十六世紀西班牙神秘主義學家德蘭阿烏馬達‧賽伯達（Teresa de Ahumada y Cepeda）於1622年被封為聖女大德蘭（St. Teresa of Ávila）或稱耶穌的聖大德蘭（Saint Teresa of Jesus）。一生以事奉天主為畢生奮鬥目標，她從靜觀祈禱裡領晤天主的恩寵，是一位神秘體驗的神秘主義者。大德蘭用33年的時間專注於內心默想祈禱和與天主在靈性上的結合，進而改革加爾默羅會，開創了一個嶄新的、更默觀的生活方式，而遍佈天主教世界。《七寶樓台》是大德蘭在天主的臨在經驗下完成的著作，其著作沒有深奧抽象的思辨理論，而主要是對神祕體驗現象的直觀性與隱喻性描述。基於這種神祕體驗與靈性生活的倡導，大德蘭也因此常被視為基督宗教神秘主義者的代表人物之一。 本論文主要透過對於大德蘭的基督宗教神祕主義思想背景，以及《七寶樓台》解讀的理論基礎，基督宗教的靈修理論以及宗教詮釋的相關理論。對靈魂提升的過程和神學的語言進行深入的省思，探討德蘭思想的底層。這個討論工作，所運用的方法主要是根據呂格爾等詮釋學家對文本世界的詮釋理論，以發掘文本的深層涵義。本論文的主要目的，企圖導引出宗教神學世界長期以來的信仰、語言和理性的討論，並藉由當代幾位具有代表性的神學與宗教學家的學說，闡明大德蘭的思想風貌，以及神秘體驗的精神本質。並且將大德蘭開創的思想潮流與宗教現象，帶進我們現代文化視野的詮釋空間之中，呈顯此一經典文本《七寶樓台》的重要價值與跨時代性。 關鍵詞：大德蘭、七寶樓台、神祕主義、神祕體驗、靈修、宗教現象、詮釋學、呂格爾 / Sixteen century Spanish mystic- Teresa de Ahumada y Cepeda was canonized St. Teresa of Jesus by Gregory XV in 1622. She prayed for God in all her life and received His grace by contemplative prayer. She is also a practical mysticism. St. Teresa spent 33 years to pray for God, and concentrated on meditation piety to be with Him in spirit. By reforming Carmelo, the new meditative way of profound lives which created by her, gradually spread around the entire Catholic world. She wrote, Interior Castle, when God came to her in pray. The book is full of metaphor in book without any abstractive theories. Teresa became one of the representatives in Spanish mysticism due to her concentration on inner life and mystical experience. I will investigate the Christian Mysticism background of Teresa, the interpretation of Interior Castle, meditation piety of Christian, and related theories of religion hermeneutics such as Paul Ricoeur’s. By reflecting on the explanation of soul ascent and theological language, the thought of Teresa would be exposed. My purpose here is to introduce some significant arguments about faith, language and reason of Christianity by several theorists. I should focus on essentials of Teresa’s thought and mystical experience, the trend of spiritual movement and religion phenomenon initiated by Teresa. From a modern cultural perspective, the value and meaning of Interior Castle, should be reveal by this work. Key words: St. Teresa, Interior Castle, mysticism, mystical experience, meditation

The aim of this dissertation is to undertake a study of the trinitarian ecclesiology of the North American evangelical theologian Stanley J. Grenz (d.2005), along with his imago Dei theology, revisioned social trinitarianism, narrative theology, incorporation of theosis, and theology of triune participation. This dissertation also utilizes the hermeneutical philosophy of Paul Ricoeur, in conjunction with Grenz’s trinitarian ecclesiology, to propose a missional and hermeneutical ecclesiology. Chapter one begins with an overview of Grenz’s theology and a discussion of the current state of Grenz scholarship. It then introduces Ricoeur’s hermeneutics of the self and theory of narrative identity. The chapter concludes with an overview of chapters two, three, and four. Chapter two traces the manner in which Grenz’s social trinitarianism and imago Dei theology yield a social imago. The first section overviews Grenz’s The Social God and the Relational Self, the social imago, the ecclesial self, his notion of ecclesial eschatological prolepsis, and his theology of triune participation. The second section responds to key criticisms of social trinitarianism, discusses Grenz and Ricoeur on the relational self, and outlines the manner in which Grenz’s theology of theosis and triune participation “in Christ” and through the Spirit yields an ecclesially oriented communal theo-anthropology. The final section takes up Grenz’s social imago and triune participation in relation to female/male mutuality in ecclesial participation and community. Chapter three discusses Grenz’s narrative theology and the development of a narrative imago. The first section overviews Grenz’s The Named God and the Question of Being and his development of the narrative of the divine name as the saga of the triune God, his further use of theosis, and the narrative imago arising within storied participation “in Christ” through the Spirit. The second section examines the continuity of Named God with Social God and argues that Grenz presents a revisioned social trinitarianism. The second section also considers Grenz and Ricoeur on the narrative self and proposes that Grenz’s ecclesial theo-anthropology now becomes a cruciform Christo-anthropology. The third section takes up the narrative imago and female/male mutuality and cruciformity as it arises from the ecclesial relation of storied and communal theotic triune participation. Chapter four treats the development of a