economy - SENAES (Brazilian initials). Hence, the main point of this work is to understand which ways those initiatives were widespread and gained legitimacy before the State and the civil society as well as which are the implications of this process, that connects two apparently contradictory rationales. Therefore, guided by a qualitative methodological perspective, the thesis focuses on: Who are the social actors who take part in the process of building this image? How do they work? What is the extent of the so-called supportive initiatives? What perceptions of solidarity permeate the correlation of partnership between the social actors involved? Which implications tend to occur with the institutionalisation of those initiatives before the supportive character that originally particularised? As a result, we conclude that, currently, Conjunto Palmeirasâs supportive initiatives, from an institutional point of view, develop themselves into a field not yet specified. If on one hand, it is sought applicable instruments to its legal autonomy, on the other hand, by institutionalising such experiences, a new path is open in order to allow other references to demarcate those initiatives, probably different from those ones in its genesis.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-04-10T17:18:12Z No. of bitstreams: 2 Dissertação - Anna Carolyna Ribeiro Cardoso - 2017.pdf: 1789284 bytes, checksum: fba62d5aacb22cae0fe0a435c9f7018a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-11T12:49:21Z (GMT) No. of bitstreams: 2 Dissertação - Anna Carolyna Ribeiro Cardoso - 2017.pdf: 1789284 bytes, checksum: fba62d5aacb22cae0fe0a435c9f7018a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-04-11T12:49:21Z (GMT). No. of bitstreams: 2 Dissertação - Anna Carolyna Ribeiro Cardoso - 2017.pdf: 1789284 bytes, checksum: fba62d5aacb22cae0fe0a435c9f7018a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-02-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Jane Austen’s most famous novel, Pride and Prejudice, was published in 1813. It portraits the lives of the daughters from the Bennet family, who need to get married in order to maintain themselves. It is a novel about women: it was written by a woman, its narrator has a feminine perspective and focuses on another woman, Elizabeth Bennet. The book also discusses typical female problems in the XIX century England. The persistent retelling of Pride and Prejudice in movies, series, novels indicates how the Austenian work keeps enchanting the public because it discusses topics such as love and people’s ability to judge a character. These are humaninity’s most relevant archetypical preoccupations and, before Austen, they appeared in myths and fairytales such as Cupid and Psyche and Beauty and the Beast. This dissertation aims to analyze Pride and Prejudice comparing it to the Greek myth and French fairytale, focusing on the female initiation processes experienced by Elizabeth, Psyche and Beauty. This dissertation has a qualitative, bibliographical and comparative approach. The most important theoretical texts used to discuss it were Rites and Symbols of Initiation: the mysteries of birth and rebirth (1975) by Mircea Eliade, Jane Eyre’s sisters: how women live and write the heroine’s story (2015) by Jody Bower, The annotated Pride and Prejudice (2012) by Jane Austen with notes by David Shapard, Caminho para a iniciação feminina (1985) by Sylvia Perera and O poder do mito (1990) de Joseph Campbell. As a result, it is possible to conclude that the female initiation has a prominent role in this Austenian novel and makes it possible to be constantly reread. / A obra mais famosa de Jane Austen, Orgulho e Preconceito, foi publicada em 1813. Seu enredo retrata o cotidiano da família Bennet, especialmente a situação das filhas da família, as quais precisam se casar para poder se manter. É um romance sobre mulheres, escrito por uma mulher. Sob a perspectiva de uma narradora, conta a história de Elizabeth