Mythos can be regarded as an (absolutely) true story about the beginning of the world. Man with the mythical consciousness understands his spiritual transcendence and perceives time as eternity. The mythical consciousness was predominant in the society at first, but in the Antiquity started being replaced with the mental consciousness that puts science on a pedestal. However, the mythical consciousness is ingrained in man. National and transnational systems -- the Holy Roman Empire, the United States of America as well as the European Community -- were created with the consciousness of mythos. Man is able to transform the mythos, as a return to the (ideal) beginning, into political visions. New mythoi can be created by abusing the original ones -- see the Nazi mythos or the Communist mythos. However, such mythoi do not work in a long run and represent the negative externalities of the mythical consciousness. The true and original mythos must be one and universal since the beginning of the world (Earth, universe) is just one as well. The synthesis of the mythical consciousness and the mental consciousness (the synthesis of spirit and science) gives rise to the integral consciousness that sees matters in a complex manner ("he, who shall not understand everything, shall understand nothing") and interconnects feelings with reason. Political visions created based on the integral consciousness and implemented based on spontaneity and democratic consensus can move the society to a qualitatively higher level.

Ce travail analyse le rôle fondamental du royaume arthurien dans le récit breton du XIIe siècle. Ce lieu soulève des problématiques relatives aux fonctions de la souveraineté et tend vers la définition d’un idéal qu’on appellera « eutopique ».L’étude repose sur l’hypothèse de l’existence de deux « domaines » arthuriens qui donnent aux textes leur polarité fondamentale : le domaine courtois d’une part, qui se caractérise par une emprise masculine, celle d’Arthur, et le domaine merveilleux qui est davantage marqué par des figures féminines, souvent féeriques. Ce dernier domaine figure un envers symbolique du domaine d’origine du héros dont le parcours met en lumière une tension dialectique féconde. En effet, l’aventure le conduit du domaine courtois au domaine merveilleux, pour le ramener à la fin à la cour d’Arthur. Or ce retour ne signifie pas une régression au point de départ, mais implique au contraire la définition d’un nouvel espace, à la fois concret et idéal, à la tête duquel le héros, désormais investi de la fonction royale, règnera en assurant le bien-être de sa communauté. Ce troisième lieu est donc distinct du domaine courtois originel et en propose une variante régénérée. Le nouveau royaume qui émerge à l’issue de l’aventure chevaleresque peut ainsi être appelé « eutopique ». C’est le lieu de la construction d’un idéal humble, assurant la satisfaction des besoins humains les plus simples : l’abondance alimentaire, et de manière générale la réparation de toutes les « mauvaises coutumes » que le roi fatigué a laissé s’installer. Il se situe donc aussi aux antipodes d’idéaux plus abstraits pour poser cette aspiration simple d’une vie à mesure humaine. / This thesis analyses the fundamental role of the Arthurian kingdom in the Arthurian narrative of the twelfth century. This place raises issues related to the functions of sovereignty and tends towards the definition of an ideal that will be called « eutopic ».The study is based on the hypothesis of the existence of two Arthurian « domains » which give to the texts their fundamental polarity: on the one hand, there is the courteous domain, which is characterized by a male authority, that of Arthur, and on the other hand, the marvelous domain is comprised of fairy feminine figures. The marvelous domain is a symbolic reverse of the hero’s original domain, whose path highlights a dialectical tension. Indeed, the adventure leads him from the courteous domain to the marvelous one, to bring him back at the end to Arthur’s court. This return does not mean a regression to the starting point, but on the contrary implies the definition of a new space, both concrete and ideal, at the head of which the hero, now invested with the royal function, will reign by ensuring the well-being of his community. Therefore, this third place is distinct from the original courteous domain and proposes a regenerated variant. The new kingdom that emerges at the end of the chivalrous adventure can thus be called « eutopic ». It is a place for the construction of a humble ideal, ensuring the satisfaction of the simplest human needs: the abundance of, and more generally the restoration of all the « bad customs » that the tired king let settle down. It is the antithesis of more abstract ideals to pose this simple aspiration of human scale life.

This essay is an attempt to conduct a reading of Jerusalem by Jez Butterworth through the lens of cultural materialism with John Stuart Mill’s On Liberty as intertext. The essay conducts a brief survey of previous scholarly treatment of the play, explains the theoretical background of cultural materialism that the essay operates on, and briefly introduces the intertext. The treatment itself is based around the invocation of historical and mythical roots in the play, exploring the relevant parts of the intertext, interspersed with close reading of the play itself. The essay culminates in the understanding that the climax and ending of the play is not an end to the concept of liberty evoked in the play, but that it is a call to action for it. While the play offers no unproblematic image which could guide the direction of action, it does offer liberty as a guiding principle.