Grenzian ecclesial imago and proposes a missional and hermeneutical ecclesiology. The first section presents Grenz’s ecclesiology as it is oriented towards mission and the connection of theosis, triune participation, and ecclesia. This section then proposes a missional grammar for the church as God’s ecclesial hermeneutics of community. The second section discusses potential charges of ecclesiological foundationalism, considers Grenz and Ricoeur on the summoned self, and extends Grenz’s theo-anthropology and Christo-anthropology into a missio-anthropology. The third section considers the mutuality and cruciformity of ecclesial “male and female” relation “in Christ” and through the Spirit, manifest in ecclesial friendship and hospitality, as the coming-to-representation and hermeneutics of community of the triune God. The conclusion offers a summary and possible avenues for further investigation.

This study explores the manner in which Anne Michaels uses figurative language, particularly metaphor, in her poetry and prose. In her first novel, Fugitive Pieces, and in certain of her poems, Michaels demonstrates the powers of language to destroy and to recuperate. For her, metaphor is not simply a literary device; it is an essential mechanism in the creation of an authentic story or poem. Moreover, in contrast to other figurative language such as euphemism, which she feels can be used to conceal the truth and make moral that which is immoral, metaphor in her view can be used to gain access to the truth and is therefore moral. Thus, as this study demonstrates, Michaels proposes as well as utilises the moral power of language. The ideas of four language theorists provide the basis of this study, and prove highly useful in application to Michaels’s work. With the aid of Certeau and Bourdieu, we examine Michaels’s participation in and literary presentation of the relationship of domination and subordination in which people seem to interact and which takes place partly through language. In the light of Ricoeur’s explication of the precise functions of metaphor, we discuss Fugitive Pieces as a novel whose engagement with the topic of the Holocaust in intensely emotive and figurative language makes it controversial in terms of what may or may not constitute the appropriate manner of Holocaust literary representation. Klemperer’s meticulous, first-hand study of the Nazis’ use of the German language during the period of the Third Reich proves illuminating in our exploration of the works of Michaels that feature themes of oppression and dispossession. In certain of her poems, Michaels stands in for real people and speaks in their voices. This is also a form of metaphor, this study suggests, as for the duration of each poem Michaels requires us to imagine that she is the real-life person who expresses him- or herself in the first person singular, which she patently is not. We could see this as appropriation and misrepresentation of those people’s lives and thoughts; however, with the aid of the notion of empathic identification we learn that Michaels’s approach is always empathic – she imaginatively places herself in various situations and people’s positions without ever losing her sense of individuality and separate identity, and her portrayal of their stories is always respectful and carefully considered. / Thesis (DLitt)--University of Pretoria, 2011. / English / unrestricted

This thesis expresses a thorough conceptual and theoretical investigation of the liturgical challenges a liturgist (preacher) faces to address worshippers of all MBTI® (Myers-Briggs Type Indicator®) personality types effectively in public sermons. The investigation is focused on the conceptualizing of psychological factors and the effects thereof that need to be taken into account by liturgists in a public worship service. The scientific aim of the thesis is to give liturgists a theoretical grasp on the hermeneutical factors, liturgical demands and homiletical challenges that any preacher should calculate in addressing worshippers with different and often ‘conflicting’ personality types and needs in a public sermon. I have chosen the Myers-Briggs Type Indicator® as psychometric instrument which consists out of sixteen unique and different personality types that are described in a four letter combination. This combination describes a person’s preferred orientation to the world (extroversion or introversion), his/her preferred way of gathering information (sensing or intuition), his/her preferred way of decision making (thinking or feeling) and the preferred lifestyle he/she adopts (judging or perceiving). The