Bennet, além de discutir problemas tipicamente femininos do século XIX inglês. A recorrência da atualização ou da releitura de Orgulho e Preconceito em livros, filmes e outras mídias demostra que a obra mantém o encantamento do público leitor por tratar de temas essencialmente humanos, como o amor ou o pré-julgamento, reacendendo preocupações arquetípicas do ser humano, em seu ser e estar no mundo. Esses mesmos temas foram representados, muito antes de Austen, em mitos e contos de fadas, como Cupido e Psiquê ou a Bela e a Fera. O objetivo desta dissertação é a análise de Orgulho e Preconceito de Jane Austen como releitura do mito e do conto de fadas. O trabalho desenvolvido tem caráter bibliográfico, qualitativo e comparativo. No decorrer da análise, foram levantados os mitemas recorrentes que se apresentam nas três narrativas, e enfocado o percurso iniciático feminino vivenciado tanto por Elizabeth Bennet quanto por Psiquê e Bela. Os referenciais teóricos mais relevantes para a pesquisa foram Rites and Symbols of Initiation: the mysteries of birth and rebirth (1975) de Mircea Eliade, Jane Eyre’s sisters: how women live and write the heroine’s story (2015) de Jody Bower, The annotated Pride and Prejudice (2012) de Jane Austen com anotações de David Shapard, Caminho para a iniciação feminina (1985) de Sylvia Perera e O poder do mito (1990) de Joseph Campbell, entre outros. Concluiu-se que o desenvolvimento feminino no romance austeniano tem aspecto fundamental para a construção da obra e sua consequente atualização.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-05-11T17:46:38Z No. of bitstreams: 2 Dissertação - Cássio Ribeiro Manoel - 2017.pdf: 3926550 bytes, checksum: 449963633a30293e84eebed521beb174 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-15T11:26:06Z (GMT) No. of bitstreams: 2 Dissertação - Cássio Ribeiro Manoel - 2017.pdf: 3926550 bytes, checksum: 449963633a30293e84eebed521beb174 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-15T11:26:07Z (GMT). No. of bitstreams: 2 Dissertação - Cássio Ribeiro Manoel - 2017.pdf: 3926550 bytes, checksum: 449963633a30293e84eebed521beb174 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-31 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This study sought to understand how the finding myth of Santa do Rosário constitutes the Congadas of Catalão in its reaffirmation in the annual rituals and festivities of Nossa Senhora do Rosário’s Festival in this city, from the studies by Brandão (1985). The material of our investigation was made up of narratives and oral songs about this festivity, related to history, life and experiences of members from this cultural and religious manifestation. The narratives were enunciated by ten (10) participants, recorded in field, which were transcribed and analyzed. Thereby, this study becomes relevant, because aims to reach the community of ‘dançadores’, the trading population and researchers by showing the myth’s dynamics in the festival, as culture and religious manifestation in the city. The material of our analysis to identify, describe and analyze the myth as a historical reinforcement had as study perspective the interrelationship between language and culture in the understanding of the linguistic and cultural elements of the founding and legitimizing myth of this practice of religion and popular culture in central Brazil, sitting the research in the bias of Anthropological Linguistics. For this purpose, we used the studies by Coelho (2006), Fiorin (2003), Platão (2001), Saussure (2012), Sapir (1969), Bakhtin (1987), Bosi (1987; 1992), Machado (2002), among others, which has guided us. The research is of mixed qualitative nature, because it involved study in laboratory and field. Our results confirmed the hypothesis that in various forms of language of ‘congadeiros’ (in our case, narratives and songs), we can understand the configurations of Nossa Senhora do Rosário’s Festival, because in these forms the mythical plot of the