Dissertations / Theses on the topic 'Animal Fantasy'

Fantasy creatures are an essential part of many games, but while there are several studies focusing on body language and how expressive gaming companions may enhance the player’s experience, creatures and animals are rarely the focal points. Personality is closely related to believability, which is what most game developers work towards hence believability may improve the gaming experience. The purpose of this paper was to explore how the personality of a fantasy creature would be perceived by the observer when using different animal motion references. A 3D-model was created and animated in three different styles using motion references from a cat and lizard. A survey with Likert-scales was then formed with the intention to evaluate the animations. The participants in the survey were assigned one of the three animations to rate statements regarding personality and believability. Rather than a certain type of animal being associated with a certain type of personality, the result suggests that it was mainly certain motion cues and postures that affected the participants’ ratings. The study was deemed to be insufficient for a reliable result. In the discussion part, there are ideas on how the study could be improved with the aim of continuing the research to gain a clearer insight into the subject of personality and creatures.

Fantasy literature has a long history of including a wide array of non-human characters, each more fantastical than the other. But can these characters also be used to question anthropocentric beliefs or are their portrayal just a way to reinforce those ideas? Because fantasy literature, especially earlier examples in the fantasy canon, tend to include a lot of allusions to religion in general and Christianity in particular, is the question more complex than it first might seem. This thesis therefore aims to examine the portrayal of non-human characters in the works of one of the last 25 years most bestselling fantasy authors, Philip Pullman. It’s a well-known fact that Pullman isn’t a fan of organized religion, which sometimes is very noticeable in his trilogy His Dark Materials (1995-2000). The trilogy includes several kinds of non-human characters and one of the most central aims of the thesis is to examine how these portrayals relate to the undermining or reproduction of anthropocentric ideas. Because Pullmans alternative theology is so central to the trilogy’s narrative, it will also play a part in my examination.
Denna uppsats är en undersökning av de icke-mänskliga karaktärer som figurerar i Philip Pullmans fantasytrilogi His Dark Materials (1995–2000). Litteratur inom fantasygenren har en lång historia av att inkludera en stor mängd av icke-mänskliga karaktärer, den ena mer fantastisk än den andra. Kan dessa karaktärer användas för att problematisera den antropocentrism som genomsyrar det västerländska samhället eller är deras gestaltande endast exempel på hur dessa föreställningar reproduceras? Eftersom fantasy, speciellt äldre exempel, ofta har allusioner till religion i allmänhet och kristendom i synnerhet, är frågan mer komplex än den först verkar. Pullman är känd för sin kritik av organiserad religion och i His Dark Materials skriver han fram en alternativ teologi. Denna uppsats undersöker således inte bara gestaltningen av de icke-mänskliga karaktärerna och hur de relaterar till eventuell problematisering och/eller återskapande av antropocentriska normer, utan också den roll Pullmans teologi spelar i relation till detta. I slutändan är också förhoppningen att denna uppsats kan visa hur litteratur, och framför allt den som faller inom fantasygenren, kan vara ett verktyg för att diskutera och problematisera antropocentriska föreställningar.