MBTI® builds on the insights of the well-known Swiss psychiatrist Carl Gustav Jung, the father of analytical psychology as well as the efforts of the formidable mother and daughter combination, Isabel Myers and Katharine Briggs. The reason for this choice is because the MBTI® proofs to be the most distinctive and effective instrument for comprehensively addressing spirituality and type. On the one hand the MBTI® is ‘friendly’ and intelligible enough to be taken into account by any congregation and liturgist while on the other hand it is a thorough and comprehensive psychometric instrument with sound subjacent psychological and scientific principles. Jung distinguished two opposite energizing orientations to the world, extraversion and introversion and four mental functions, the two opposite ways of taking in information (sensing and intuition) and the two opposite ways of ordering (organizing) the information that’s been taken in (thinking and feeling). In addition, Isabel Myers and Katharine Briggs added two preferred opposite lifestyles, an organized planned lifestyle (judging) and an adaptive spontaneous lifestyle (perceiving). Out of these combined distinctions the Myers-Briggs Type Indicator® was born. The investigation is conveyed in two distinct phases namely a theoretical- and a conclusive phase. The thesis consists out of four parts. Part 1 (Chapters 1 and 2) covers the introduction, an explanation of the methodology and the preliminary description of the concepts in the title of the thesis and other relevant concepts for example ‘liturgy’. The title of the thesis is: Personality types in worshippers: A practical-theological investigation of the challenges a preacher faces to address worshippers of all MBTI® (Myers-Briggs Type Indicator®) personality types effectively in sermons. A bilingual list of keywords is included at the beginning of the thesis to enhance continuous research and investigation. Part 2 encompasses the rest of the theoretical phase of the investigation. It consists out of a theoretical exposition of practical-theological principles like hermeneutics and homiletics (Chapter 3), an explanation of three important hermeneutical exponents Gadamer, Habermas and Ricoeur (Chapter 4), other distinctive factors that should be taken into account by the liturgist in the construction and presentation of a worship service (Chapter 5), the discussion of personality and personality types (Chapter 6), the evaluation of several psychological and psychometric instruments that could contribute to the investigation (Chapter 7), the exposition of Jung’s psychological model subjacent to the MBTI® (Chapter 8), an explanation of the theoretical foundation of the MBTI® (Chapter 9) and a comprehensive and extensive exposition of the sixteen distinctive MBTI® personality types (Chapter 10). Part 3 of the thesis consists out of Chapters 11 and 12 and encompasses the conclusive phase of the investigation. The aim of the investigation was to foster appreciation and insight in the dynamics, interaction and co-operation of the MBTI® factors, -combinations and sixteen -personality types in worshippers, so that liturgists and congregations can plan the composition and presentation of worship services accordingly. It will help to lessen the communication hindrances in the presenting and accepting of the Gospel in a worship service. The following practical question is answered in Part 3: What knowledge and insight needs to be fostered within preachers, church councils and congregations in order to accommodate and utilize the needs and strengths of the different personality types so that effective communication of the Gospel can take place in die worship service, where all personality types are potentially included? Preachers and congregations are helped to practically and liturgically address worshippers of all 16 MBTI® personality types. In Chapter 11 general challenges and demands that a liturgist (preacher) faces to address worshippers of all the MBTI® personality types effectively in a public sermon, are addressed. Other determining factors like needs, expectations, theological-anthropological perspectives, spirituality, conflicting timeframes, different generations, stages of psychological- and faith development, selective moments, politics, relationships, social contexts, clothing, moods, language, culture, sexuality, gender roles and defence meganisms are also calculated. The determining and role of personality types (in liturgist and worshippers) and the practical implications and challenges of distinct MBTI® factors and -combinations are addressed. The hermeneutical-, liturgical- and