anglicky: Title of the thesis: Myth and Literature: The Werewolf Keywords: myth, literature, mythology, mythodology, mythanalysis, mythocriticism, werewolf Abstract: This thesis deals with the relation between literature and myth. Literature transcribes the myth from a language of symbols to the language of literature. This process limits the multiplicity of meaning and the variety of renderings of a myth but at the same time makes it possible to preserve the elemental message and make it comprehensible for the socio-cultural reality of the author and subsequently for the reader. The objective of this thesis is to show on the example of the werewolf how a myth works in literature. After researching into the domain of mythology and mythocriticism, Gilbert Durand's method, called mythodology, was chosen as the principal route to approach the subject of this thesis. Mythodology comprises of two phases: mythanalysis and mythocriticism. The method is used for the study of the myth of the werewolf in four literary works from the different periods and of the different genres. In the final part are studied and analysed some socio-cultural consequences of the psychological nature of myth and its transcription into literature.

Nossa pesquisa tem como objetivo discutir a Teoria do Imaginário de Durand (1996) como proposta teórico-metodógica para o campo da Educação Matemática, numa perspectiva transdisciplinar, segundo D´Ambrosio e Vergani. Essa proposta ganha vida pelos caminhos da Mitocrítica, a fim de desvendar os mitos reitores pessoais do professor de Matemática Júlio César de Mello e Souza - o Malba Tahan. Essa busca ou caça ao mito passa por uma análise mítica do discurso pedagógico de Malba Tahan na revista Al-Karismi e nas obras O homem que calculava e Didática da Matemática. Paralelamente, o tema proposto neste trabalho - A Sombra do Arco-Íris: um estudo histórico-mitocrítico do discurso pedagógico de Malba Tahan - retoma a história de vida do autor por meio de uma análise bibliográfico-documental e mitemática das obras consultadas e estudadas no Instituto Malba Tahan (IMT). Elas definem os mitos reitores pessoais do professor de Matemática Júlio César de Mello e Souza e traçam sua trajetória no Regime Noturno de Imagem com um micro-universo sintético. Assim, a investigação desvenda os mitos reitores como um fio condutor no discurso pedagógico e na trajetória pessoal de Malba Tahan -- como o fenômeno raro da sombra do arco-íris -- e aponta para uma nova tópica para as pesquisas na área da Educação Matemática, que envolvem as tendências da Etnomatemática e da História da Educação Matemática. / Our research is aimed at discussing Durand\'s Theory of the Imaginary World (1996) as a theoretical-methodological proposal for Mathematical Education, in a cross-curricular perspective, according to D´Ambrosio and Vergani. This proposal comes alive through Mythocriticism, in an attempt to unveal teacher Júlio César de Mello e Souza, or Malba Tahan\'s main personal myths. This search or myth hunt involves a mythical analysis of Malba Tahan\'s pedagogial discourse in Al-Karismi magazine and in his works The Man Who Calculated and Didactics of Mathematics. Parallelly, the topic proposed for this paper - The Shadow of the Rainbow: a historical-mythocritical study of Malba Tahan\'s pedagogical discourse - retraces the author\'s life story by means of a bibliographical-documental, mythical and mathematical analysis of the works referred to and studied at the Malba Tahan Institute. They define mathematics teacher Júlio César de Mello e Souza\'s main personal myths and trace his route in the Night Image Mode with a synthetic micro-universe. This way, the investigation unveals the main myths as a key strand in Malba Tahan\'s pedagogical discourse and personal route - like the rare phenomenon of the Shadow of the Rainbow - and paves the way for new research topics in Mathematical Education, whenever it involves trends in Etnomathematics and Mathematical Education.