finding of Santa do Rosário was reaffirmed in an uncontested way, recreating historical and linguistic memories of this community. / Este estudo buscou compreender como o mito do achamento da Santa do Rosário constitui as Congadas de Catalão em sua reafirmação nos rituais e festejos anuais da Festa de Nossa Senhora do Rosário nesta cidade, a partir de estudos de Brandão (1985). O material de nossa investigação se constituiu de narrativas e cantigas orais acerca desta festividade, que abordam a história, a vivência e as experiências de integrantes desta manifestação religiosa e cultural. As narrativas foram enunciadas por dez (10) participantes, gravadas em campo, as quais foram transcritas e analisadas. Assim, este estudo torna-se relevante porque objetiva ter alcance na comunidade de dançadores, no público geral e entre estudiosos ao evidenciar as dinâmicas do mito nos festejos, como manifestação cultural e religiosa na cidade. O material de nossa análise para identificar, descrever e analisar o mito como reforço histórico de práticas do grupo e por ele reforçado teve como perspectiva de estudo a inter-relação língua e cultura, na compreensão dos elementos linguísticos e culturais do mito fundador e legitimizador desta prática de religião e cultura popular no Brasil central, assentando-se a investigação no viés da Linguística Antropológica. Para tanto, utilizamos os estudos de Coelho (2006); Fiorin (2003); Platão (2001); Saussure (2012); Sapir (1969); Bakhtin (1987); Bosi (1987); Bosi (1992); Machado (2002) dentre outros. A pesquisa é de natureza qualitativa mista, porque envolveu estudo em laboratório e em campo. Nossos resultados confirmaram a hipótese de que nas variadas formas de linguagem dos congadeiros (no nosso caso, narrativas e cantigas), se podem compreender as configurações da Festa de Nossa Senhora do Rosário, porque nestas formas o enredo mítico do achamento da Santa do Rosário se reafirmou de forma inconteste, refazendo memórias históricas e linguísticas desta comunidade.

Este estudo trata da construção e modernização da Basílica Nacional de N. Senhora de Aparecida, localizada no santuário católico do mesmo nome, em Aparecida no estado de São Paulo (a 160 km da capital do estado). O autor faz uma investigação a respeito dos aspectos míticos que envolvem as transformações espaciais e urbanísticas dessa construção. Sua metodologia de análise fundamenta-se na fenomenologia da imaginação proposta por Gaston Bachelard como um caminho para os desafios da ciência na pós-modernidade. O trabalho não se limita a relacionar a implementação da obra arquitetônica (o templo) com o desenvolvimento metropolitano da cidade de São Paulo (a cidade-mãe). Seu objetivo central está em demonstrar, ao menos teoricamente, que os mitos e suas atualizações constantes (mitogênese, mística e criações artísticas) permitem à ciência geográfica compreender a organização de um espaço religioso e sugerir instrumentos (no turismo e na educação) para seu aperfeiçoamento social. / The present study examines the construction and modernization of the National Basilica of Our Lady Aparecida, located in the Roman Catholic Sanctuary of Aparecida, 100 miles from the São Paulo state capital. The author has surveyed the mythical aspects involving the spatial and urbanistic transformations of the building. His methodology of analysis is grounded on the phenomenology of the imagination proposed by Gaston Bachelard as a way of dealing with the challenges of science in the post-modern age. The paper is not limited to relating the implementation of an architectural work (the temple) to the metropolitan development of the city of São Paulo (the mother-city). Its main goal is to demonstrate, at least theoretically, that the myths and their constant renewal (mythogenesis, mysticism, and artistic creations) help Geographic Science to better understand the organization of religious spaces and to propose instruments (in tourism and education) for their social enhancement.