homiletical challenges and demands of the various factors are calculated. The chapter ends by calculating other practical demands and suggestions like different types of worship sermons, alternating worship services, the alternating of liturgical elements in one sermon and the developing of a specific and deliberate style and identity in a worship service. In Chapter 12 the specific demands and challenges that the liturgist faces to effectively address worshippers of all sixteen MBTI® personality types in sermons, are addressed. Hermeneutical-, liturgical- and homiletical challenges and demands with regard to each of the sixteen MBTI® personality types are taken practically into account in a communicative theory of practice. Hermeneutical challenges helps liturgists to spiritually understand each personality type better. With regard to liturgical presentation and construction, the liturgical suggestions enhance the accommodation and involvement of every personality type in the public sermon. Homiletical proposals contribute to the effective preaching, heralding and receiving of the Gospel in the public worship service, so that worshippers of every personality style can be addressed in the public worship service. Other liturgists are invited to freely add their experience and insight in the practical application of the hermeneutical-, liturgical- and homiletical suggestions and proposals. Part 4 concludes the thesis with a short summary and an extensive exposition of literature references in a Bibliography according to an adapted Harvard method. / Thesis (PhD)--University of Pretoria, 2008. / Practical Theology / unrestricted

The text of the Bible projects for its readers a Biblical-textual world. Christians live within the seminal, normative contours of this symbolic Biblical world. In this regard, a Ricoeurian hermeneutics presents a helpful apparatus to the reader of the Biblical text. In his hermeneutical studies, Ricoeur organises his considerations around four poles that operate as guidelines for this study – distanciation, objectification, projecting of a world and appropriation. In this thesis each of these considerations is applied to Proverbs 10:1–15:33 to facilitate an exploration of the symbolic-textual world projected for the reader in this literature. It is the thesis of the study that the proposed reading strategy is, in terms of the threefold movement within postmodern thought – the movements beyond foundations, beyond totalities and towards the Other – a most productive effort. When this reading strategy is utilised for Proverbs 10:1–15:33, with specific reference to the fear of the Lord, the concept of the fear of the Lord is found to have a functional definition within this collection rather than an ontological or theoretical one. With this approach, the fear of Yahweh-proverbs in Proverbs 10:1–15:33 are understood not to be dogmatised, absolute, universal truths but finds, in line with the movement beyond totalities, its authority in the context within which it is applied. Instead of communicating propositional content, which is in line with the movement beyond foundations within postmodern thought, by their power to disclose a symbolic world, it confronts the reader with the Other, in line with the movement toward the Other, and consequently opens up new modes of being, orienting the reader’s practical actions. / Thesis (PhD)--University of Pretoria, 2013. / gm2013 / Old Testament Studies / unrestricted

The thesis Darkness as a Metaphor in Film Noir explores the theme of darkness in film noir. Darkness is not merely formal, but also metaphorical communication vehicle, which works as a semantic framework and therefore when "reading" interpretive efforts have to be expended. In question of theory the thesis is based on Paul Ricoeur's living metaphor that transmute existing meanings and causes interpretive activities, as well as on conceptualization of the text openness towards the recipient, which is represented by theories of Roman Ingarden's places of indeterminacy, Wolfgang Iser's gaps, and Umberto Eco's open work. The hypothesis is the presumption that film noir can be understood in a way that it brings to viewers a change of perception, or a new visual experience, which was not present in cinema until then and which leads to the perception of "third sense". The thesis provides analyses of film noir movies and highlights their specific narrative and stylistic elements. The research also refers to the history of darkness in visual culture, while asking whether the traditional stereotypes can be separated from the inevitable sensual experience.