Animal originaire d’Afrique du Nord, atypique sous nos latitudes, la genette européenne (Genetta genetta) est singulière, tant par sa physionomie (tête fuselée, oreilles de renard, taches de panthère et longue queue annelée) que par sa discrétion. Cet animal nocturne est mystérieux et son histoire n’a jamais été étudiée : comment, quand et par qui a-t-elle été introduite en Europe méridionale ? Etait-elle chassée ? A-t-elle été domestiquée ? Par qui, quand et comment était-elle représentée ? Quelle a été, et est encore peut-être, sa signification symbolique ? Il sera important d’établir le lien entre la genette et les milieux géographiques dans lesquels elle a évolué et évolue, faisant ainsi d’elle un indicateur environnemental. En effet, si cette recherche s’assigne comme objectif principal l’histoire de la genette et de sa représentation dans le cadre de sa relation avec l’homme dans le bassin méditerranéen, elle le fait aussi dans une perspective plus vaste, environnementale. Ainsi le continuum historique met-il en valeur le caractère changeant et évolutif des rapports de l’homme et de l’animal en fonction des contextes géographiques, sociaux, économiques et politiques. Connaître le passé et le présent d’un animal, connaître sa relation historique et imaginaire avec l’homme et connaître les manières dont il est représenté peut aider à mieux le préserver.Cette recherche s’inscrit donc dans le cadre d’une histoire co-évolutive des relations entre les sociétés méditerranéennes et le monde animal, de la préhistoire à nos jours. Pour la mener à bien, il a été nécessaire de recourir non seulement à des sources textuelles mais aussi à des sources archéologiques et iconographiques
Originating from Northern Africa, atypical in our part of the world, the European genet (Genetta genetta) is remarkable for its physiognomy (pointed head, fox-like ears, panther spots and a long annulate tail) as much as its furtiveness. This nocturnal animal is mysterious, and its history has never been fully studied: how, when and by whom was it introduced in southern Europe? Was it hunted? Has it ever been tamed? By whom, when and how has it been represented? What have been its symbolical meanings?It is important to establish the link between the genet and the physical environment in which it has been evolving, thereby establishing it as an environmental indicator. Indeed, if this project aims mostly at delivering the history of the genet and of its representation with a focus on its relation to man in the Mediterranean region, it also considers the wider perspective of environmental studies. Thus, the historical continuum points to the changing relationship between man and animal according to different geographical, social, economic and political contexts. Understanding the past and present history of an animal, its historical and imaginary relations to man and its various representations can help to preserve the species more effectively.This research lies within the scope of a co-evolutive history of the relationships between Mediterranean societies and the animal kingdom, from prehistorical times to the present. To complete this project, it proved necessary to resort not only to textual resources, but also to use archeological and iconographical resources

Thesis (M.F.A.)--West Virginia University, 2003.
Title from document title page. Document formatted into pages; contains iv, 12 p. : ill. (some col.) Includes abstract. Includes bibliographical references (p. 4).

À la fois mythique constructeur ou destructeur de Mondes, incarnation du Malin pour l'Église au Moyen-âge, monstre lové sur un trésor au fond d'une grotte, qu'un héros doit tuer pour prouver sa bravoure dans les légendes et les contes, le dragon revient périodiquement exprimer les peurs et les fantasmes les plus profonds. Au XXème siècle, la Fantasy a ramené le dragon en littérature et la Dragon Fantasy récente (DragonLance de M. Weis et T. Hickman comme point de départ en 1984) a fait évoluer son image en lui offrant le rôle de personnage principal ou de héros, contribuant à l'amplification de la figure mythique du dragon et à son renouveau. Le dragon vole, crache du feu, pense, parle, raisonne, se métamorphose, possède des pouvoirs magiques, aime et se bat. Il existe également au féminin. Si le dragon ancien était représenté aux pieds de l'homme, en position d'infériorité d'animal dompté, le dragon de Fantasy se situe dans le ciel, libre et supérieur à l'homme. Il ouvre la voie d'une sagesse ancestrale au dragonnier qu'il se choisit. Les combats des dragons symbolisent les éternelles luttes du Bien et du Mal présentes dans toutes les sociétés humaines et en l'homme lui-même, les forces qui s'affrontent pour le rétablissement de l'ordre et de l'équilibre universel en danger
A mythic builder or destroyer of Worlds, the embodiment of Evil for the Roman Catholic Church in the Middle Agesd, a monster to kill in order to take its treasure in legends or tales, the dragon periodically comes back expressing one's fears or diseases. Fantasy has brought the dragon back to twentieth century literature and Dragon Fantasy offers him the leading role in fights to keep order and and hold the world balanced. The new dragon, male or female, thinks, speaks, loves, fights, has magical powers, can fly, breathe fire, transform himself/herself. He shows human beings the way to ancestral wisdom