Nossa pesquisa tem como objetivo discutir a Teoria do Imaginário de Durand (1996) como proposta teórico-metodógica para o campo da Educação Matemática, numa perspectiva transdisciplinar, segundo D´Ambrosio e Vergani. Essa proposta ganha vida pelos caminhos da Mitocrítica, a fim de desvendar os mitos reitores pessoais do professor de Matemática Júlio César de Mello e Souza - o Malba Tahan. Essa busca ou caça ao mito passa por uma análise mítica do discurso pedagógico de Malba Tahan na revista Al-Karismi e nas obras O homem que calculava e Didática da Matemática. Paralelamente, o tema proposto neste trabalho - A Sombra do Arco-Íris: um estudo histórico-mitocrítico do discurso pedagógico de Malba Tahan - retoma a história de vida do autor por meio de uma análise bibliográfico-documental e mitemática das obras consultadas e estudadas no Instituto Malba Tahan (IMT). Elas definem os mitos reitores pessoais do professor de Matemática Júlio César de Mello e Souza e traçam sua trajetória no Regime Noturno de Imagem com um micro-universo sintético. Assim, a investigação desvenda os mitos reitores como um fio condutor no discurso pedagógico e na trajetória pessoal de Malba Tahan -- como o fenômeno raro da sombra do arco-íris -- e aponta para uma nova tópica para as pesquisas na área da Educação Matemática, que envolvem as tendências da Etnomatemática e da História da Educação Matemática. / Our research is aimed at discussing Durand\'s Theory of the Imaginary World (1996) as a theoretical-methodological proposal for Mathematical Education, in a cross-curricular perspective, according to D´Ambrosio and Vergani. This proposal comes alive through Mythocriticism, in an attempt to unveal teacher Júlio César de Mello e Souza, or Malba Tahan\'s main personal myths. This search or myth hunt involves a mythical analysis of Malba Tahan\'s pedagogial discourse in Al-Karismi magazine and in his works The Man Who Calculated and Didactics of Mathematics. Parallelly, the topic proposed for this paper - The Shadow of the Rainbow: a historical-mythocritical study of Malba Tahan\'s pedagogical discourse - retraces the author\'s life story by means of a bibliographical-documental, mythical and mathematical analysis of the works referred to and studied at the Malba Tahan Institute. They define mathematics teacher Júlio César de Mello e Souza\'s main personal myths and trace his route in the Night Image Mode with a synthetic micro-universe. This way, the investigation unveals the main myths as a key strand in Malba Tahan\'s pedagogical discourse and personal route - like the rare phenomenon of the Shadow of the Rainbow - and paves the way for new research topics in Mathematical Education, whenever it involves trends in Etnomathematics and Mathematical Education.

Cette thèse est consacrée à la figure de Ponce Pilate et à son remarquable déploiement depuis le XIXème siècle dans la littérature occidentale (francophone, anglophone, hispanophone). Ancrée dans la démarche mythocritique de Pierre Brunel, notre recherche interroge précisément les enjeux de l’évolution d’une telle figure et propose de définir sa place en littérature. Progressivement le juge romain devient un véritable objet d’étude, sujet de fiction à part entière. Si l'on constate qu'il ne correspond pas à la définition du mythe, il en comporte néanmoins certains aspects et va même jusqu'à développer certains mythèmes qui lui sont propres tels que son geste symbolique du lavement de mains ou la présence lumineuse de son épouse. Enfin, si la figure de Pilate appartient à la configuration narrative du procès de Jésus de Nazareth, elle est une figure mythique, et sa réhabilitation partielle ou totale, aux XXème et XXIème siècles, passe nécessairement par l’aspect politique du personnage. Après avoir considéré l’importance prise par Ponce Pilate en littérature, à partir du XIXème siècle, nous nous interrogerons sur son statut mythique et sur la place que lui donnent les écrivains de la modernité, cherchant l’homme sous la légende. Entre romanité et christianisme, la voie de la modernité place Pilate face à son humanité. / This dissertation is dedicated to Pontius Pilate’s figure and to his evolution in Western literature (French, English, and Spanish) from the 19th century. The study examines his role in literature under the light of Pierre Brunel’s mythocriticism, and analyzes how his portrayal developed over time. From his wake to his rise, Pontius Pilate becomes a real object of interest, a fictional subject on his own. This work concludes that he does not correspond to the actual definition of a myth. Rather, he has some aspects of it and even carries some mythemes of his own such as the symbolic gesture of washing his hands or his wife’s glowing presence. Lastly, if Pilate belongs to Jesus of Nazareth’s narrative format, he is then a mythical figure, and therefore his partial or even total rehabilitation must necessarily pass through the character’s political aspect. Modern writers seek for the man underneath the legend. Between Romanism and Christianity, modern time voices place Pilate against his own humanity.