Cette étude s’organise autour d’une articulation : celle entre un médium (la photographie), une ville (Beyrouth), et les événements qui ont marqué son passé récent. Le thème des rapports entre la photographie et l’histoire, avec la pluralité de sens qui le décrit, vient, en arrière-fond de ces questions, délimiter l’horizon de cette étude ; le lien entre voir et savoir, antiquement aux sources de la connaissance historique (Hartog, Loraux), en représente la ligne de fuite. En premier plan, la relation photographique et historienne à l’événement constitue l’objet de cette recherche dont le propos est d’identifier dans la photographie une référence à l’histoire considérée en tant qu’écriture. Concrètement, cet argument se déplie sur deux mouvements. Il exige, dans un premier temps, une série d’analyses théoriques visant à étudier le potentiel de connaissance et le caractère formel de la photographie en qualité de représentation événementielle. En partant des expérimentations des avant-gardes (Lugon, Baqué), jusqu’au jumelage entre la photographie et la presse, il s’agira de montrer la part de lisibilité qui appartient aux narrations photographiques (Barthes, Lavoie). Ensuite, on prendra en considération le travail opéré par l’historien lors de l’opération historiographique visant à produire, autour de l’événement, une représentation historique (de Certeau, Ricœur, Ginzburg). Outre faire ressortir le caractère de visibilité qui appartient à l’écriture historienne, ce passage sera aussi l’occasion de produire une étude comparée de la photographie et de l’histoire (Kracauer) autour de notions ponctuelles, comme celles d’empreinte, d’indice et de témoignage. Le moteur de ce premier mouvement est la notion d’événement. Abordée d’un point de vue phénoménologique (Zarader, Marion, Dastur, Diano), elle nous permettra d’observer la photographie et l’histoire d’après la génétique de leur construction. Finalement, Beyrouth et son histoire façonnées par les images constituent le cadre à l’intérieur duquel s’organise le deuxième mouvement. Les analyses des œuvres de Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991) et Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) sont conçues comme autant d’espaces dialogiques entre la photographie, l’épistémologie de l’histoire et les événements historiques qu’elles représentent. Le propos est de faire ressortir le basculement qu’elles mettent en scène : de la chronique vers l’écriture d’histoire. / This study focuses on the connection between a medium (photography), a city (Beyrouth), and the events that have marked its recent past. The theme of the relationship between photography and history, with the plurality of meanings that describes it, defines the scope of this study. The link between seeing and knowing, which in Antiquity was the root of historical knowledge (Hartog, Loraux), represents its vanishing point. The photographic and historical relationship with the event constitutes the purpose of this research, the aim of which is to identify in photography a reference to history considered as writing. The argument of this dissertation unfolds in two stages. The first stage requires a series of theoretical analyses, which aim at studying the knowledge potential and the formal nature of photography as a factual representation. Starting with the experimentation of the avant-gardes (Lugon, Braqué), and exploring the twinning of photography and the press, our goal will be to demonstrate the part of readability that belongs to the photographic narratives (Barthes, Lavoie). We will then take into consideration the work accomplished by the historian during the historiographic process, aiming at producing an historical representation of the event (de Certeau, Ricoeur, Ginzburg). In addition to emphasizing the characteristic of visibility, which belongs to historical writing, this will also provide the occasion to produce a comparative study of photography and history through particular notions such as imprint, sign, and evidence. The driving force behind this first part is the notion of event. Broached from the point of view of phenomenology (Zarader, Marion, Dastur, Diano), it will enable us to analyze photography and history according to the genetics of their construction. Beyrouth and its history, shaped by images, are the context in which the second stage is organized. The analysis of the works of Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991), and Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) are conceived as dialogical spaces between photography, the epistemology of history and the historical events that they represent. The aim is to emphasize the shift they present in moving from chronicle to the writing of history.