The essay at hand is a New Historicist reading of C. S. Lewis’ dystopian fantasy novel That Hideous Strength. According to New Historicist theory it is informed by many disciplines, namely, philosophy, history, literary theory, theology, social science, and psychology, and it attempts to lessen injustices of race and class. The essay examines how satire operates in the novel, focusing on its societal targets: totalitarianism, laboratory animals, and education. Lewis’ philosophical idea expressed in his “The Abolition of Man” – that a society that averts from what he calls universal, timeless, objective values will eventually lead to a loss of that which is truly humane – is a main theme of the novel as well as for this essay. Another, complementary, main theme is that a cultivation of the heart is necessary for individuals of society since childhood if society is going to stay humane.

Made available in DSpace on 2016-04-26T18:12:08Z (GMT). No. of bitstreams: 1 Erico Fernando de Oliveira.pdf: 5223723 bytes, checksum: 1749e79bae5a6d85c540c5a643463e3b (MD5) Previous issue date: 2012-10-08
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The reason of this research is studying the contemporary and social construction of the celebrities as well as the role that it exerts at the mediatic civilization. Therefore we focused on the American TV show South Park, an animation that is dedicated at caricature them. We worked with the hypothesis that the idol is a simulacrum that doesn t resist to humor desecrate. In order to do that we adopted as the main investigative theorist reference the concepts of dispositive and profanation from Giorgio Agamben s philosophy, to whom the caricature present on the cartoons reveals the human and ordinary character of the idols, taking off the phantasy veil which sacralizes it. But we also mobilize as other conceptual operators the lacanian real , once that by definition he doesn´t let himself lose from the imaginary as well as the symbolic and cynical subject notion, as developed by Slavoj i ek, which takes us to elaborate another hypothesis, the one that the engaging at the modalization defiler of the show might not occur because of the cynical reception of its audience. The corpus selected to analysis constitutes of 71 episodes of 22 minutes duration selected among more than 200 of the previously mentioned TV show, aired between 1997 and 2011, as well as the feature film South Park: bigger, better and uncut (1999). The selection was made mostly based on the purpose of what we intend to show
O intuito desta pesquisa é estudar a construção social contemporânea das celebridades, bem como o papel que ela exerce na civilização midiática. Para tanto, debruçamo-nos sobre o programa televisivo norte-americano South Park, uma animação que se dedica a caricaturálas. Trabalhamos com a hipótese de que o ídolo é um simulacro que não resiste à profanação do humor. Nesse sentido, tomamos como principal referencial teórico-investigativo os conceitos de dispositivo e profanação de Giorgio Agamben, para quem a caricatura presente nos cartoons desvela o caráter humano e ordinário do ídolo, removendo o véu da fantasia que o sacraliza. Mas mobilizamos também, como outros operadores conceituais, o real lacaniano, uma vez que, por definição, ele não se deixa desprender nem do imaginário nem do simbólico e também a noção de sujeito cínico, conforme desenvolvido por Slavoj i ek, o que nos leva a elaborar uma outra hipótese, a de que o engajamento na modalização profanatória do programa pode não ocorrer em razão justamente dessa recepção cínica por parte de sua audiência. O corpus selecionado para análise constitui-se de 71 episódios de 22 minutos de duração, selecionados dentre mais de 200 do referido programa, exibidos entre 1997 e 2011 e também o longa-metragem, South Park: maior, melhor e sem cortes (1999). A seleção recorta principalmente os episódios que se prestam particularmente ao que se pretende demonstrar

This research project investigates images from the contemporary Australian mid-life psyche, exploring the contribution to individual transformation made through the creation of, and reflective engagement with, personal imagery. Asking the question: 'What do contemporary Australian mid-life males consider to be a rich and sustaining inner life?' This project documents the visual images, descriptions, and reflections of a group of five participants, discussing the individuals' experiences of aesthetic self-inquiry with reference to divergent theories of psychology, art therapy and philosophy of aesthetics.