La figure mythique et légendaire, suggestive, occupe une position centrale dans l’esthétique du symbolisme européen (fin XIXe ̶ début XXe siècle). Cette thèse propose d’en étudier l’émergence et la fonction dans les œuvres de trois éminents représentants : Stéphane Mallarmé (1842–1898 France), William Butler Yeats (1865–1939 Irlande) et Stefan George (1868–1933 Allemagne). Un regard sur la société contemporaine (les arts, les découvertes scientifiques) permet de découvrir la place qui revient au mythe et à la légende. Au-delà des différences, affinités et contacts personnels rapprochent les trois poètes. Deux générations de symbolistes de langue différente se retrouvent dans une même vision de la création poétique. Œuvres poétiques (poésie, prose, théâtre), écrits théoriques, correspondances et entretiens révèlent une approche conjointe de l’image et du mythe : la figure mythique ou légendaire prend forme entre rêve et vision, réminiscence, évocation musicale et symbole littéraire. Du discours sur le mythe se dégage une théorie personnelle. Poésie et drame puisent aux sources hétérogènes des traditions s’enrichissent de philosophie, religion, occultisme, psychologie et vécu intime. La transposition d’art véhicule l’intertexte mythique du sujet pictural ou en sera contaminé, d’où un lien complexe entre texte et peinture (ou sculpture). Explicite dans l’œuvre de jeunesse, la figure mythique ou légendaire subira de multiples métamorphoses : syncrétique, elle fond les versions d’un mythe avec des traditions éloignées, superpose figures et faits mythiques et réels, historiques et contemporains. Implicite, elle est présente sous forme de traces dans l’abstraction du nom commun, pronom, qualificatif ou geste. La richesse des formes d’émergence lui assure son pouvoir d’irradiation. A la flexibilité de forme et contenu correspond la diversité des fonctions : la figure mythique se prête à toute figure stylistique et fonction grammaticale. Elle crée ainsi la cohésion dans l’œuvre et participe intimement à la construction du sens. La contamination atteint l’ensemble de l’œuvre mythopoétique. Autour des figures se forme une constellation d’images qui génère un nouveau mythe anthropocentrique, résumé et dépassement des traditions. D’abord « réservoir d’images » (Yeats) pour des créations futures, l’œuvre des poètes correspond de fait à une tentative bien plus ambitieuse : offrir une réponse à la quête du sens de l’Histoire et de la vie de l’Homme moderne qui ne croit plus en Dieu et dessiner les contours d’une société nouvelle. La figure mythique ou légendaire représente l’élément essentiel de la création poétique. / The suggestive mythical and legendary figure holds a central position in the aesthetic of European symbolism at the end of 19th and the beginning of 20th century. This doctoral thesis proposes to study its apparition and function in the works of three distinguished representatives: Stéphane Mallarmé (1842–1898, France), William Butler Yeats (1865–1939, Ireland) and Stefan George (1868–1933, Germany). A look on contemporary society (arts, scientific discoveries) will allow discovering the place due to myth and legend. Beyond their differences, affinities and personal contacts bring these poets closer together. Two generations of symbolists, speaking different languages, join in one and the same view on poetical creation. Poetic works (poetry, prose and theatre), theoretical texts, letters and conversations reveal joint approach to image and myth: the mythical and legendary figure takes shape among dreams and vision, reminiscence, musical evocation and literary symbol. A personal theory emerges from speech on myth. Poetry and drama draw from the heterogeneous sources of various traditions, enriching with philosophy, religion, psychology, occultism and private experience. Transposition of art conveys the mythical text of the painted subject or is contaminated by it. Hence a compound link from text to painting (or sculpture). Explicit in the poet’s early work, mythical and legendary figure will go through multiple metamorphosis: synthetic, it melts the different versions of