Cette étude propose l’analyse de la figure et des mécanismes de l’imposture dans l’oeuvre romanesque deGeorges Bernanos, dans son lien de contradiction ontologique et d’imitation factice avec la figure et lephénomène de la sainteté. Elle est conduite en trois axes. Le premier tente de dégager ce qui, dans sonitinéraire personnel, a déterminé Bernanos à faire de ces deux thèmes à la fois solidaires et contradictoiresun sujet de roman récurrent, sinon obsédant. Le second prolonge l’étude biographique par un commentairesur la genèse de l’oeuvre en lien intrinsèque avec les deux figures, autrement dit, sur l’élaborationprogressive des deux thèmes, telle qu’elle se dégage des premiers travaux d’écriture et d’inventionromanesques. Le troisième axe se penche plus manifestement sur la réalité et les mécanismes del’imposture, tels que les dévoilent les personnages bernanosiens, particulièrement celui de Mouchette dontle parcours dans Sous le soleil de Satan est typique, annonçant et préfigurant les autres parcoursd’imposteurs de l’oeuvre (particulièrement ceux de l’abbé Cénabre, du faux curé de Mégère et de M.Ouine), puis celui du diable lui-même, menteur et père du mensonge selon le verset de l’Evangile auquelle romancier se réfère, et dont la figuration dans son premier roman représente ce qui constitue finalement,à ses yeux, la seule imposture totale, surnaturelle. / This study offers an analysis of the fraud figure and mechanism in Georges Bernanos’ fiction as it islinked in both contradictory and imitative way with sanctity figure and phenomenon. It is handled by threeaxes. The first axe tries to highlight the reason why, through his personal career, Bernanos decides to usethese two themes, both interdependent and opposed, as a recurring if not obsessive fiction subject. Thesecond axe stretches the biography by a comment on the genesis of his works, essentially linked to the twofigures, in other words, on the development of these two themes, as it appears in his first written worksand fictions. The third axe favours fraud reality and mechanism as Bernanos characters may reveal, mostdistinctively Mouchette, whose path in Sous le soleil de Satan is characteristically announcing the otherimpostors’ paths : in particular those of Abbé Cénabre, the fake priest of Mégère and M. Ouine. Then, thepath of the devil himself, liar and father of lies, following the Gospel verse, which the author is referringto, and whose representation in his first fiction, appears to be the only total supernatural imposture.

"The Devil in the Detail" explores the rationality of magical belief on the early modern English stage. I examine how demons and demonic magic were depicted in the theatre, arguing that playwrights ascribed a sense of realism to the devil’s methods. In explaining the devil's modus operandi and exposing the limitations of his magic, the stage validates supernatural belief and depicts the devil’s craft as plausible. More broadly, this thesis is situated within the ongoing debate over the relationship between magic and scientific thought in early modern Europe, confirming that demonology was not an irrational superstition but a valid pre-science. Set against a background of witch persecution and the widespread belief that demons were a material reality, the devil was both the subject of prevalent intellectual inquiry and a popular figure on the early modern English stage, featuring in at least fifty-two plays between 1509 and 1638. Underpinning this particular brand of entertainment is a cohesive and consistent ontological framework that dictated the extent to which the devil could - and could not - operate in the material world, entirely in keeping with the dominant demonological thought of the time. "The Devil in the Detail" focuses on seven devil plays: Marlowe's Doctor Faustus (c.1590), Greene's Friar Bacon and Friar Bungay (c.1590), John of Bordeaux (c.1590), Jonson's The Devil is an Ass (1616), Dekker, Ford and Rowley's The Witch of Edmonton (1621), Brome and Heywood's The Late Lancashire Witches (1634) and Shakespeare's The Tempest (1611). In each chapter, I demonstrate how these texts both adhere to orthodox demonology and emphasise the devil’s humanlike qualities. The final chapter presents the case for demonism in The Tempest.