This thesis explores the implications of René Girard’s mimetic theory on Genesis 1 and 2 in the Old Testament. It tests the extent to which Genesis 1 and 2 are structured sacrificially or mythically as outlined by Girard. René Girard’s theory is summarized and clarified as to how the theory can be applied to biblical texts. In addition, Girard’s theory is explained in the context of theory-making in late modernity, and critiques of Girard from biblical, anthropological, sociological, and theological perspectives are addressed. A sacrificial structure is explored in Genesis and Exodus that informs the exegesis of Genesis 1 and 2. The critical elements in Girard’s scapegoat mechanism—acquisitive desire leading to rivalry, crisis, and ultimately to an expulsion—are examined in the expulsion of the Hebrews from Egypt (Exodus 1) and the expulsions of Abraham and Isaac in Genesis (Gen 12-21). A particular pattern takes shape that structures the narratives in the Pentateuch. An exegesis of Israel’s narrative of origins in Genesis 1 and 2 follows, incorporating Girard’s theoretical insights with higher critical methods conventionally employed to the Old Testament. The thesis discovers striking parallels with Israel’s narrative of origins. They are indeed sacrificially structured, but they also interrogate that structure and describe an alternative sacrificial response. The sacrifice that Yahweh instigates dismantles the mythical structure even as it moves through the sequence. The thesis concludes with a validation of Girard’s theory and explains how Girard’s theory can be useful to the current exegetical tasks. / Biblical and Ancient studies / D. Th. (Old Testament)

Made available in DSpace on 2016-04-28T19:59:19Z (GMT). No. of bitstreams: 1 Reinaldo Aparecido de Oliveira.pdf: 451514 bytes, checksum: 079d5831107b9223829f97501ce3c5c4 (MD5) Previous issue date: 2009-09-28 / Secretaria da Educação do Estado de São Paulo / The present study aims to investigate the construction of identities assumed by Augusto Matraga character in the tale " A hora e vez de Augusto Matraga " Guimarães Rosa (1946). To enable a greater understanding of the duality of the protagonist is necessary to establish relations between him and the environment he lives in (the backwoods), making comparisons between being original (self) and others. For that, we used the theoretical proposal of Mikhail Bakthin that highlights the notion that the self can not be seen as something autonomous. Rather, he is an element whose existence only gain significance in establishing dialogue with other selves. For this reason, speech and language become a phenomenon which shows that the self does not exist without the other. Another scholar who we believe, Walnice Nogueira Galvão shows that the character of Augusto Matraga has an ambiguous path, which reproduces the mythical-religious cycle, in constant conflict between good and evil. Thus, initially revealed and equates to a demon, then rises to a saint and at the end of the tale becomes almost a hero. Finally, the research showed us that Guimarães Rosa works the character Augusto Matraga as its ideal of creation because when you create it, purported to show the man incomplete, that is constructed and reconstructed through interaction that establishing himself and the other face a reality, also dual / O presente estudo tem como objetivo investigar a construção das identidades assumidas pela personagem Augusto Matraga, no conto A hora e a vez de Augusto Matraga , de Guimarães Rosa (1946). Para possibilitar uma maior compreensão da dualidade do protagonista é necessário estabelecer relações entre ele e o meio em que vive (o sertão), fazer comparações entre o ser original (eu) e o outro. Para tanto, utilizamos a proposta teórica de Mikhail Bakthin que destaca que a noção de que o eu não pode ser visto como algo autônomo. Ao contrário, ele é um elemento cuja existência só ganha significação no diálogo que estabelece com outros eus. Por essa razão, a palavra e a linguagem se transformam em um fenômeno que revela que o eu inexiste sem o outro. Outra estudiosa que consideramos, Walnice Nogueira Galvão mostra que a personagem de Augusto Matraga tem uma trajetória ambígua, que reproduz o ciclo mítico-religioso, sempre em conflito entre o bem e o mal. Desse modo, inicialmente se revela e se iguala a um demônio, depois se eleva a santo e, ao final do conto, se torna quase um herói. Enfim, a pesquisa evidenciou-nos, que Guimarães Rosa trabalha a personagem Augusto Matraga como o seu ideal de criação, pois ao criá-la, pretendia mostrar o homem incompleto, que se constrói e reconstrói por meio da interação que estabelece consigo e o outro, frente a uma realidade, também dual