碩士
國立臺灣師範大學
美術學系
105
The main purpose of this paper is the study of fantasy art. Because the field of fantasy art is comprehensive with diverse forms, which also has neither a specific style nor too many historical annotations, the research was based on fairy tales and fantasy literature. The author points out that the core development of the stories in fairy tales are based on people and real life. Through the discussion of “metaphor” and “imagination” in making fairytales correspond to reality; furthermore, studying the two natures of fantasy literature and fantasy art to find possible metaphors of real life, and to look back towards the reflection of the author’s creation and concept of metaphor. The author sorts out the elements of fantasy in looking for the relationship between the theory of J. R. R. Tolkien’s “The Second World” and the creation of fantasy worlds, also to analyze the artistic expression of “Alice in Wonderland” and works of Daniel Merriam. Through the research of these works, the author has found her own domain for her individual creation and imagination of fantasy world. With the concept of animal behavior as a metaphor for human behavior, the author not only created her own artistic approach towards her fantasy art creation, but also made the context and discussion more complete. The essay is divided into five chapters: Introduction, Foundation of Creative Research Theory, Creative Concept and Practice, Work Analysis, and Conclusion. In the second chapter, the author discusses the connotation and forms of fantasy art, and the theoretical basis of behavior theory. To complete the creation of discussion according to the author’s animal metaphors and the creation of fantasy world, the author constructed the concept and practice procedure in the third chapter. In the fourth chapter, the author stated the analysis of the creations, and the final summery.

碩士
國立臺北藝術大學
美術學系美術創作碩士班
98
Abstract This artistic creation theory comes from the author’s reorganization and generalization of the learning process and the creation research when the author attends modeling graduate school of the Taipei Art University. The main concept of the full text is “Organism and species” through the introspection of the problems confronting the civilized and scientific progress, the explanation of each individual and the psychological development which face species, and the observation and contact of living with all kinds species, which develop the creative thinking and the presentation of works in consequence; moreover, for the purpose of the opportunity of writing this discussion, the author proceeds to sum up and put things in order. In this article, it records and narrates the thesis which is related to personal three-dimensional modeling creation, and it states that the life experience and the manifestation of life sensation, also the creation achievement are presented by using the inspiration which comes from the internalization and transformation and presented with the following chapter: First chapter, introduction, is “creative motive “and “background exploring “, and as well as after the research technique assists, the author can achieve the goal discussion. Furthermore, the author particularized three artists and their creation achievement to be the reference object of the bibliographies, seeking the assistance of the senior artists’ work thinking to support the inadequacy and deficiency of the personal creation and learned the merit of other people’s creations to become the reference of the self. In Chapter two, the main concept of the discussion is based on “animals and self emotion perception” and analyzes the works further to discusses the origin and the foundation of the individual creation, also probes into the factors which affect the works in the developing process, which includes the partial elaboration of spirit aspect and the faith to analyze the logic concepts of stimulating and creating works. The chapter three, “the four Specialities of ceramic form”, namely material utilization methods and the spatial exploration of modeling. After defining the material selecting, the technical operation and modeling correlate clearly, such as material characteristics, dealing with the spatial, modeling expressions, material quality effectiveness and so on, the author made records and the inquisition about the special handling ways of the work modeling texture, which included the realistic modeling is facing the technical challenges and the solutions, and all concepts have been reorganized and explained. The fourth chapter “the work exploration” is a generalization and classification regarding the creation work. The author takes the classified basis according to different content and themes of the works, and not only classified the content also mentioned the creation explanation of each work; moreover, recording the motive or story of each work by the text, that enables other readers to understand the narrative content of the modeling. “Conclusion” reorganizes for the research attainment of this creation elaboration and relates the development and expectation in the future.

