The study is a comparative analysis of Stendhal's romantic interpretation and Flaubert's realistic interpretation of outdated myths. The first purpose of the study is to reveal the linear development of Julien Sorel and Emma Bovary in quest of their respective myths. The second is to reveal technical devices used by the authors that lead to diverse interpretations of the myths. The sources of data used in the study are Le Rouge et le noir and Madame Bovary and secondary materials concerning the two novels. The study is divided into five chapters including an introduction, two chapters that develop Julien's and Emma's respective myths, a chapter concerning technical devices used in the novels and a conclusion.

Romantic love since its beginnings raises the question of intimacy and has become an essential social force of society. In contrast to the forms of Christian love or passionate love, romantic love is the typical feature that imply a degree of self-knowledge and activity that leads to one of the characteristic elements of "heroic expedition". Since the establishment of the first novels, the concept has undergone significant way and has become the subject of much research int different disciplines. This thesis looks on the issue of display of romantic love in terms of a social construct which is variable over time and dependent on cultural and social factors of the society to which the media as part of the intended product. Constructing myth of romantic love is in this thesis elaborated in the cultural environment of Czech and Slovak film production, which shares a common history. Defined, collected and described myths, metaphors and archetypal view of the concept of romantic love, they were applied to the selected movie stories from the years 1992 - 2013.

Le thème central de cette thèse est constitué par les représentations de l'Altérité dans le discours de l'extrême droite roumaine. Pour plus de précision, ce qui nous intéresse c'est la façon dont sont produites les représentations de l'Autre et quel est leur enjeu politique dans la Roumanie de l'entre les deux guerres, et également, après 1989, dans la nouvelle Roumanie libérée du communisme.C'est une démarche principalement discursive, centrée au premier égard sur une analyse sémantique des discours de l'élite politique et intellectuelle des deux époques, qui se donne de dévoiler les stratégies de manipulation et de mise en altérité (de l'anglais othering) auxquelles sont sujets les différentes catégories d'Autres (les Juifs, les étrangers, les gitans, les minorités sexuelles et religieuses).La méthodologie choisie délimite d'abord les outils et les concepts de chaque discipline et les définit clairement, ainsi que le but auquel ils servent. Par exemple, pour les deux premiers chapitres, l'analyse du discours que nous utilisons est une analyse qualitative, sémantique, qui essaie de rendre compte des façons dont le discours est construit, ainsi que du rôle des tropes et du type des arguments. Pour le dernier chapitre, nous envisageons des explications qui puisent dans des perspectives différentes : de celle de l'histoire ou des sciences politiques à celle de la religion, en passant par celle de l'anthropologie ou de la psychologie.Le but de notre thèse est d'essayer d'expliquer l'évolution de ce processus - du « comment » (les moyens) au « pourquoi » (les raisons) de la mise en altérité, en réorientant la question de départ sur le portrait ou la représentation du Soi, du Nous, des Roumains.Mots clé : Identité, Soi altéré, Roumanie, Altérité discursive, Représentations sociales / Romania has witnessed in the last century the recurrence, in various shapes and on multiple voices, of extreme rightwing tendencies. Covering a wide scale, from the interwar social movements such as The Iron Guard, to the post-communist nationalist parties, it shows, if not an inner attraction, then at least a high frequency of the phenomenon.Following this path, we have decided to analyze the discourse of the extreme rightwing, in order to identify the main characteristics of the portrait of the Other. The evolution of this social representation marks the fluctuation of the Self identification based on internal and external factors. By highlighting the bias ruling over the Othering as process, we hope to enlighten the ways in which the socio-cognitive construction of the difference occurs, through the mirroring of the Self.Consequently, the selection of the methodology tools has been made according to the study material: the first two chapters are built on qualitative discourse analysis that tries to reflect the strategies, the arguments and the images used to create the illustrations of the Other. However, the third chapter shifts to the analysis of the Othering as process, aiming at explaining it from various perspectives: historical, political, religious, anthropological and psychological.The purpose of this analysis would be to account for the reasons and the means behind the Othering as phenomenon, in an attempt to better portray not as much the Others, but the Romanians themselves.

Cette thèse, La représentation féminine chez Alain Robbe-Grillet, a pour objectif d’étudier la place primordiale occupée par la femme dans les œuvres de cet auteur. La femme joue bien évidemment un rôle essentiel dans la vie des hommes. Elle représente le noyau de la vie. Depuis des siècles, elle est source d’inspiration artistique et lieu de controverse. Pour cette raison, la femme a retenu notre attention. [...] / This thesis, which deals with the representation of women in Alain Robbe-Grillet’s work, aims at studying the essential place occupied by women in in his different novels. Naturally, women play an essential part in the life of men. They represent the essence of life. For centuries, she is artistic source of inspiration and place of controversy. That is why the role played by women in Alain Robbe-Grillet’s work seems to us particularly important. [...]