Made available in DSpace on 2016-04-28T19:59:21Z (GMT). No. of bitstreams: 1 Aline Aparecida de Souza Gomes.pdf: 297002 bytes, checksum: 2b39f2eec846156044b2cf82c8ed7261 (MD5) Previous issue date: 2010-04-26 / Secretaria da Educação do Estado de São Paulo / Situated in the field of literature and Literary criticism, the objective of this research is to investigate the characteristics of the play O Santo e a Porca (1957) THE saint and the sow (1957) , by Ariano Suassuna, seeking to highlight the elements that represent his artistic-literary aspect. The study starts relying on the basis used and recreated by the author on an attempt to enlight the elements of popular northern culture. For that, on Chapter I Miscellanea of traditions : we reflect about a mythical-dramatic speech, o Romanceiro the Romancer, the actors/singers, the correlation author-actors-public, sham and the irony. After that, we work on Chapter II The frame of the fabling in The Saint and the Sow , the scene as reinvention of reality, Caroba s treacherous dialog and the disconnections between word, scene and action, using them related to the treason to life. On Chapter III The theatre of the nonsense on the Saint and the Sow s storyline : we think about the theme variations provoked by the imaginary, the reinvention of the common based on the sintatic-semantics mismatch and the revelation of the meaning of life that reaches the northeastern men through the storyline. We take as support Mikhail Bakhtin that helped us comprehend the popular culture on Middle Ages and on the Renaissance; Vladimir Propp who gave basis on the comic feature. Henri Bergson was also used to help in the Teoria do Riso and Idelette Muzart Santos, researcher, that helped us analyze the universality of the Suassunian Theatre , among others. The methodology in use was marked by the inductive-deductive and descriptive-analytic procedures, contributing to the recognizing and interpretation of the presence of indicators of the intertextuality of the form and the theatre storyline s speech of The Saint and the Sow , and to score the novelty marks of his literary creation in a new scenario: the universal / Situada na área da Literatura e Crítica Literária, esta pesquisa tem como objetivo investigar as características peculiares à peça O santo e a porca (1957), de Ariano Suassuna, buscando dar relevância aos elementos que lhe conferem o cunho artístico-literário. O estudo parte, primeiramente, das fontes utilizadas e recriadas pelo autor na tentativa de valorizar os elementos da cultura popular nordestina. Para isso, no capítulo I Miscelâneas de Tradições : refletimos sobre a narrativa míticodramática, o Romanceiro, os atores/cantadores, a correlação autor-atores-público, a farsa e a ironia. Na sequência, trabalhamos no capítulo II A Moldura da Efabulação em O santo e a porca , a questão da cena como reinvenção da realidade, o diálogo traiçoeiro de Caroba e as desconexões entre a palavra, a cena e a ação, correlacionando-as com a traição à vida. No capítulo III O Teatro do absurdo no enredo de O santo e a porca refletimos sobre as variações temáticas provocadas pelo imaginário, a reinvenção do popular com base nos desencontros sintático-semânticos e a revelação do sentido da vida que se desprende do enredo e atinge o homem nordestino. Tomamos como suporte o teórico Mikhail Bakhtin que nos auxiliou a compreender a questão da cultura popular na Idade Média e no Renascimento; Vladimir Propp que nos fundamentou com a questão do cômico. Também nos servimos de Henri Bergson com a teoria do riso e Idelette Muzart Santos, estudiosa e pesquisadora, que nos ajudou a refletir sobre a universalidade do teatro suassuniano, dentre outros. A metodologia em uso caracterizou-se pelo procedimento indutivo-dedutivo e descritivo-analítico, contribuindo para o reconhecimento e interpretação da presença dos indicadores na intertextualidade da forma e da linguagem do roteiro teatral de O santo e a porca, e para se alcançar as marcas da novidade de sua criação literária em novo cenário, o universal