La première partie de cette thèse fait le bilan des formes de possessions sorcière, démoniaque ou liée à l’esprit d’un mort, par une incursion historique et anthropologique. Elle aborde aussi les rites, mis en œuvre par les sociétés, pour s’en protéger et pour traiter les cas de possessions. Des éléments propres à la question des démons, du diable et de l’exorcisme dans le christianisme sont ensuite présentés, avant de faire le bilan de la problématique par les aliénistes et les psychiatres, français pour la plupart. Les liens entre médecins et prêtres, face à de telles plaintes sont abordés. La seconde partie traite des aspects contemporains de la problématique. En effet, bien que ce thème puisse sembler à contre-courant de notre époque et de notre culture occidentale organisée par le discours scientifique, il est très actuel. Nous présentons les plaintes qui apparaissent sur des sites Internet qui parfois n’hésitent pas à tenter d’en tirer profit. Au début du 21e siècle, des crimes qualifiés de « satanistes » ont été médiatisés et les exorcistes invités à prendre place dans le débat. Le recours à l’exorciste et les demandes d’exorcismes se sont multipliées. L’Eglise catholique a dû s’organiser et de nombreux prêtres ont été amenés à tenir ce “Ministère” d’exorcisme. La liberté dont ils jouissent, les amène à pratiquer des rituels en adéquation avec leur croyance à un diable métaphorique ou, au contraire, personnifié. Des chapitres sont consacrés à leur organisation, à leur pratique dans le cadre d’un travail d’observation participante. Celle du père J., un exorciste qui chasse le diable est longuement abordée. Selon notre hypothèse, elle tend à générer le sentiment de possession par le diable, chez le consultant. Enfin, la troisième partie est constituée tout d’abord d’un bilan des points de vue psychanalytiques sur la question du diable et de la possession. Puis nous présentons des cas cliniques rencontrés dans le cadre de nos travaux de recherches et de notre profession. Des réflexions personnelles sur la problématique viennent conclure cette thèse. / The first part of this thesis makes an assessment of the various forms of possession witch possession, demonic possession or bound to the spirit of a deceased person, by reference to history and anthropology. It also approaches the rites implemented by societies to protect themselves and to handle the cases of possession. Various elements appropriate to the question of evil spirits, the devil and exorcism in the Christian religion are then presented, before making an assessment of the problem as seen by alienists and psychiatrists, mostly French. The links between doctors and priests confronted with such complaints are also examined. The second part handles contemporary aspects of the problem. Indeed, although this theme may seem to go against the current of our time and of our scientific oriented western culture, it is very topical. We present the complaints that appear on web sites which sometimes do not hesitate to attempt to make profit out of them. At the beginning of the 21st century, crimes qualified as "Satanists" received considerable media coverage the exorcists were invited to take place in the debate. The recourse to the exorcist and the requests of exorcisms then multiplied. The Roman Catholic Church had to get organized and numerous priests were brought to hold this "Ministry" of exorcism. The freedom which they enjoy brings them to practise rites in adequacy with their faith in a metaphoric devil or, on the contrary, a personified one. Several chapters are dedicated to their organization, to their practice within a period of observation and cooperation task. That of father J., an exorcist who chases away the devil is largely presented. In our hypothesis, this practice tends to generate the feeling of possession by the devil for the consultant. Finally, the third part mainly consists in an assessment of the psychoanalytical points of view on the question of the devil and possession. Then we present clinical cases that we have come across in the course of our research works and of our professional practice. Personal reflections on the problem come to conclude this thesis.

Esta pesquisa tematiza os estudos sobre a relação entre Geografia e Literatura, a partir da análise das interpretações sobre o romance Grande Sertão: Veredas, de João Guimarães Rosa, por meio da qual elaboramos uma reflexão crítica à modernização entendida como formação e generalização das relações sociais capitalistas. Para isso, investigamos algumas interpretações que relacionam a prosa rosiana e a literatura regionalista, apresentando alguns nexos para pensar a noção de região sistematizada na Geografia. Nesse percurso, situamos algumas questões acerca do tratamento recorrente da questão regional no Brasil, aprofundando o estudo da obra de Guimarães Rosa em relação aos debates sobre a formação do país. Discutimos o processo de formação da aparência de autonomia entre as esferas política e econômica, expondo criticamente os discursos sobre a região e a necessidade do planejamento estatal, problematizando também a aparência de autonomia dos campos intelectual e artístico. / This research thematizes the studies about the relation between Geography and Literature, from the analysis of the novels interpretations Grande Sertão: Veredas, from João Guimarães Rosa. Based on these readings we developed a critical reflexion of modernization, understood as formation and generalization of capitalist social relations. We investigate some interpretations that relate Rosa\'s narratives and regionalist literature, presenting some connections to think the notion of region, in systematized in Geography. Along the way, we situate some questions about the recurrent treatment of regional question in Brazil, deepening the study of the Rosa\'s narratives in relation to debates about the formation of the country. We discuss the process of formation of the apparent autonomy between the political and the economical sphere, exposing the discourses about the region and necessity for state planning, also questioning the apparent autonomy of the intellectual and artistic fields.