Le classicisme hollywoodien permet d’explorer la variété des sens que revêt au cinéma le concept de réalité à partir de fragments de réalité matérielle enregistrés, du réalisme ontologique qui s’y attache, de la réalité diégétique qui constitue l’univers des films, et de la réalité philosophique, qui renvoie le spectateur à son être propre par le partage de l’expérience de personnages auxquels il s’identifie. Par l’instrumentalisation de ces réalités relatives, Hollywood crée une nouvelle forme de récit qu’alimenteront la littérature, les mythes et la psychanalyse, participant à la diffusion d’un fonds culturel commun à tous les Américains. Parce que la réalité cinématographique n’est pas ce que croit le spectateur, elle a naturellement partie liée avec le rêve et le fantasme, justifiant une réflexion sur leurs interrelations et sur la dynamique de transformation de l’art cinématographique qui se joue dans ces interrelations.Les mondes hollywoodiens, soumis à l’ imaginaire et au désir des cinéastes, n’ont que l’apparence du nôtre, jusqu’aux mondes intérieurs dont les portes nous seront ouvertes par Hollywood à travers la représentation des rêves, créant une hybridité entre réalité, rêve et fantasme. Mais un doute se créera chez le spectateur à qui on aura fait croire au rêve et au fantasme autant qu’à la réalité, et ce doute mettra en péril la « suspension d’incrédulité » qui avait fait le succès d’Hollywood et contribuera à la fin du classicisme, le rêve ayant contaminé la fiction. / Through classical Hollywood cinema, one can explore the broad variety of meanings that the concept of reality has in cinema: fragments of recorded reality material, the ontological realism that is attached to it, the narrative reality that constitutes the universe of films, and the philosophical reality that transports the viewer back to his own self by sharing the experience of characters with whom he identifies. Through the instrumentalisation of these relative realities, Hollywood creates a new form of narrative that nourishes literature, myths and psychoanalysis, and help spread a common cultural background to all Americans. Because cinematographic reality is not what the audience believes it is, it is naturally linked with dream and fantasy, justifying thoughts on their inter-relationships and on the dynamics of the transformation of cinematographic art that is played out in these inter-relationships.Subjects of the imagination and desire of filmmakers, the worlds created by Hollywood merely have the appearance of our world. This even encompasses inner worlds, whose doors will be opened to us through the representation of dreams, creating a hybridity between reality, dream and fantasy. But a doubt will be created in the spectator, who has been made to believe equally in dreams, fantasy and reality, and this doubt will jeopardize the "suspension of disbelief" that has made Hollywood successful, ultimately contributing to the end of classicism; the dream having contaminated fiction.

Scholars have well established the influence of the Old and Middle English, Norse, Welsh, and also Medieval Latin and Christian mythologies that influenced the writings of J.R.R. Tolkien. In particular, the mythology contained in The Silmarillion, specific the cosmology, behaves as sacred texts do in the primary world and mirrors a number of extant mythologies when they are directly compared. Several scholars have note, but as yet no one has studied in depth, the relationship between the cosmology the The Silmarillion to that of a number of extant ancient Near Eastern mythologies. This thesis seeks to address that gap in the scholarship by specifically exploring Tolkien's mythological creation story in relation to those of the Mesopotamian, Egyptian, and Abrahamic of the Near East. Such a comparative study reveals a number of structural and thematic parallels that attest to the complexity of Tolkien's work that and can be used to argue that his mythology can be considered as well-developed and surprisingly authentic as any of these ancient mythological traditions. / by Amanda M. Dutton. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Esta tese objetiva perseguir os caminhos tomados pela ficção de Carlos Heitor Cony depois do golpe civil-militar de 1964, acontecimento que afetou a todo o País e que atravessou em definitivo a vida e a obra do escritor e jornalista. Para tal, centra-se na análise de dois de seus mais relevantes romances, Pessach: a travessia (1967), e Pilatos (1974), debruçando-se nos diálogos que ambos travam com mitos bíblicos, no modo como se relacionaram com os momentos socioculturais vividos pelo Brasil pós-golpe e, ainda, refletindo sobre os lugares que ocupam no seio da trajetória ficcional de Cony. Nessa direção, se a aproximação deliberada do universo político constituiu sem dúvida uma inovação de Pessach, mais significativo parece ser o elemento de que este romance colocou em xeque muitos dos ingredientes anteriores desta produção literária. Ao fazê-lo, acabou por questionar a própria possibilidade de continuidade da literatura do personagem escritor, Paulo Simões; do autor da obra, Cony; e da própria literatura brasileira naquele momento. Depois dele, surgiu Pilatos, inovando no insólito e grotesco de