This thesis explores the implications of René Girard’s mimetic theory on Genesis 1 and 2 in the Old Testament. It tests the extent to which Genesis 1 and 2 are structured sacrificially or mythically as outlined by Girard. René Girard’s theory is summarized and clarified as to how the theory can be applied to biblical texts. In addition, Girard’s theory is explained in the context of theory-making in late modernity, and critiques of Girard from biblical, anthropological, sociological, and theological perspectives are addressed. A sacrificial structure is explored in Genesis and Exodus that informs the exegesis of Genesis 1 and 2. The critical elements in Girard’s scapegoat mechanism—acquisitive desire leading to rivalry, crisis, and ultimately to an expulsion—are examined in the expulsion of the Hebrews from Egypt (Exodus 1) and the expulsions of Abraham and Isaac in Genesis (Gen 12-21). A particular pattern takes shape that structures the narratives in the Pentateuch. An exegesis of Israel’s narrative of origins in Genesis 1 and 2 follows, incorporating Girard’s theoretical insights with higher critical methods conventionally employed to the Old Testament. The thesis discovers striking parallels with Israel’s narrative of origins. They are indeed sacrificially structured, but they also interrogate that structure and describe an alternative sacrificial response. The sacrifice that Yahweh instigates dismantles the mythical structure even as it moves through the sequence. The thesis concludes with a validation of Girard’s theory and explains how Girard’s theory can be useful to the current exegetical tasks. / Biblical and Ancient studies / D. Th. (Old Testament)

RODRIGUES, Maria Fernanda de Sousa. Deus criou o mundo e nós construímos o Conjunto Palmeiras: a constituição da idéia de um bairro solidário. 2012. 212f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-03-20T14:30:26Z No. of bitstreams: 1 2012-TESE-MFSRODRIGUES.pdf: 7899757 bytes, checksum: c3db7272b248e3fe3ea567027afb7a37 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-03-20T16:26:42Z (GMT) No. of bitstreams: 1 2012-TESE-MFSRODRIGUES.pdf: 7899757 bytes, checksum: c3db7272b248e3fe3ea567027afb7a37 (MD5) / Made available in DSpace on 2014-03-20T16:26:42Z (GMT). No. of bitstreams: 1 2012-TESE-MFSRODRIGUES.pdf: 7899757 bytes, checksum: c3db7272b248e3fe3ea567027afb7a37 (MD5) Previous issue date: 2012 / 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 90’s. 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 Palmeiras’s 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. / O objetivo desta tese é compreender como, no Conjunto Palmeiras, um bairro situado na periferia de Fortaleza, construiu-se, ao longo do tempo, a imagem de um bairro solidário. Entende-se que tal imagem resultou tanto da mobilização em torno das demandas sociais para o bairro como do desenvolvimento de experiências consideradas inovadoras no campo da economia solidária que o tornaram conhecido e reconhecido internacionalmente, sobretudo ao final da década de 1990, alvo de inúmeros estudos acadêmicos, detentor de visibilidade midiática e premiações. Em meados de 2000, tais iniciativas expandiram-se como política de governo, por meio da Secretaria Nacional de Economia Solidária (SENAES). O ponto central, desta forma, é entender de que modo essas iniciativas ditas solidárias foram sendo difundidas e adquiriram legitimidade perante o Estado e a sociedade civil e quais as implicações desse processo que une duas lógicas aparentemente contraditórias. Para tanto, orientada por uma perspectiva metodológica qualitativa, a tese teve como foco as seguintes questões: que atores sociais participam do processo de construção dessa imagem? De que maneira atuam? Qual a extensão das iniciativas ditas solidárias? Que percepção de solidariedade perpassa as relações de parcerias firmadas entre os atores sociais envolvidos? Quais implicações tendem a ocorrer com a institucionalização dessas iniciativas diante do caráter solidário que originalmente as particularizaram? Conclui-se que, atualmente, as iniciativas solidárias no Conjunto Palmeiras desenvolvem-se, do ponto de vista institucional, em um campo ainda não definido. Se por um lado, buscam-se instrumentos cabíveis à sua autonomia legal, por outro, ao se institucionalizarem tais experiências, abre-se o caminho para que outros referenciais passem a demarcar estas iniciativas, provavelmente distintas daqueles que a embasaram em sua gênese.