碩士
國立臺北教育大學
藝術與造形設計學系碩士班
106
Recently, more and more families have the domestic pets, which gradually become the important members in our modern community. Human feels deeply satisfied by means of the interdependence with their pets. Therefore, the term “companion animal” has replaced of the term “pets”, to emphasiz098ing the function of the relationship between humans and their pets in life. This creativity work therefore is named with “The Fantasy of Mochi rabbit - Er-Ya Kang’s Creation and Exploration on Companion Animal”, in which the rabbit, as the companion animal, called Mochi, has accompanied with the author as being an artist since college. She attempted to transfer the interaction with those emotion and consideration by the vision to her works, as well as tried to speculate Mochi’s imaginary world of its inner center. Five chapters were plotted in this paper. Chapter one is the introduction, simply depicting the artist’s motivation, inspiration and the target of painting, and the terminology. Chapter two is related to the theory of the creation, and the sources of searching creative emotion, as the reference of conception and mutual relations. Chapter three is considered as self-narrative of related works, how to induct the series works “ Mochi Rabbit’’ into a holistic style. In addition, to expound the emotional connection between the works and companion animals. Chapter four is the appreciation of the works, the presentation of the results, the analysis of the images, as well as the transmission of the expression. The last Chapter is about the conclusion and introspection of her works

Ce mémoire propose une étude du mythe réactualisé à l'intérieur du premier tome de La Citadelle des Ombres de Robin Hobb, publié en 2000. Il révèle des personnages qui, par leurs interactions, mettent en œuvre et confirment, sur un arrière-plan mythologique modernisé, un désir ancestral et perpétuel d'immortalité chez l'homme, né de l'angoisse générée par la mort à venir. En plus de se nourrir des ouvrages sur la fantasy et sur la survivance des mythes dans les récits contemporains, ce mémoire s'appuie sur des notions anthropologiques du symbole et du mythe de même que sur les mythes autochtones d'Amérique du Nord. Le premier chapitre est consacré à l'approche mythocritique ainsi qu'aux réflexions sur la fantasy. Ce chapitre permet de démontrer le rapport entre la fantasy et le merveilleux, issu de l'exploitation massive d'un héritage mythique. En outre, il expose la méthodologie qui permet de déceler les indices mythiques présents dans l'œuvre. Le second chapitre propose l'analyse des contours du mythe et du symbole sous un angle anthropologique, par le biais de l'imaginaire. Il permet de découvrir les constellations particulières et les indices mythiques contenus dans l'œuvre. L'imagination, structurée sur l'antithèse, fait ressurgir dans La Citadelle des Ombres, tome 1, une dualité des temps entre temps en progression et temps mythique sacré ainsi qu'entre la vie et la mort par un retour éternel du cycle de naissance/mort/renaissance. Tissés en constellations, les symboles investissent les mythes et permettent de découvrir une symbolique archétypale de l'immortalité. Le troisième chapitre est consacré aux lieux de rencontre avec l'animal, sous différents angles et points de vue. Ce chapitre permet entre autres de découvrir une constante dans la mythologie autochtone d'Amérique du Nord où les animaux sont omniprésents. Par une vision holistique de l'osmose homme/nature, en regard des personnages du corpus et des indices mythiques qu'il contient, ce chapitre démontre que la nature humaine qui ne fait qu'un avec la nature animale, ne peut souffrir de cette dualité puisque la fusion des contraires permet le retour à l'unité. En s'unissant, l'homme et l'animal permettent à l'homme d'accéder à l'immortalité. Le mémoire se conclut sur le fonctionnement global du mythe réactualisé dans La Citadelle des Ombres, tome 1 et de la symbolique archétypale d'immortalité qui en découle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : mythocritique, imaginaire, fantasy, symbole, immortalité, mythe autochtone d'Amérique du Nord, temps, hybridité homme/animal.