sua linguagem, mas nem por isso deixando de se fundar em muitos pontos de seus predecessores conyanos. E se por um lado pareceu voltar o leme novamente para o rumo da literatura, por outro inaugurou um longo e enigmático silêncio do escritor, a respeito do qual este trabalho procura lançar também mais algumas luzes. / This thesis aims at pursuing the paths taken by Carlos Heitor Conys fiction after the civil-military coup of 1964, event that affected the whole country and definitely crossed the life and work of the writer and journalist. To this end, it focuses on the analysis of the two of his most important novels, Pessach: a travessia (1967), and Pilatos (1974), leaning on dialogues that both have with biblical myths, in the way how they connected with the socio-cultural moment lived in Brazil in the post revolution and, also, reflecting the places they occupy within Conys fictional trajectory. In this direction, if the deliberate approach to the political universe constituted without doubt an innovation of Pessach, more significantly seems to be the element that this novel put into question many of the ingredients prior to this literary production. In doing so, it ended up questioning its own possibility of literature continuity of the writer character, Paulo Simões; of the author of the novel, Cony; and of the Brazilian literature itself at that moment. After this, emerged Pilatos, innovating in unusual and grotesque language, but by no means lacking basis on many points of its conyanos predecessors. And if on one hand it seemed to have turned back the rudder to the direction of literature, on the other hand it inaugurated a long and enigmatic silence of the writer in respect of which this work also seeks to shed some more lights

O objetivo deste trabalho foi pesquisar as representações de vida e morte existentes nos cemitérios criados em São Paulo até o final da Primeira República (1889-1930) e analisar como essas representações dialogam com a transição de uma sociedade estruturada pela morte para uma sociedade estruturada pela vida, dialogando com os conceitos de biopolítica e biopoder de Foucault. O papel que a morte ocupa na nossa sociedade é resultado da estruturação econômica, cultural, simbólica, histórica. Somos herdeiros de uma concepção de ciência e de sociedade que se constituiu prioritariamente durante a República Velha sob a égide do positivismo, do higienismo, do branqueamento da sociedade e do capitalismo. A vida definida como um pacote de predicados vêm sendo substituída pela ideia de vida como um princípio autopoiético. A morte como evento dissociado da vida também vem se modificando. Foi através dos trabalhos de Foucault, Reis, Cymbalista, Àries, Vovelle que pude perceber que o cemitério, a morte, o morrer possuíam também um caráter educacional. Eram lugares em que os costumes sociais eram validados, transferidos, significados ou abandonados. É sob esta perspectiva fenomenológica que vamos nos aproximar do objeto estudado. Os referenciais metodológicos estão amparados pela hermenêutica e, nesse sentido, recorrer à ideia de percurso antropológico proposto por Durand é uma boa ferramenta de análise da relação entre o objeto e o sujeito. A fotografia, então, deixa de ser imagem e passa a ser um signo repleto de significações, profundidade, relações e sentido, capaz de dialogar com outros símbolos, mitos e rituais. É a hermenêutica que vai permitir o desvelamento interpretativo semântico simbólico das imagens e propiciar o diálogo entre sujeito, objeto e contexto. / This works objective was to research the representations of life and death that existed in the cemeteries built in Sao Paulo during Brazils so-called First Republic (1889-1930), and to analyze how those representations dialogue with the transition from a society structured by death to a society structured by life, approaching Foucaults concepts of biopolitics and biopower. Deaths role in our society is the result of a structure built upon economic, cultural, symbolical and historical references. We are heirs of a concept of science and society that was primarily developed during the Old Republic under the brand of positivism, hygienism, capitalism and the whitening of society. Life defined as a myriad of virtues has been changed by the idea of life as an autopoietic principle. Death as an event dissociated from life has also been modified. It was through the work of Foucault, Reis, Cymbalista, Aries, Vovelle that it became possible to perceive the cemetery, the death and the act of dying as an educational matter. They are places where the social customs were validated, transferred, signified and abandoned. It is through the phenomenological perspective that we are going to approach the objective of this study. Methodological references are backed by hermeneutics and, in this case, chasing Durands anthropological route is a good way to evaluate the relation between the object and the subject. The photography, thus, ceases to be an image and becomes a sign full of meanings, depth, relations and senses, capable of dialoguing with other symbols, myths and rituals. For it is the hermeneutics that will allow the semantic and symbolic interpretation of images and propitiate the dialogue among subject, object and context.