Notre travail se penche sur la réécriture de quelques mythes du point de vue féminin afin de proposer une (re)construction de la généalogie des femmes. Quelles sont les figures représentatives du couple mère/fille, et comment se construisent-elles ? Dans quels mouvements s’inscrivent les reprises des mythes classiques ? Faut-il détourner les mythes créés par les hommes afin de parvenir à une nouvelle généalogie féminine ? Ce travail relève d’une double approche comparatiste, il propose tout d’abord l’analyse des figures archétypales mères-filles dans une perspective mythocritique, puis sur un plan culturel et linguistique, rapprochant des textes de la littérature française et polonaise. Ainsi, les figures bibliques d’Ève et Marie s’unissent aux représentations des mythologies païennes, telles Déméter et Perséphone, Iphigénie et Clytemnestre, ou enfin Médée. Ces figures anciennes de la maternité reviennent en force, revisitées par des écrivaines françaises et polonaises contemporaines, et ce pour redéfinir la perception du couple mère/fille. Les œuvres analysées sont nombreuses, d’Hélène Cixous à Christine Angot pour le corpus français. Quant aux textes polonais, c’est pour le lecteur français toute une littérature à découvrir qui est présentée, explorée et analysée. Nous nous intéressons à des auteures polonaises qui ont contribué à la naissance d’une écriture féminine plus intime après 1989. Nous attribuons une place considérable à la traduction des extraits des textes étudiés, ceci dans l’optique d’une traduction complète ultérieurement. Malgré les contextes socio-culturels différents dans lesquels évoluent les deux littératures, un véritable dialogue s’établit au niveau des paradigmes mythiques exploités. Ce rapprochement permet d’envisager une certaine universalité inscrite dans les mythes anciens évoquant les figures de la maternité. Il s’agit in fine d’une quête commune des femmes à la recherche d’une histoire pour la refondation d’une nouvelle généalogie. / This dissertation examines the rewriting of some myths from the female point of view in order to propose a (re)construction of women's genealogy. What are the representative figures of the mother/daughter relationship, and how are they constructed? In which movements do the rewritings of classical myths fit? Should the myths created by men be diverted in order to achieve a new female genealogy? This work is based on a double comparative approach ; first, it proposes an analysis of archetypal mother-daughter figures in a mythocritical perspective ; second, it brings together texts from French and Polish literature on cultural and linguistic levels. Thus, the biblical figures of Eve and Mary are compared with representations of pagan mythologies, such as Demeter and Persephone, Iphigenia and Clytemnestra, or finally Medea. These ancient figures of maternity return in force, revisited by contemporary French and Polish writers, to redefine the perception of the mother/daughter relationship. The works analyzed are numerous; for the French corpus, they range from Hélène Cixous to Christine Angot, and for the Polish texts, this dissertation focuses on women’s literature after 1989, when a more intimate literature emerged. These texts will be presented and analyzed so that the French reader can usefully discover them in tandem with the French texts. Considerable importance is given to the translation of extracts from these texts, in view of a complete translation later on. Despite the different socio-cultural contexts in which the two literatures have evolved, a real dialogue is established at the level of mythical paradigms. This rapprochement makes possible to imagine a universality inscribed in the ancient myths evoking the figures of motherhood. It is ultimately a common quest of women searching for a history in order to find foundations for a new genealogy.

Lorsqu’un travail critique se propose d’étudier la présence du latin et de la culture classique chez des écrivains contemporains, c’est à la notion d’héritage que l’on pense tout d’abord. Mais cette notion d’héritage pose problème. Elle doit être considérée avec prudence, comme un possible leurre, même si elle est avérée dans les œuvres de nos trois auteurs, de par certains phénomènes formels itératifs, citations latines, ainsi que la transposition de textes antiques. S’il est donc évident que lesdites œuvres affichent une apparente continuité à la fois au niveau formel et au niveau des contenus de culture, l’Antiquité latine réinvestie perd son statut particulier : elle n’est ni objet du texte, ni voix de l’autorité, ni preuve d’érudition (même si elle feint de l’être), ni trésor d’outils rhétoriques qui favorise la séduction : au contraire, elle est un piège posé au lecteur qui fait trop confiance à sa culture. Le réinvestissement de la culture et des textes antiques que nos trois auteurs pratiquent s’approche dangereusement tantôt du stéréotype, du lieu commun, tantôt d’une réutilisation complètement personnelle de la culture antique. Le latin s’avère ou bien un produit de leur imagination d’écrivain (et en tant que tel il n’est pas tout à fait identifiable à la langue morte que nous connaissons), ou bien il fait partie de la productivité textuelle de l’écriture et passe du statut de texte à celui de matériau réutilisable. Le rapport qu’entretiennent Claude Simon, Pascal Quignard et Jean Sorrente avec le latin relève donc du paradoxe : ils réinventent, voire réécrivent l’Antiquité. / When a critic’s work intends to focus on the presence of Latin and classic culture in the work of contemporary writers, one thinks foremost of the notion of heritage. But it is this notion of heritage that poses a problem. One has to approach it in a very prudent way, as if it would be a lure, even though it is attested in the works of our three authors, through the use of recurrent formal parallels, Latin quotations, and the transposition and rewriting of ancient texts. Indeed, though it is evident that these works show an apparent continuity both in form and in cultural content, the reinvested Latin Antiquity looses its particular status: it is neither object of the text, nor voice of the authority, nor proof of erudition (although it sometimes pretends to be), nor treasure box of rhetorical tools that help seducing the reader: on the contrary, it is a trap for the reader who places his trust solely in his cultural knowledge. The reinvestment that our three authors apply to the Latin text and culture gets dangerously close either to the stereotype, the commonplace, either to a completely personal reuse of antique culture. Latin is thus either a product of their artistic imagination (and as such cannot be totally identified with the dead language that we know), either part of the textual productivity of their writing, which means that it must be considered as a reusable material rather than an autonomous text. The bond that ties Claude Simon’s, Pascal Quignard’s and Jean Sorrente’s works to the Latin is thus paradoxical in nature: what they do is reinventing, or rather rewriting Antiquity.