Made available in DSpace on 2016-08-10T11:21:40Z (GMT). No. of bitstreams: 1 WILSON DE SOUSA GOMES.pdf: 3891036 bytes, checksum: 8a73d119639d30e3390e87a991fc76ed (MD5) Previous issue date: 2015-02-24 / This dissertation discusses the Devil s Bank ; the object are the representantions biult up about the supposed bank. This bank is actually defined by archaeological literature as lajedo de Santa Fé . In a technical language, the site is defined by GOJU- 11 . From scientific viewpoint, the site represents the passage of indigenous tribes in the region of Alto Araguaia. In popular belief, the lajedo leaves to be an archeological site and passes to be defined-named as being the Devil s Bank. In this way, the aim is to understand the reasons to represent an archaeological site as a place of negotiation of the evil one. The issue focuses on the understanding of qualifying the indigenous culture representation makes in stones as Devil s bank. The methodology focuses on the comparison of documents with historiography to interpret what s remained and transformation in the historical process of construction and deconstruction of the other . In our case, the other that is the indigenous culture. / Esta dissertação discute o Banco do Diabo ; o objeto são as representações construídas acerca do suposto banco. Esse banco na verdade é definido pela literatura arqueológica de lajedo de Santa Fé. Em uma linguagem técnica o sítio é definido por GO JU 11 . Do ponto de vista cientifico esse sítio representa a passagem de tribos indígenas pela região do Alto Araguaia. Na leitura popular, o lajedo deixa de ser um sítio arqueológico e passa a ser definido-nominado de Banco do Diabo . Dessa forma, o objetivo é compreender os motivos de representarem um sítio arqueológico como um local de negociação do maligno. A problemática centra em compreender os motivos de classificar a representação da cultura indígena feitas em pedras, de Banco do Diabo . A metodologia centra no confronto dos documentos com a historiografia para interpretar o que há de permanecia e transformação no processo histórico de construção e desconstrução do outro . Em nosso caso, do outro, que é o indígena.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-09-09T11:37:29Z No. of bitstreams: 1 KÁTIA GORETH SARDINHA FERNANDES.pdf: 1014050 bytes, checksum: e1369e89d3283b287c346eff63fbd15b (MD5) / Made available in DSpace on 2016-09-09T11:37:29Z (GMT). No. of bitstreams: 1 KÁTIA GORETH SARDINHA FERNANDES.pdf: 1014050 bytes, checksum: e1369e89d3283b287c346eff63fbd15b (MD5) Previous issue date: 2016-05-10 / This Master’s dissertation aimed to analyze and investigate the personification of evil in Grande Sertão: Veredas of Guimarães Rosa. (Great Wilderness): Paths of starting from that the religiosity in the work is present in Brazilian literature, and it is relevant at all times, because it concerns the popular culture of the people, with regional hinterlands traits. Addressing some ways how society prepares its imaginary about the demon figure, the devil figure often regulates the way of acting and thinking of the people according to the local culture in which they live, in this case the wilderness. The research Work of Grande Sertão: Veredas contributes to survey the specific situations of personification of evil and its main culture traits established by people who lived in a particular place. The analysis in its social-historical and cultural context is relevant to note and understand the interconnection and the interrelation of these situations of cultural regionalism and the relations of que religious phenomenon. For the academic field it means to deepen the knowledge of the religious phenomenon in relation to this literature concepts in the work Grande Sertão: Veredas contains narratives that reflect the realities of the existence of God and the Devil lived in the backcountry people culture. Here it can be seen the popular imagination in the devil figure, very present in the religious and popular culture in