Esta pesquisa desenvolveu-se a partir de uma indagação acerca do relacionamento entre a etnomatemática, os mitos e os ritos do povo indígena A\'uwe-xavante. Subjacente a essa questão estava o objetivo de contribuir para com a formação de professores que irão atuar num ambiente onde diferentes povos e culturas se relacionam cotidianamente, e onde se torna importante/necessário desnaturalizar práticas discursivas que contribuem para com a manutenção da situação marginal em que se encontram muitos povos indígenas brasileiros. Para abordar o problema optei pela utilização de alguns princípios orientadores sugeridos por Ferreira Santos (2004): a recondução dos limites, a complexidade, a recursividade, a autopoiesis, a razão sensível, a multidisciplinaridade e a neotenia humana. Considero que juntos esses princípios são capazes de problematizar nossos hábitos de pensamento, argumentar em torno do íntimo relacionamento entre pensamento mítico e pensamento lógico-matemático, de contrapor-se à separação cartesiana entre história e mito, de questionar a racionalidade científica como modelo de pensamento e de valorizar a afetividade e a diversidade humana. Por sua vez, a fundamentação teórica deu-se a partir dos estudos de Lévy-Bruhl, Piaget e Vygotsky sobre o relacionamento entre mente, corpo e meio. A discussão prosseguiu em torno da exposição e do contraponto de idéias sobre os Símbolos, advindas da semiótica, da psicologia profunda e da antropologia. Em seguida, como uma complementação aos estudos históricos de Spengler (1973), foram analisadas mitocosmologias gregas, ocidental/cristã e A\'uwe-xavante. Tais análises se deram em torno de categorias surgidas a partir dos próprios mitos, da obra de Spengler e de escritos de Foucault. Algumas dessas categorias são: tempo, números, espaço, símbolo primordial, teogonia e religiosidade, poder, discurso verdadeiro e valores, dentre outros. Foi uma concepção de análise capaz de considerar categorias tão diversas, atrelada ao método e à forma de relato (que explora a metáfora do Labirinto), que tornou possível considerar aspectos sociológicos, antropológicos e narrativos, dentre outros, dos quais emergiram etnomatemáticas, identidades, formas de subjugar, métodos disciplinares, práticas discursivas e não discursivas, referências sagradas e profanas, míticas e históricas. Concluí então que a etnomatemática dos A\'uwe-xavante - que tenho chamado de Etnomatemática Parinai\'a - está inextricavelmente relacionada aos mitos e ritos do povo que a produziu/produz. Esse reconhecimento, bem como do fato de que o ensino de matemática veicula, além de conhecimentos, valores, crenças, mitos, símbolos e representações, que nos marcam e conformam, dilaceram ou fortalecem, levaram-me a sugerir que um maior conhecimento das etnomatemáticas implica o estudo dos mitos fundantes. Sugiro ainda que o professor ou consultor que atue segundo a perspectiva de respeito e valorização das diferentes etnomatemáticas deve ressaltar os mitos subjacentes a elas. Assim, a educação matemática que ocorre junto às populações indígenas estará buscando atuar no sentido de respeitar \"a alma\", a dimensão simbólica da identidade dos diferentes povos. / This research was developed on the basis of a question about the relationship involving etnomathematics, myths and rites of A\'uwe-xavante indigenous people. Subjacent to it, was the aim of contributing to the teachers formation that will actuate in an environment where different people and cultures are involved daily and where it becomes important/necessary denaturalize discursive practices that contribute to the maintenance of marginal situation where many Brazilian indigenous people are immersed. To approach to the problem I made the choice of using some guiding principles suggested by Ferreira Santos (2004): the return to boundaries and limits, complexity, recurrence, autopoiesis, sensible reason, multidisciplinarity and human neotenia. I think that all these principles allow to question our thinking habits, to make problematic our habits, argue the intimate relationship between mythic thinking and logical-mathematical thinking, in opposition to the Cartesian separation between history and myth , as well as questioning mathematical rationalization as a model of thinking and of valuating human affectivity and diversity. On its turn, theoretical foundations are located on the study of Lévy-Bruhl, Piaget, and Vygotsky about the relationship among mind, body and environment. The discussion went on to debate the exposition and counterpoint of ideas about symbols, derived from Semiotics, from Psychology and Anthropology. Further, as a complementation to the historical studies of Spengler, some Greek cosmological myths, as also occidental/Christian and A\'uwe-xavante ones. This analysis is developed around some categories appearing from myths themselves, from the works of Spengler and writings of Foucault. Some of the categories are: time, numbers, space, primal symbols, theogony and religion, power, true discourse and values, as others. It constitutes a conception of analysis able to consider many diverse categories, connected to the method and to the form of the report (that explores the metaphor of Labyrinth), that allows having in mind sociological, anthropological and narrative aspects, among others, from which emerged etnomathematics, identities, ways of submitting, disciplinary methods, discursive and non-discursive practices, sacred and profane referees , as well mythical and historical ones. I have concluded then that the etnomathematics of A\'uwe-xavante - which has been called by myself as Etnomathematics Parinai\'a - is inextricably related to the myths and rites of the people that produces it. This acknowledge , as well the fact that the teaching that Mathematics brings, beyond knowledge, values, beliefs, myths, symbols and representations, that conform and assign us, dilacerate or strengthen, conducted me to suggest that a wider knowledge of Etnomathematics implies the study of the grounding myths. I suggest besides that the teacher or consultant acting by respect to the perspective and valuation of the different etnomathematics must highlight the subjacent miths.