Made available in DSpace on 2015-05-14T12:42:56Z (GMT). No. of bitstreams: 1 ArquivoTotalDanubia.pdf: 19849864 bytes, checksum: 4281768dd94785a5db204c5a1ed54a48 (MD5) Previous issue date: 2013-08-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to analyze the discourse of gender horoscope on different media, especially in women's magazines, noting the marks of change and permanence socio-historical and discursive sustained over time. The investigation will be made from the genre published in magazines, especially in facing the female audience in almanacs and Internet. To achieve this scope, we launched a analytical look on our subject from theoretical alliances, which are: a Discourse Theory of Traditions and Linguistic Change, Theory of the Imaginary, the theory of discourse analysis and cultural studies, from of theoretical studies as Eugenio Coseriu, Johannes Kabatek, Gilbert Durand, Mircea Eliade, CarlJung, Michel Foucault, Michel Pecheux, Eni Orlandi, Stuart Hall, Zygmunt Bauman, among others, seeking thereby to account for the discursive constructions, imagistic, symbolic and mythical traditions that relate to that underlie gender horoscope as well as the update of this discourse in other genres. Regarding methodological aspects, it is a qualitative research, literature and exploratory, aiming to provide greater awareness of the problem in order to make it explicit. From the analysis we can see that the discourse is marked by horoscope-discursive traditions imagery from the recurrence of linguistic and extralinguistic elements. It also apeared that the discourse of contemporary gender horoscope in magazines is eminently feminine. / Esta pesquisa tem como objetivo analisar o discurso do gênero horóscopo em diferentes suportes, em especial, em revistas femininas, atentando para as marcas de mudança e de permanência sócio-histórico-discursivas sofridas ao longo do tempo. A investigação foi feita a partir do gênero publicado em revistas, principalmente nas voltadas para o público feminino, em almanaques e Internet. Para alcançar tal escopo, lançamos um olhar analítico sobre nosso objeto de estudo a partir de alianças teóricas, quais sejam: a Teoria das Tradições Discursivas e Mudanças Linguísticas, a Teoria do Imaginário, a Teoria da Análise do Discurso e os estudos culturais, a partir dos estudos de teóricos como Eugenio Coseriu, Johannes Kabatek, Gilbert Durand, Mircea Eliade, Carl Jung, Michel Foucault, Michel Pêcheux, Eni Orlandi, Stuart Hall, Zygmunt Bauman, entre outros, procurando, com isso, dar conta das construções sociais, históricas, discursivas, imagéticas, simbólicas e míticas que dizem respeito às tradições que dão base ao gênero horóscopo, bem como a atualização desse discurso em outros gêneros discursivos. Quanto aos aspectos metodológicos, trata-se de uma pesquisa qualitativa, bibliográfica e exploratória, visando proporcionar maior familiaridade com o problema a fim de torná-lo explícito. A partir das análises, conseguimos observar que o discurso do horóscopo é marcado por tradições imagético-discursivas, com base na recorrência de elementos linguísticos e extralinguísticos. Também foi possível constatar que o discurso do gênero horóscopo nas revistas contemporâneas é eminentemente feminino.

Cette thèse présente une étude mythocritique de la production romanesque de Manuel de Lope [1949] postérieure à son retour en Espagne en 1993 et jusqu’à aujourd’hui : El libro de piel de tiburón (Alfaguara,1995); Bella en las tinieblas (Alfaguara,1997), (Suma de Letras, 2000), (RBA, 2010) ; Las perlas peregrinas (Espasa-Calpe,1998), (RBA, 2007) ;
 La sangre ajena (Editorial Debate, 2000); Otras islas (RBA, 2008). En effet, un séjour de vingt-cinq ans hors d’Espagne lui a permis d’exercer un regard extérieur et fécond sur son propre pays où désormais, il vit et écrit. Son œuvre romanesque recourt aux mythes antiques pour développer les thématiques essentielles dans l’Espagne de ce début de XXI ème siècle que sont la mémoire et l’oubli face à l’Histoire, la quête identitaire à travers les mythes du labyrinthe, du caïnisme, de Dionysos, de Saturne et de Chronos. Tous ces mythes s’organisent autour d’un mythe dominant, celui de Chronos, grâce à une image phare qui éclaire l’identité collective espagnole, image déjà présente dans l’ œuvre goyesque : celle de Saturne dévorant ses fils. / This thesis presents a mythocritical analysis of the novels written by Manuel de Lope (born in 1949) from 1993, when he returned home to Spain, until nowadays: El libro de piel de tiburón (Alfaguara,1995); Bella en las tinieblas (Alfaguara,1997), (Suma de Letras, 2000), (RBA, 2010) ; Las perlas peregrinas (Espasa-Calpe,1998), (RBA, 2007) ;
 La sangre ajena (Editorial Debate, 2000); Otras islas (RBA, 2008). As he had stayed away from Spain for twenty-five years, he was able to look with an external and creative perspective at his own country where he is now living and writing. In his fiction he resorts to ancient myths in order to develop the themes which are essential in the Spain of the early 21st century: memory and obliviousness as regards history as well as the search for identity through the myths of the Labyrinth, cainism, Dionysus, Saturn and Chronos. In Manuel de Lope's work, all these myths are structured around a dominant myth - that of Chronos- thanks to a highly influential image which sheds light on Spanish cultural identity, an image which was already present in Goya's work: Saturn devouring his sons.