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<p>This thesis argues that Wendell Berry’s idea of a healthy community and his understanding of membership is embodied in his fiction. The imagined community of Port William is neither an ideal blueprint for instantiating a new form of collective life in modern society, nor is it a nostalgic recreation of lost rural communities for representing an alternative culture. Berry’s imagination—both the creative process and its material products—is a funding current for both analyzing North American democracy and its failings as well as cultivating pluralities of communities that address these inadequacies. The form and discipline of Berry’s imaginative engagement with the particularities of his place uncovers the divine creativity operating in it; his fictional writing incarnates his conception and experience of this divine presence as God’s kenotic love. The upshot is not a simplistic return to traditional life but rather an affectionate and self-effacing approach to nature that converges with God’s manner of creating and relating to the world as it is conceived within the Christian tradition. Berry’s moral imagination emerges from a cultural approach to Christianity that engenders people who seek out those aspects of society and moments in life that are struggles—for justice, happiness, reconciliation—in order to incarnate a loving openness to others that does not re-inscribe further failures of Western consumer culture and political economy.</p> <p>Berry’s imagined community educates the affections in order to transform the way in which we relate to one another and treat the environment. His fiction is an education in being at home in the world as it is where we find it. Rather than theorizing the structure of a locally adapted community, or offering techniques for establishing the existence of such a community, Berry shows us how to live where we are through literary biography.</p> / Doctor of Philosophy (PhD)

This thesis examines the work of the poet Alfred Lord Tennyson and the treatment of religion in his works during the increasingly scientific Victorian Era.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-19T10:19:30Z No. of bitstreams: 1 Eliana de Castro.pdf: 786815 bytes, checksum: 3b61ffb2f9bfea8827bb1f27780a45a0 (MD5) / Made available in DSpace on 2018-09-19T10:19:30Z (GMT). No. of bitstreams: 1 Eliana de Castro.pdf: 786815 bytes, checksum: 3b61ffb2f9bfea8827bb1f27780a45a0 (MD5) Previous issue date: 2018-08-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research intends to analyze the novel Anna Kariênina, by the Russian writer Liev Tolstoy, in the light of Romanticism and orthodox Christianity, specifically the question of adultery and romantic love, which ends up leading the protagonist to suicide. We deal with the importance of literature since the earliest times, especially how through literature it is possible to get in touch with the religious customs of a nation, that is, their worldview. We create a panorama of the romantic movement and its influence in literature, just as we present the new way of seeing and living the religion that has been given by the historical romantics; beyond, of course, the very conception of romantic love, which dates back to this period. We observe Tolstoy as a religious agent, passing through his main body of work, thus arriving at the question of the desire that, in the end, closes the research in a detailed analysis of the work, which certainly serves the whole theoretical path. / Esta pesquisa pretende analisar o romance Anna Kariênina, do escritor russo Liev Tolstói, à luz do Romantismo e do cristianismo ortodoxo, especificamente a questão do adultério e do amor romântico, o que acaba por levar a protagonista ao suicídio. Tratamos a importância da literatura desde os tempos mais remotos, principalmente como por meio da literatura é possível entrar em contato com os costumes religiosos de um povo, ou seja, sua cosmovisão. Tecemos um panorama do movimento romântico e sua influência na literatura, da mesma forma como apresentamos a nova maneira de ver e viver a religião que se deu a partir dos românticos históricos; além, claro, da própria concepção de amor romântico, que data desse período. Observamos Tolstói como um agente religioso, perpassando suas principais obras, chegando assim na questão do desejo que, por fim, encerra a pesquisa numa análise detalhada da obra, que se serve, certamente, de todo o caminho teórico percorrido.

Previous critics have paid insufficient attention to the political implications of Yeats's life-long preoccupation with a wide range of Western and Eastern religious traditions. Though he always preserved some skepticism about mysticism's ability to reshape the material world, the early Yeats valued the mystical idea of oneness in part because he hoped (mistakenly, as it turned out) that such oneness would bring Catholic and Protestant Ireland together in a way that might make the goals of Irish nationalism easier to accomplish. Yeats's celebration of mystical oneness does not reflect a pseudo-fascistic commitment to a static, oppressive unity. Like most mystics—and most modernists—Yeats conceived of both religious and political oneness not as a final end but rather as an ongoing process, a "way of happening" (as Auden put it).

