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Singh, Jyoti. "William Blake’s animal symbols: tensions and intersections between science and allegory In Eighteenth-Century attitudes towards animals." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/4590.
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This thesis explores the tensions and intersections between science, allegory, and related eighteenth-century attitudes towards animals in William Blake’s poetry through detailed analysis of individual animal symbols and tropes. It will focus specifically on the period between 1794 and 1820, to coincide with the dates of Blake’s major works. Chapter One outlines Blake’s key philosophies, concentrating on his particular approach to symbolism. By rejecting certain Enlightenment ideals and beliefs surrounding allegory, Blake created his own form of the literary tradition, and the subjects and symbols of his poetry clearly demonstrate shifting allegorical frames. The chapter also explains why he argued for the recognition, and even valorisation, of the imaginative faculty, or “Poetic Genius”, in an era which accepted reason and rational thinking as one of the main means of apprehending the world. Chapter Two considers the significance of Blake’s use of predatory animals in the SONGS Of INNOCENCE and Of EXPERIENCE. In focussing on symbolic animals, the chapter assesses whether the ‘real’ animals (with all their scientific associations) are alluded to, and the extent to which they influence their symbolic counterparts. In choosing these symbols to represent key themes throughout his oeuvre, Blake drew on some familiar associations and contemporary attitudes towards animals, but offered no critique of society’s attitudes to animals. Chapter Three identifies and analyses the “fragments of Eternity” represented in the contraries of “Good” and “Evil”, and “Energy” and “Reason” embodied by the animals in THE MARRIAGE of HEAVEN and HELL. The symbols’ division between “Reason” and “Energy” develops an understanding of the complex attitudes towards animals, both in Blake’s mind, and in that of the eighteenth-century British public. Chapter Four is concerned with Blake’s depictions of the Worm and Serpent in his poetry, and how his conception of “Beulah” provides more insight into these symbols and their functions. It also grapples with Rod Preece’s argument that the poet recognised the sanctity and divinity in all forms of life, and sought to endorse these beliefs through his animal symbols. As the thesis illustrates, though, Blake is not arguing for the sanctity of all life to be upheld, nor does he see any divinity in the beings and objects found in nature. Sanctity and divinity are constructs of the imagination, and it is through exercising the imaginative faculty - the “Poetic Genius’’ - along with our senses and instincts, that we are able to make sense of the world. The study thus concludes by considering the extent to which ‘real’ animals intrude upon Blake’s oeuvre, and attempts to determine the value of reading the symbols through an “animal studies” paradigm. It also argues that ‘real’ animals are inseparable from their cultural and symbolic representations, because these are the only means of interpretation we have.
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Gouabault, Emmanuel. "La résurgence contemporaine du symbole du dauphin : approche socio-anthropologique." Montpellier 3, 2006. http://www.theses.fr/2006MON30022.
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Le développement d’un intérêt sans cesse croissant pour le dauphin, dans les sociétés occidentales, s’observe dès les années 1950. L’image du cétacé est aujourd’hui si répandue, notamment en France, qu’il faut l’analyser en termes de phénomène de société. Cependant, dans un premier mouvement voulu par une socio-anthropologie de l’animal, la relation homme-dauphin doit être envisagée à travers ses différentes manifestations, historiques et culturelles. Ainsi, une étude zoohistorique de nos représentations du mammifère marin révèle-t-elle leur ancrage au sein des cultures minoenne, hellénique puis romaine. Par la suite, après avoir représenté le Christ chez les premiers chrétiens, le dauphin n’apparaît plus qu’en filigrane dans les pages de l’Histoire. D’autre part, la pratique du comparatisme anthropologique met en évidence la spécificité de différents imaginaires socioculturels. Une analyse homologique a révélé la permanence de structures et de grandes images qui fondent tout système symbolique basé sur le dauphin. Le second mouvement de cette étude, fort des résultats précédents, se recentre sur les sociétés postmodernes et sur la France en particulier. Après avoir précisé les étapes contemporaines du phénomène dauphin, nous avons décrit, à travers une approche mythanalytique, l’imaginaire social et les archaïsmes qui ont permis son émergence. Ce phénomène agit comme le promoteur de certaines valeurs. L’opposition structurale dauphin-requin, l’imaginaire évolutionniste, les delphinariums et la delphinothérapie constituent les principaux axes d’une mythologie delphinienne en acte. Cette analyse permet de conclure notamment sur la fonction de révélateur socio-anthropologique dont est porteur cet animal d’élection qu’est le dauphinSince the 1950’s, the western societies have been observed to develop an ongoing and growing interest for the dolphin. The image of this cetacean is indeed so widely spread, notably in France, that it warrants an analysis in terms of it being a phenomenon of the society. However, in the context of the first part of our research structured around the socio-anthropology of this animal, the man-dolphin relationship would have to be envisaged by means of its different manifestations, both historical and cultural. Thus a zoohistorical study of our representations of this marine mammal reveals their primary connection to the Minoan, Hellenistic and later Roman cultures. At a later stage, after having represented Christ among the early Christians, the dolphin ceases to appear as anything more than simply a distant and random association through the pages of History. On the other hand the application of anthropological comparatism renders evident the specificity of different socio-cultural imaginaries. A homological analysis has unveiled the permanence of structures and grand images which establish in their entirety a system of symbols based on the dolphin. The second part of this thesis, enforced by precedent results, refocuses on the postmodern societies and France in particular. After having identified the contemporary stages of the dolphin phenomenon, we have described, employing a mythanalytical approach, the imaginary and archaisms that have facilitated its emergence. This phenomenon acts as the promoter of certain values. The structural opposition dolphin-shark, the evolutionary imaginary, the existence of dolphinaria and the wide practice of dolphin-therapy, constitute the principal axes of a dolphinian mythology in practice. This analysis enables us to attain certain conclusions notably on the function of a socio-anthropological revealer, the bearer of which is this animal of choice, the dolphin
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Watanabe, Chikako Esther. "Aspects of animal symbolism in Mesopotamia." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624215.