the work of Guimarães Rosa. Based on these principles, is intented to address the Devil’s existence raised by own narrator and protagonist, the roughneck Riobaldo. The devil appers throughout the work, in various metaphors or populars images involving good and evil, love and hate especially, saying and popular names of the devil and beliefs of religiosity present in the backcountry. / Esta dissertação de Mestrado buscou analisar e investigar a personificação do mal em Grande Sertão: Veredas de Guimarães Rosa partindo de que a religiosidade na obra está presente na literatura brasileira, sendo relevante em todas as épocas, porque diz respeito à cultura popular do povo, com traços regionais do sertão. Abordando algumas formas de como a sociedade elabora seu imaginário acerca da figura do demônio, a figura do diabo regula muitas vezes a forma de agir e pensar das pessoas de acordo com a cultura local em que estão inseridos, neste caso o sertão. A pesquisa da obra Grande Sertão: Veredas contribui para fazer um levantamento das situações específicas da personificação do mal e seus principais traços de cultura estabelecida por pessoas que viviam em uma determinada região. A análise em seu contexto sócio-histórico e cultural torna relevante observar e compreender a interconexão e interrelação dessas situações do regionalismo cultural e as relações do fenômeno religioso. Para o campo acadêmico isso significa aprofundar os conhecimentos sobre o fenômeno religioso em relação aos conceitos de literatura presente na obra Grande Sertão: Veredas. O texto Grande Sertão: Veredas contém narrativas que refletem realidades da existência de Deus e do demônio vividas na cultura do povo sertanejo. Aqui poderá ser visto o imaginário popular na figura do demônio, muito presente na cultura popular religiosa e na obra de Guimarães Rosa. Com base nestes princípios, pretende-se abordar o problema da existência do diabo, levantado pelo próprio narrador e protagonista, o jagunço Riobaldo. O diabo aparece, ao longo da obra, sob diversas metáforas ou imagens populares envolvendo o bem e o mal, o amor e o ódio, sobretudo, ditos e nomes populares sobre o demônio e crenças da religiosidade presente no sertão.

O objetivo deste estudo é analisar comparativamente o motivo fáustico e a representação do demônio nos romances Grande Sertão: Veredas, de Guimarães Rosa, Os Irmãos Karamázov, de Fiódor Dostoiévski, e Doutor Fausto, de Thomas Mann. O conto A Igreja do Diabo, de Machado de Assis, também insere-se no estudo. A análise tem por base a tragédia Fausto, de Johann Wolfgang von Goethe, origem de toda uma tradição que relaciona o demoníaco à insaciabilidade do homem moderno. Aspectos dos respectivos contextos históricos refletidos nas obras também são apontados, assim como diferenças e aproximações entre as experiências dos heróis no que tange ao bem e ao mal e às consequências do pacto com o demônio. Embora universal, tal temática alcança representações peculiares nos autores em estudo, em virtude do estilo e da inventividade de cada um deles e também das condições históricas e culturais diversas. / The aim of this study is to analyze the Faustian motive and the representation of the devil in the novels: Grande Sertão: Veredas, by Guimarães Rosa, The Brothers Karamazov, by Fyodor Dostoevsky, and Doctor Faustus, by Thomas Mann. The short story A Igreja do diabo, by Machado de Assis, also fits into the study. The analysis is based on the tragedy of Faust by Johann Wolfgang von Goethe, the origin of a tradition that relates to the demonic insatiability of modern man. Aspects of their historical contexts reflected in the works are also pointed as well as differences and similarities between the experiences of heroes when it comes to good and evil and the consequences of the pact with the devil. Although universal, this theme reaches representations peculiar to the authors analysed in this study, by virtue of style and creativity of each and also their various historical and cultural conditions.