Critical reactions to the religious experiences contained in William Faulkner's fiction have tended to fall within the context of traditional Christian belief systems. In most instances, the characters' beliefs have been judged by the tenets of belief systems or religions that are not necessarily those on which the characters base their lives. There has been no effort to understand the characters' spirituality as the basis of an independent religious belief system. Mircea Eliade's methods and models in the study of comparative religion, in particular his explanation of the interaction of the sacred and the profane during a hierophany (the manifestation of the sacred), can be applied to the belief systems of Faulkner's characters to reveal the theologies of the characters' religions, the nature of the belief systems on which they base their lives. Identification of those stories associated with hierophanies in Faulkner's Yoknapatawpha fiction enables the isolation and analysis of the sacred stories and sacraments of Yoknapatawpha County's civil religion. The storytellings examined appear in Flags in the Dust, "A Justice," and Absalom, Absalom!. The storytellers and the audiences are all a part of the Yoknapatawpha community, and the stories are drawn from a common history. The sacralization and use of particular stories to explain certain events reflects the faith life of the community as a whole, as well as that of the individual participating in the ritual. The explication of the profane experiences the myths are meant to sanctify will reveal that the individuals, and consequently, the community, are in the process of discarding their old, civil religion. As a result, they have lost the ability to adapt their ancestral myths to fit the existential crises they presently face. Unable to infuse the present with the sacred, Yoknapatawpha1s younger generation is overwhelmed by the chaos that surrounds it.

Cette thèse se propose d’étudier les récits de fiction de la seconde moitié du XIXe siècle qui illustrent l’idée selon laquelle la « maladie est l’état naturel du chrétien ». Les affinités électives entre religion et pathologie intéressent à la fois les auteurs réalistes et naturalistes (Émile Zola, les Goncourt, Alphonse Daudet, etc.) qui envisagent la croyance dans une perspective polémique de démystification, voire de médicalisation ; et les écrivains catholiques (Barbey d’Aurevilly, Léon Bloy, J.-K. Huysmans, Émile Baumann) qui remotivent le sens spirituel des afflictions physiques. La mise en regard d’œuvres rassemblées autour d’une unité thématique – le spectacle d’un croyant malade – mais relevant d’esthétiques et de courants de pensée dissemblables permet d’étudier la manière dont la représentation littéraire cristallise les débats de l’époque au sujet du christianisme, tout en faisant émerger des problématiques communes à des auteurs que la critique a coutume d’envisager sous l’angle restrictif de leurs oppositions. Il s’agit de mettre en lumière les relations d’influences réciproques entre des écrivains qui, par-delà leurs divergences, fondent leur représentation du religieux sur un même imaginaire pathologique et sur une même poétique de l’incarnation. Ce travail entend montrer comment le renouvellement du sentiment religieux – que ce soit dans une perspective apologétique ou au contraire critique – passe par une écriture du corps souffrant, malade ou en proie à des troubles psychophysiologiques mystérieux. Ce dernier est le lieu et l’enjeu d’une réflexion sur la foi, sur le système de pensées et de croyances du christianisme et sur les institutions ecclésiastiques. / This dissertation analyzes fictions that, in the second half of the 19th century, illustrate the idea that "sickness is the natural state of a Christian". The elective affinities between religion and pathology interest both realist or naturalistic novelists (such as Émile Zola, the Goncourts, Alphonse Daudet, etc.), whose polemical view aims at demystifying or even medicalizing beliefs, as well as catholic writers (Barbey d’Aurevilly, Léon Bloy, J.-K. Huysmans, Émile Baumann), who emphasize the spiritual meaning of physical afflictions. The parallel between fictions that are all based on the spectacle of a sick believer, but engage contrasting writing styles and currents of thought, shows how much literature crystallises the debate that is going on at the time about Christianism. It also uncovers a point of commonality between writers that critics are used to consider under the restrictive perspective of their opposition. This study aims to highlight the mutual influences that link together several writers who, beyond their differences, base their representation of religious feelings on the same pathological imaginary and the same poetics of incarnation. We argue that the renewal of religious feelings, whether it's in an apologetical or critical perspective, relies on the description of a body which suffers pain, sickness or mysterious psychophysiological disorders. Ultimately, the body conveys considerations about faith, Christian ideology and beliefs and ecclesiastic institutions.