Esta dissertação busca uma aproximação entre fotografia e literatura à luz do processo mnemônico que se forma por meio desse tipo de imagem. Assim, o objetivo principal consiste em analisar e mostrar como a fotografia atua e de que maneira contribui para que alguém (re)construa seu passado relacionando-o à memória. Para isso, parte-se da análise das obras literárias Escenas de cine mudo do autor espanhol Julio Llamazares e Retrato en sepia da escritora chilena Isabel Allende, que nos servem como ponto de partida para a discussão analítica, destacando-se a importância da fotografia para a literatura. Dessa maneira, faz-se necessário um estudo cuidadoso dos elementos que compõem cada uma das referidas obras, com a finalidade de perceber e compreender as relações que se estabelecem para a formação da memória, já que em Escenas de cine mudo e Retrato en sepia, o modo de (re)construção do passado através de fotografia é diferente. O termo “memória” está associado a diversos conceitos, de acordo com a área em que é aplicado. Levando em conta essa ideia, a proposta é partir dos conceitos de “memória” estabelecidos por Aristóteles, Platão e Ricoeur, aplicando-os às obras literárias mencionadas. / Esta disertación busca un acercamiento entre fotografía y literatura a la luz del proceso mnemónico que se forma por medio de ese tipo de imagen. Así, el objetivo principal consiste en investigar y mostrar cómo la fotografía actúa en la literatura y de qué manera contribuye para que uno (re)construya su pasado relacionándolo a la memoria. Para esto, se parte del análisis de las obras literarias Escenas de cine mudo del autor español Julio Llamazares, y Retrato en sepia de la escritora chilena Isabel Allende, que nos sirven como puntos de partida para la discusión analítica, destacándose la importancia de la fotografía para la literatura. De esa manera, se hace necesario un estudio cuidadoso de los elementos componentes de cada una de las referidas obras, con el fin de percibir y comprender las relaciones que se establecen para la formación de la memoria, ya que en Escenas de cine mudo y Retrato en sepia, el modo de (re)construcción del pasado a través de la fotografía es distinto. El término “memoria” está relacionado a diversos conceptos, de acuerdo con el área en que se aplica. Llevando en cuenta esa idea, la propuesta es partir de los conceptos de “memoria” establecidos por Aristóteles, Platón y Ricouer, aplicándolos a las obras literarias mencionadas.