a myth with traditions from far away, it superimposes mythical figures and facts on others taken from history and contemporary reality. Implicit, it will be present as a trace, a common noun, a pronoun, a qualifying adjective, or a gesture. Great diversity of forms provides him power of radiation. Flexibility of form and content matches with diversity of functions: the mythical figure lends itself to every stylistic figure and grammatical function. This way it creates cohesion within the work and contributes intimately to the construction of sense. Contamination affects all the mythopoetic work. Around these figures a constellation of images forms and produces a new anthropocentric myth, summarizing and going beyond traditions. Hoard of images for future creations in the beginning (Yeats), the poet’s work actually comes up to a bid far more ambitious: give an answer to the quest for sense of history and life of modern man who doesn’t believe in God any more, and draw the outline of a new society. Mythical and legendary figure represent the essential element of poetic creation. / Die mythische und legendäre Gestalt nimmt in der Ästhetik des europäischen Symbolismus (Ende des 19. – Anfang des 20. Jahrhunderts) eine zentrale Position ein. Diese Doktorarbeit stellt sich zur Aufgabe, ihr Vorkommen und ihre Funktion in den Werken von drei bedeutenden Vertretern zu untersuchen: Stéphane Mallarmé (1842-1898, Frankreich), William Butler Yeats (1865–1939, Irland), Stefan George (1968-1933, Deutschland). Ein Blick auf die zeitgenössische Gesellschaft (Kunst, wissenschaftliche Entdeckungen) ermöglicht es, herauszustellen, welche Stellung Mythos und Legende zufällt. Über alle Unterschiede hinaus sind sich die drei Dichter durch gemeinsame Interessen und persönliche Kontakte nahe. Symbolisten zweier Generationen und aus verschiedenen Sprachbereichen stimmen miteinander in dergleichen Auffassung von dichterischer Schöpfung überein. Dichterische Werke (Lyrik, Prosa, Theater), theoretische Schriften, Briefwechsel und Unterhaltungen lassen eine miteinander verbundene Betrachtungsweise von Bild und Mythos erkennen: die mythische und legendäre Gestalt nimmt Form an zwischen Traum und Vision, Erinnerung, musikalischer Evokation und literarischem Symbol. Aus der Rede über den Mythos geht eine persönliche Theorie hervor. Lyrik und Drama schöpfen aus den Quellen der heterogenen Traditionen, werden durch Philosophie, Religion, Okkultismus, Psychologie und intime Erfahrung bereichert. Die Übertragung bildender Kunst in Dichtung ("transposition d’art") vermittelt den im Gemälde zugrunde liegenden mythischen Text oder wird von ihm kontaminiert. Dadurch entsteht eine komplexe Beziehung zwischen Text und Malerei (oder Skulptur). Die mythische und legendäre Gestalt, in den Jugendwerken eindeutig erkennbar, erfährt später vielfältige Metamorphosen: synkretistisch verschmilzt sie die Varianten eines Mythos mit entfernten Traditionen, überlagert mythische Gestalten und Ereignisse mit reellen, historischen, zeitgenössischen. Implizit ist sie präsent in Form von Spuren, in der Abstraktion von Nomen, Pronomen, Adjektiv oder in einer Geste. Der große Formenreichtum sichert ihre Ausstrahlungskraft. Der Flexibilität von Form und Inhalt entspricht die Vielfalt der Funktionen: die mythische Gestalt passt sich jeder Stilfigur und jeder grammatischen Funktion an. Sie schafft somit die Geschlossenheit eines Werkes und nimmt im Innersten an der Sinnkonstruktion teil. Die Kontamination greift auf das ganze mythopoetische Werk über. Um die Gestalten herum bildet sich eine Konstellation von Bildern, die einen neuen anthropozentischen Mythos hervorbringt, der die Traditionen zusammenfasst und übertrifft. Zunächst „Bilderreservoir“ (Yeats) für zukünftige dichterische Schöpfungen, verfolgt das Werk der Dichter in Wirklichkeit einen viel ambitiöseren Versuch: auf die Frage nach dem Sinn in der Geschichte und im Leben des modernen Menschen, der nicht mehr an Gott glaubt, eine Antwort geben und die Konturen einer neuen Gesellschaft skizzieren. Die mythische oder legendäre Gestalt ist wesentliche Konstituente der Dichtung.