O problema geral de que trata esta pesquisa é a constatação de que a cultura ocidental reserva à figura do humano um lugar excepcional, central e identificado com a totalidade cosmológica visão de mundo que está em sintonia com o paradigma de abusos massivos praticados contra os animais explorados pela indústria mundialmente e com a catástrofe ambiental que presenciamos na atualidade. Partindo desta problemática, o presente estudo se propõe a compreender a noção ocidental ora mencionada, comparando-a com a visão dos Yanomami povo indígena das Américas, ou ameríndio sobre o lugar do humano no universo. Para compreender o que significa ser humano em uma dada cultura, adoto como contraponto o animal, de modo que o ponto focal deste trabalho é a relação entre humano e animal nãohumano, ou seja, a forma como estas duas instâncias ontológicas se definem mutuamente em duas culturas distintas. O gênero discursivo adotado para esta análise comparada é a narrativa mítica, tendo em vista o papel fundamental da narrativa para a compreensão do outro e do mito para a construção cultural de significados. Assim, analiso, comparo e interpreto dois mitos de criação, um de cultura ocidental e outro ameríndio: o Gênesis, primeiro livro da Bíblia Hebraico-Cristã; e A Queda do Céu: Palavras de um xamã Yanomami, compilado de narrativas do líder indígena Davi Kopenawa registradas pelo antropólogo Bruce Albert ao longo de mais de uma década. Os resultados permitem afirmar que as narrativas ocidental e ameríndia apresentam concepções opostas quanto às relações entre humanidade e animalidade em quase todas as categorias analisadas; que os próprios sentidos atribuídos a humano e não-humano em ambas são divergentes em sua essência; e que, enquanto a narrativa ocidental pressupõe os animais como objeto e a animalidade como caos a ser expurgado, a ameríndia os considera não apenas sujeito, mas parte do humano e contrapartida indispensável para o contato com a espiritualidade / The general problem which this research deals with is the observation that Western culture positions the human in an exceptional and central place, identified with the cosmological wholeness a worldview which is in tune with the paradigm of massive abuses that are practiced against the animals who are exploited by industry worldwide. Departing from that problem, this work discusses the Western notion quoted above, comparing it with the notion of Yanomami an indigenous people from Americas, or simply Amerindian about humans place in the universe. In order to understand what it means to be a human in a given culture, I adopt the animal as a counterpart, so that the focal point of this work is the relationship between the human and nonhuman animal, that is, the way these two ontological instances define themselves mutually, in two different cultures. The gender of discourse I have set for this cross-cosmological dialogue is the myth-story, given the fundamental function of narrative for the understanding of the other, and of myth for the cultural construction of meaning. For this purpose, I analyze, interpret and compare two creation myths, one from Western and other from Amerindian culture: The Book of Genesis, which is the first book of the Hebrew-Christian Bible; and The Falling Sky: Words of a Yanomami Shaman, a compilation of narratives of indigenous leader Davi Kopenawa, recorded by anthropologist Bruce Albert over more than a decade. The results allow us to imply that Western and Amerindian narratives present opposite conceptions concerning the relationships between humanity and animality almost all categories analyzed; that the very meanings attributed to human and non-human in both narratives are essentially divergent; and that, while Western narrative presupposes non-human beings as objects and animality as chaos to be purged, Amerindian narrative takes it not only as subjects, but part of human and an indispensable complement for the contact with spirituality