Esta pesquisa tematiza os estudos sobre a relação entre Geografia e Literatura, a partir da análise das interpretações sobre o romance Grande Sertão: Veredas, de João Guimarães Rosa, por meio da qual elaboramos uma reflexão crítica à modernização entendida como formação e generalização das relações sociais capitalistas. Para isso, investigamos algumas interpretações que relacionam a prosa rosiana e a literatura regionalista, apresentando alguns nexos para pensar a noção de região sistematizada na Geografia. Nesse percurso, situamos algumas questões acerca do tratamento recorrente da questão regional no Brasil, aprofundando o estudo da obra de Guimarães Rosa em relação aos debates sobre a formação do país. Discutimos o processo de formação da aparência de autonomia entre as esferas política e econômica, expondo criticamente os discursos sobre a região e a necessidade do planejamento estatal, problematizando também a aparência de autonomia dos campos intelectual e artístico. / This research thematizes the studies about the relation between Geography and Literature, from the analysis of the novels interpretations Grande Sertão: Veredas, from João Guimarães Rosa. Based on these readings we developed a critical reflexion of modernization, understood as formation and generalization of capitalist social relations. We investigate some interpretations that relate Rosa\'s narratives and regionalist literature, presenting some connections to think the notion of region, in systematized in Geography. Along the way, we situate some questions about the recurrent treatment of regional question in Brazil, deepening the study of the Rosa\'s narratives in relation to debates about the formation of the country. We discuss the process of formation of the apparent autonomy between the political and the economical sphere, exposing the discourses about the region and necessity for state planning, also questioning the apparent autonomy of the intellectual and artistic fields.

De acordo com a teologia cristã, o Diabo caracteriza-se como paradigma definitivo e origem inconteste daquilo que se convencionou chamar de Mal na mundividência ocidental. Todavia, ao transpor as fronteiras dos textos religiosos em que se originou, o Diabo veio a se tornar, nos domínios da literatura, um símbolo recorrente e de indisputável significância, como atestam suas várias e multifacetadas manifestações literárias. Destarte, partindo de uma interpretação do Adversário enquanto símbolo literário de extensa tradição, o presente trabalho objetiva analisar a representação de Satã no conto A Hora do Diabo, de Fernando Pessoa. Tenciona-se, em substância, por meio de uma leitura analítico-comparativa do discurso de Satanás, deslindar a figura do Tentador enquanto sumo conhecedor de mistérios e iniciador que, ao longo da narrativa, sumariza e expõe ao leitor o pensamento esotérico de Fernando Pessoa para, a partir daí, estabelecer uma relação entre os desígnios do Diabo, o Oculto e o fazer poético / According to the Christian theology, the Devil is the utmost paradigm and unquestionable origin of what is commonly named Evil in the Western outlook. Howeveer, by crossing the borders of the religious texts in which it sprang, the Devil became, in the realms of literature, a recurring and indisputably significant symbol, as its various and manifold literary manifestations bear witness. Starting, thus, from an interpretation of the Adversary as a literary symbol of broad tradition, this paper aims at analyzing the representation of Satan in the short-story A Hora do Diabo, by Fernando Pessoa. By means of an analytical comparative study of Satans discourse, our purpose is, essentially, to unfold the figure of the Tempter as the supreme bearer of mysteries and the initiator who, along the narrative, synthesizes and exposes to the reader Fernando Pessoas esoteric thought in order to, from this point on, establish a relation among the Devils intent, the Occult and the poetic creation.

This thesis examines the genesis of the derogative emo kid representation and considers the latent functions it initially served in being applied to visible categories of adolescent subculturalists on the behalf of participants within the wider punk subculture. Pulling from the work of Stanley Cohen in arguing that the emo kid representation be conceptualized as a subcultural folk-devil, this thesis argues for the applicability of a Bourdieuian theoretical framework in understanding the means in which subcultural authenticity is not only distributed throughout fields of subcultural participation, but within those spheres of communicative entertainment media in which subcultural knowledge is created, legitimized and disseminated. In offering a Foucaultian genealogy of the niche-mediated emo pseudo-genre, and highlighting its correlation with concurrent movements perceived as facilitating the mainstream colonization of the punk subculture, this thesis argues that the emo kid folk-devil was constructed and reified by virtue of an array of discursive measures based largely in online, micro-mediated forums - through which punk subculturalists vied to marginalize those emo kids so perceived as threatening the exclusivity of the punk subculture and the long-established symbolic economies contained therein. Finally, this thesis demonstrates the process through which this subcultural folk-devil was annexed into a wider socio-discourse concerning dangerous youth populations and, thus, came to be utilized in collusion with mass-mediated campaigns meant to perpetuate the political disempowerment of adolescent populations through the endorsement of representational politics.