This dissertation examines the ideological role and adaptation of the mythical British past (derived from Geoffrey of Monmouth’s Historia regum Britanniae) in chronicles of England written in Anglo-Norman, Latin, and English from the twelfth to the fifteenth century, in terms of the shaping of English history during this time. I argue that the past is an important lens through which we can read the imagined geographies (Albion, Britain and England) and ‘imagined communities’ (the British and English), to use Benedict Anderson’s term, constructed by historical texts. I consider how British history was carefully re-shaped and combined with chronologically conflicting accounts of early English history (derived from Bede) to create a continuous view of the English past, one in which the British kings are made English or ‘of England’. Specifically, I examine the connections between geography and genealogy, which I argue become inextricably linked in relation to mythical British history from the thirteenth century onwards. From that point on, British kings are increasingly shown to be the founders and builders of England, rather than Britain, and are integrated into genealogies of England’s contemporary kings. I argue that short chronicles written in Latin and Anglo-Norman during the thirteenth century evidence a confidence that the ancient Britons were perceived as English, and equally a strong sense of Englishness. These texts, I contend, anticipate the combination of British and English histories that scholars find in the lengthier and better-known Brut histories written in the early fourteenth century. For the fourteenth and fifteenth centuries, my study takes account of the Albina myth, the story of the mothers of Albion’s giants (their arrival in Albion before Brutus’s legendary conquest of the land). There has been a surge of scholarship about the Albina myth in recent years. My analysis of hitherto unknown accounts of the tale, which appear in some fifteenth-century genealogical rolls, leads me to challenge current interpretations of the story as a myth of foundation and as apparently problematic for British and English history. My discussion culminates with an analysis of some copies of the prose Brut chronicle (c. 1300) – the most popular secular, vernacular text in later medieval England, but it is seldom studied – and of some fifteenth-century genealogies of England’s kings. In both cases, I am concerned with presentations of the passage of dominion from British to English rulership in the texts and manuscripts in question. My preliminary investigation of the genealogies aims to draw attention to this very under-explored genre. In all, my study shows that the mythical British past was a site of adaptation and change in historical and genealogical texts written in England throughout the high and later Middle Ages. It also reveals short chronicles, prose Brut texts and manuscripts, and royal genealogies to have great potential future research.

Made available in DSpace on 2016-04-28T19:58:58Z (GMT). No. of bitstreams: 1 Itamar Aparecido de Oliveira.pdf: 1260859 bytes, checksum: 79681b27fbd6a7c2e3d27a539b7cfc3a (MD5) Previous issue date: 2016-02-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this work we analyse William Faulkner's novel The sound and the fury with the objective of meditating on the mythical structure which performs and holds a constant change of meaning of the story and the permanent dissolution found in all the narrative layers. To do that, we survey the main myths and archetypes that appear in the work and that are inverted or altered by the author with the intention of founding the creation of a modern narrative, specially in formal construction. Our main problem was the way to approach the novel, in which it is noticeable the use of an anti-Cartesian logic in the disposition of the elements: narrators, characters, time, space, archetypes, atmosphere. They seem to be subverted by a system organized through logic of bricolage, which leads us to ask: is that logic the organizational system of The sound and the fury? We made a dialogue with the studies on myth and literature (Dumézil, Meletínski, Frye), the conceptualizations of myth (Eliade, Vernant, Cassirer) and the relations between myth and bricolage (Lévi-Strauss), so as to understand better the technical and stylistic features present in the novel and how they appear as products of the logic of bricolage, encouraging the revitalization of certain myths and specifically the plantation myth, which legitimated the agrarian system of the South of the US. From our analysis we verify that the plenitude of the social dissolution of the South present in Faulkner's intrigue is only revealed when we observe the form and content of the mythical narrative which constitutes the novel / Neste trabalho analisamos o romance O som e a fúria, de William Faulkner, objetivando refletir sobre a estrutura mítica