碩士
國立臺北教育大學
藝術與造形設計學系碩士班
101
This thesis is about the process of transforming my thoughts to the ceramic works and its exhibition from the topic of “Fantasy on Animals”, during this master course in NTUE. In the subject of Fantasy on Animals, I concerned about the relationship between human and animals in the present day. The inspiration of my works comes from the experiences of my daily life, and also from the observation and reflection to the nature. At the end, I visualize the thoughts from my imagination about animals to the ceramic works. This thesis is divided into six chapters. Chapter 1 provides the background information about the beginning of my ceramic works, motives , and aims. Chapter 2 quotes John Berger’s conception of animals, and the definition of the ceramic arts from Sung Lung-Fei, Yang Yuan-Tai, and Chen Tzuo-Dau. Also, it presents some artists’ works which influencing me to my process of development. Chapter 3 presents the initial development of the project on transforming the thoughts between my personal experience with dogs, the concepts and my works. Chapter 4 presents the series works from the forms, process, methods and the conceptions of each ceramic sculptures with photos and explicit explanations. Chapter 5 introduces the exhibition at the PureArt Gallery in June, 2012. Finally, in Chapter 6 sums up the process of the Master course, and what I have learned and experienced through this course.

This artistic research project addresses some of the possibilities and ways of representing the animal figure in painting using aspects and mechanisms of fantasy – one of the recurrent human faculties of artistic creation - through the study of my artistic work and the works of artists who also reflect on the same. The investigation begins with the analysis of the mimetic representation of the animal figure, with an approach to the works of the painters Frans Snyders, Henri Rousseau and Franz Marc. Then, the presence of the animal figure in the elaboration of forms or in the fusion of the bodies of creatures (such as hybrids, monsters or fantastic creatures) is identified through the analysis of the first panel of the pictorial triptych The Garden of Earthly Delights, by Hieronymus Bosch, and the animated film Princess Mononoke by Hayao Miyazaki. Then, it is intended to define what fantasy is - with the help of the book Fantasia by Bruno Munari - and highlight its qualities as a human faculty of creation, using some of the works of the artists under study and, above all, my artistic work presented in this research project. This artistic work consists of a series of paintings with prominent volumes, composed with thick mass and enamel paint on canvas, in production since 2019. Finally, a counterpoint is established between the concept of fable and my artistic work, from the cinematographic screen to the pictorial screen, in which the similarities and dissimilarities are highlighted. Since the animal figure and fantasy are the basic themes of this research project, as well as of my practical work, a framework and reflection on themes such as anthropomorphism and animal ethics, and their pertinence in the current context, is presupposed.

O presente trabalho propõe-se fazer uma reflexão sobre o maravilhoso na narrativa breve de Mia Couto, em especial sobre o papel central dos animais e a forma como estes interagem com os deuses e os antepassados, revelando-se os tradutores das suas palavras, das suas mensagens, junto dos vivos. Vagueando entre o real e o onírico, entre a vida e a morte, sofrem metamorfoses, indicam presságios, participam nos feitiços da comunidade, estabelecendo, assim, pontes entre a tradição e a modernidade. No primeiro capítulo, pretendemos apontar as diferentes fases da literatura moçambicana e as suas principais linhas, nela inserindo a obra de Mia Couto. No segundo capítulo, tentámos traçar o percurso de vida do escritor, desde a sua infância, passada na Beira até aos dias de hoje e abordámos, de forma breve, o percurso histórico-geográfico do conto e a sua importância no continente africano, onde o conto oral busca as suas raízes nas origens mais profundas das culturas africanas. No terceiro capítulo, partindo do conceito de “fantasia literária”, esboçámos uma aproximação teórica do maravilhoso, incidindo sobretudo na sua faceta de sobrenatural aceite e naturalizado e na sua articulação com o natural e o real. Refletimos sobre a importância do mito na construção da história e da identidade dos povos, concretamente no continente africano. Ainda neste capítulo, abordámos a importância e a simbologia dos animais neste continente. No capítulo quarto, analisámos o papel e a importância dos animais presentes nos contos, partindo da visão do mundo que o maravilhoso encerra e que nos remete para uma representação literária do imaginário tradicional dos vários povos que constituem o mosaico moçambicano. O maravilhoso torna-se assim um processo através do qual se afirma a identidade, se constrói a moçambicanidade, recuperando os ritos, as crenças e as conceções do mundo, marcados pelo mito e pelo sagrado.
This work proposes to reflect on the marvellous in Mia Couto's short narrative, in particular on the central role of animals and the way they interact with Gods and ancestors, revealing themselves as the translators of their words, of their messages, to the living. Wandering between the real and the oneiric, between life and death, they undergo metamorphoses, indicate omens, participate in the community's spells, thus establishing bridges between tradition and modernity. In the first chapter, we intend to point out the different phases of Mozambican literature and its main lines, including the work of Mia Couto. In the second chapter, we tried to trace the writer's life path, from his childhood, spent in Beira to the present day, and briefly discussed the historical-geographic path of the short story and its importance in the African continent, where the oral tale seeks its roots in the deepest origins of African cultures. In the third chapter, starting from the concept of “literary fantasy”, we sketched a theoretical approach to the marvellous, focusing mainly on his dimension of the accepted and naturalised supernatural and articulation with the natural and the real. We reflect on the importance of myth in the construction of the history and identity of peoples, specifically on the African continent. Also in this chapter, we discussed the importance and symbolism of animals on this continent. In chapter four, we analyse the role and importance of animals present in the tales, starting from the vision of the world that the marvellous encloses and which leads us to a literary representation of the traditional imagination of the various peoples that make up the Mozambican mosaic. The marvellous thus becomes a process through which the identity is affirmed, the Mozambicanity is built, recovering the rites, beliefs and conceptions of the world, marked by myth and the sacred.