Esta dissertação busca uma aproximação entre fotografia e literatura à luz do processo mnemônico que se forma por meio desse tipo de imagem. Assim, o objetivo principal consiste em analisar e mostrar como a fotografia atua e de que maneira contribui para que alguém (re)construa seu passado relacionando-o à memória. Para isso, parte-se da análise das obras literárias Escenas de cine mudo do autor espanhol Julio Llamazares e Retrato en sepia da escritora chilena Isabel Allende, que nos servem como ponto de partida para a discussão analítica, destacando-se a importância da fotografia para a literatura. Dessa maneira, faz-se necessário um estudo cuidadoso dos elementos que compõem cada uma das referidas obras, com a finalidade de perceber e compreender as relações que se estabelecem para a formação da memória, já que em Escenas de cine mudo e Retrato en sepia, o modo de (re)construção do passado através de fotografia é diferente. O termo “memória” está associado a diversos conceitos, de acordo com a área em que é aplicado. Levando em conta essa ideia, a proposta é partir dos conceitos de “memória” estabelecidos por Aristóteles, Platão e Ricoeur, aplicando-os às obras literárias mencionadas. / Esta disertación busca un acercamiento entre fotografía y literatura a la luz del proceso mnemónico que se forma por medio de ese tipo de imagen. Así, el objetivo principal consiste en investigar y mostrar cómo la fotografía actúa en la literatura y de qué manera contribuye para que uno (re)construya su pasado relacionándolo a la memoria. Para esto, se parte del análisis de las obras literarias Escenas de cine mudo del autor español Julio Llamazares, y Retrato en sepia de la escritora chilena Isabel Allende, que nos sirven como puntos de partida para la discusión analítica, destacándose la importancia de la fotografía para la literatura. De esa manera, se hace necesario un estudio cuidadoso de los elementos componentes de cada una de las referidas obras, con el fin de percibir y comprender las relaciones que se establecen para la formación de la memoria, ya que en Escenas de cine mudo y Retrato en sepia, el modo de (re)construcción del pasado a través de la fotografía es distinto. El término “memoria” está relacionado a diversos conceptos, de acuerdo con el área en que se aplica. Llevando en cuenta esa idea, la propuesta es partir de los conceptos de “memoria” establecidos por Aristóteles, Platón y Ricouer, aplicándolos a las obras literarias mencionadas.

Esta dissertação busca uma aproximação entre fotografia e literatura à luz do processo mnemônico que se forma por meio desse tipo de imagem. Assim, o objetivo principal consiste em analisar e mostrar como a fotografia atua e de que maneira contribui para que alguém (re)construa seu passado relacionando-o à memória. Para isso, parte-se da análise das obras literárias Escenas de cine mudo do autor espanhol Julio Llamazares e Retrato en sepia da escritora chilena Isabel Allende, que nos servem como ponto de partida para a discussão analítica, destacando-se a importância da fotografia para a literatura. Dessa maneira, faz-se necessário um estudo cuidadoso dos elementos que compõem cada uma das referidas obras, com a finalidade de perceber e compreender as relações que se estabelecem para a formação da memória, já que em Escenas de cine mudo e Retrato en sepia, o modo de (re)construção do passado através de fotografia é diferente. O termo “memória” está associado a diversos conceitos, de acordo com a área em que é aplicado. Levando em conta essa ideia, a proposta é partir dos conceitos de “memória” estabelecidos por Aristóteles, Platão e Ricoeur, aplicando-os às obras literárias mencionadas. / Esta disertación busca un acercamiento entre fotografía y literatura a la luz del proceso mnemónico que se forma por medio de ese tipo de imagen. Así, el objetivo principal consiste en investigar y mostrar cómo la fotografía actúa en la literatura y de qué manera contribuye para que uno (re)construya su pasado relacionándolo a la memoria. Para esto, se parte del análisis de las obras literarias Escenas de cine mudo del autor español Julio Llamazares, y Retrato en sepia de la escritora chilena Isabel Allende, que nos sirven como puntos de partida para la discusión analítica, destacándose la importancia de la fotografía para la literatura. De esa manera, se hace necesario un estudio cuidadoso de los elementos componentes de cada una de las referidas obras, con el fin de percibir y comprender las relaciones que se establecen para la formación de la memoria, ya que en Escenas de cine mudo y Retrato en sepia, el modo de (re)construcción del pasado a través de la fotografía es distinto. El término “memoria” está relacionado a diversos conceptos, de acuerdo con el área en que se aplica. Llevando en cuenta esa idea, la propuesta es partir de los conceptos de “memoria” establecidos por Aristóteles, Platón y Ricouer, aplicándolos a las obras literarias mencionadas.