que sustenta e promove constante ressignificação da obra e a permanente dissolução encontrada em todos os estratos da narrativa. Para isso, sondamos os principais mitos e arquétipos que ecoam na obra e que são invertidos ou alterados pelo autor com o intuito de alicerçar a criação de uma narrativa moderna, em especial no que concerne à construção da forma. Nosso problema residiu na maneira pela qual abordar esse romance, no qual percebemos a utilização de certa lógica anticartesiana na disposição dos elementos constitutivos narradores, personagens, tempo, espaço, cronotopos, arquétipos, ambientação , que aparentam se encontrar subvertidos por sistema organizacional estruturado numa espécie de lógica da bricolagem, o que nos instigou à seguinte indagação: essa lógica consiste no motor organizacional de O som e a fúria? Dialogamos com os estudos acerca de mito e literatura (Dumézil, Meletínski, Frye), as conceituações sobre mito (Eliade, Vernant, Cassirer) e a relação entre mito e bricolagem (Lévi-Strauss), a fim de compreendermos quais os recursos técnicos e estilísticos presentes na obra e como estes se mostram produtos da lógica da bricolagem, promovendo a reatualização de certos mitos e, especificamente, do mito da plantação que legitimava o sistema agrário instaurado no Sul dos Estados Unidos. A partir de nossas observações, ressaltamos que a plenitude da dissolução social sulista presente na intriga faulkneriana somente se revela quando observados forma e conteúdo da narrativa mítica à qual constitui o romance

Made available in DSpace on 2016-04-26T18:13:34Z (GMT). No. of bitstreams: 1 Maria do Perpetuo Socorro M Freire de Carvalho.pdf: 10408095 bytes, checksum: dbef66b5011eebb73c12714bf01df293 (MD5) Previous issue date: 2013-11-18 / The main objective of this research is to portray the work of Calasans Neto, relating his memories to the sociocultural context of Bahia, as well as with local and mythical meanings represented symbolically by goats and whales, which are present in the life of this artist. The methodological basis is based on studies made by the authors Arjun Appadurai (2004) and Yuri Lotman (1996), covering topics such as symbolic universe, imagination and memory. The bibliographic survey of the author Myriam Fraga and theoretical bases of Jerusa Pires Ferreira on Semiotics of Culture, Myths, Culture, Imagination and Orality will have great relevance. This exploratory (Gil, 2010) and field research, sometimes fulfilling an ethnographic role, aims to provide greater familiarity with the life and work of this printmaker of Bahia. Support is in document analysis, bibliographic research and in interviews. Data collection involves a bibliographic survey and interviews with people who knew Calasans Neto, in order to draw a profile of the artist, contextualizing him as printmaker and realizing the influences in his artistic production, received from other artists and his participation as a member of Map Generation (movement of young artists who revolutionized the culture of Bahia). The corpus analysis and interviews will be part of the artist's work, related mainly to two symbolic elements: goats and whales. Some pictures and images of works of art that bring cultural and mythological references of Bahia will be considered sources of complementary research / O objetivo principal desta pesquisa é retratar a obra de Calasans Neto, relacionando suas memórias ao contexto sociocultural baiano, bem como com as significações locais e míticas representadas simbolicamente por cabras e baleias, presentes na vida desse artista. A base metodológica se apoia nos estudos feitos pelos autores Arjun Appadurai (2004) e Iuri Lotman (1996), que abordam temas como o universo simbólico, a imaginação e a memória. Será de grande relevância o levantamento bibliográfico da autora Myriam Fraga e os embasamentos teóricos de Jerusa Pires Ferreira sobre Semiótica da Cultura, Mitos, Cultura, Imaginário e Oralidade. Esta pesquisa, de caráter exploratório (GIL, 2010) e de campo, cumprindo às vezes um papel etnográfico, tem como propósito proporcionar maior familiaridade com a vida e a obra desse gravurista da Bahia. A sustentação está na análise documental, na investigação bibliográfica e na realização de entrevistas. A coleta de dados envolve um levantamento bibliográfico e entrevistas com pessoas que conviveram com Calasans Neto, com o intuito de traçar um perfil do artista, contextualizando-o como gravurista e percebendo as influências em sua produção artística, recebidas de outros artistas e de sua participação como membro da Geração Mapa (movimento de jovens artistas que revolucionaram a cultura baiana). O corpus de análise serão as entrevistas e parte da obra do artista, relacionada, sobretudo, a dois elementos simbólicos: cabras e baleias. Serão consideradas fontes de pesquisa complementar algumas fotos e imagens de obras de arte que tragam referências mitológicas e culturais da Bahia