A literatura tradicional em tempos muito antigos em vários continentes apareceram histórias criadas pelo povo anónimo que depois eram contadas oralmente de geração em geração. Essas histórias, de origem popular, muitas passaram de uma terras para as outras, através dos comerciantes e outros viajantes. Por serem transmitidas oralmente, as histórias nem sempre eram contadas da mesma maneira. Cada pessoa que contava a história introduzia sempre algo pessoal e por vezes esquecia-se de certos pormenores. Para este estudo foram delineados dois objetivos: 1º Identificar e refletir quais os animais com que as crianças se identificam; 2º Compreender como é que as fábulas contribuem para a fantasia da criança. A fábula é uma pequena narrativa em prosa ou em rima que termina sempre com uma moral, os protagonistas destas histórias animais, plantas ou objetos inanimados. Geralmente contém uma parte narrativa com uma moral, onde os animais são um exemplo para o ser humano. Cada animal que entra na fábula simboliza um aspeto ou uma qualidade do homem, como por exemplo, o leão representa a força. No presente relatório a metodologia de investigação utilizada é o paradigma qualitativo interpretativo. Ao ter sido implementado o projeto penso que os objetivos que foram delineados foram de alguma forma ao encontro das crianças, visto que o mesmo foi feito a pensar nelas. Para perceber se os objetivos foram atingidos com sucesso ou não, foram feitas entrevistas ao grupo com quem estive, os resultados foram destintos. Tendo em conta os resultados obtidos, penso que este trabalho acrescenta dados importantes para a caracterização das fábulas, configurando uma estrutura argumentativa em que a narração é um elemento estruturado, que serve para fazer uma argumentação.

This dissertation analyses the protagonists in The Dispossessed, The Left Hand of Darkness, and Tehanu by Ursula K. Le Guin, and looks at the extent to which they confront the Jungian archetype of the anima. I demonstrate that individuation and wisdom are not achieved in these characters until they confront the anima archetype within their individual psyches. I analyse the experiences and behaviour of each protagonist in order to identify anima confrontation (or lack thereof), and I seek to prove that such confrontation precipitates maturity and wisdom, which are goals of the hero's journey. The essential qualities of the anima archetype are wisdom, beauty and love. These qualities require acceptance of vulnerability. I argue that the protagonist is far from anima integration when he displays hatred and fear of vulnerability, and conclude that each protagonist is integrated with the anima when wisdom, beauty and love are evident in his character.
English Studies
M.A. (English)