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Slioa, Silvia. "Visuella rekonstruktioner av skulpturer i Assurnasirpal II:s tronsal och utställningstekniker på British Museum." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-296398.
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The purpose of my study is to analyze Assyrian sculptures in the palace of Nimrud from throne room of Aššur-nāṣir-apli northwest palace. My research will be to compare sculptures with a theoretical as well as practical issue in the design of the galleries. Images of supernatural beings would be set up at entrances to palaces and temples. Assyrians called sculptures Lamassū (from written Sumerian references LAM(M) (A) lord of horizons, guardian of the Assyrian Gate. Lamassū are both flanked at the doorways from the throne room of Aššur-nāṣir-apli`s northwest palace. The exact meaning is not clear, but Lamassū can be taken as representing an Assyrian protective divinity. The first method in my analysis combines the need to establish the subjective meaning of objects as objective reality that is their meaning for digital design. My thesis aims to define a specific iconographic theme, centered around sculptures based on similarities in the composition of each scene in the selection of images on monuments in Nimrud. Digitalization projects provide an angle from mergers areas as architecture and archeology through images. With the project historians can use traditional documents and images to reconstruct the past and palaces. The analysis takes as an example of the importance of Digital archeology in understanding the role of artefacts and the role as a function of the specific purpose or activities for which such present or used in museums. We construct meaning as the basis for action, and not only from concrete material, but also from the matrix of symbols that are available from within culture to interpret the substantive conditions. Digital archeology is associated with technology that provides a picture of the physical environment. The digital images show the limit between design of the architectural spaces from the British Museum and the old spaces in Nimrud.
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Anttonen, Ramona. "Animal Imagery and Religious Symbolism in Joseph Conrad's." Thesis, Växjö University, School of Humanities, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-536.
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The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included.
Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology.
The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.
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Baum, Marlene. "Das Pferd als Symbol : zur kulturellen Bedeutung einer Symbiose /." Frankfurt am Main : Fischer Taschenbuch Verl, 1991. http://catalogue.bnf.fr/ark:/12148/cb361502526.
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Sommer, Caitlin Ariel. "Animacy, Symbolism, and Feathers from Mantle's Cave, Colorado." Thesis, University of Colorado at Boulder, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1539391.
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Rediscovered in the 1930s by the Mantle family, Mantle's Cave contained excellently preserved feather bundles, a feather headdress, moccasins, a deer-scalp headdress, baskets, stone tools, and other perishable goods. From the start of excavations, Mantle's Cave appeared to display influences from both Fremont and Ancestral Puebloan peoples, leading Burgh and Scoggin to determine that the cave was used by Fremont people displaying traits heavily influenced by Basketmaker peoples. Researchers have analyzed the baskets, cordage, and feather headdress in the hopes of obtaining both radiocarbon dates and clues as to which culture group used Mantle's Cave. This thesis attempts to derive the cultural influence of the artifacts from Mantle's Cave by analyzing the feathers. This analysis includes data from comparative cave sites displaying cultural, temporal, or site-type similarities to Mantle's Cave. In addition to the archaeological data, ethnographic data concerning how Great Basin, Southwest, Great Plains, and northern Mexican peoples conceive of and use feathers will be included. Lastly, theoretical perspectives on agency, symbolism, and the transmission of cultural traditions will be used in an effort to interpret the data collected herein.
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Kiehlbauch, Solange Nicole. ""The Gods Have Taken Thought for Them": Syncretic Animal Symbolism in Medieval European Magic." DigitalCommons@CalPoly, 2018. https://digitalcommons.calpoly.edu/theses/1923.
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This thesis investigates syncretic animal symbolism within medieval European occult systems. The major question that this work seeks to answer is: what does the ubiquity and importance of magical animals and animal magic reveal about overarching medieval perceptions of the world? In response, I utilize the emerging subfield of Animal History as a theoretical framework to draw attention to an understudied yet highly relevant aspect of occult theory and practice. This work argues that medieval Europeans lived in a fundamentally “enchanted” world compared to our modern age, where the permeable boundaries between physical and spiritual planes imbued nature and its creatures with intrinsic power. In addition, with the increasingly pervasive influence of Christianity, animals took on supplementary and often negative symbolic dimensions within evolving magical systems, yet retained their sense of power within a new syncretic context. By surveying classical occult inheritance, the pervasive influence of Christian doctrine, the use of animals in medical magic, and their rich symbolic potential within medieval literature, this interdisciplinary work highlights the multifaceted medley of Christian and pagan elements that became intertwined in daily life despite seeming doctrinal opposition. Although further scholarly research has yet to be done, analyzing understandings of a world filled with intrinsic occult power offers a valuable and revealing contrast to an age of increasingly sharpened boundaries between animals, human beings, the cosmic realm, and nature.
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Lopez-Rodriguez, Irene. "Taking the Bull by the Horns: Representing Gender through Animals in Franco's Spain." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42508.
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This dissertation analyzes the (de)construction of gender and nation through animal symbols in Franco’s Spain. The project explores, first, a web of miscellaneous discourses articulated around the official bestiary rhetoric that serve in the composition of uniform gender models tailor-made for the virile totalitarian state. The selection of texts presented is eclectic, both in its nature and form. It encompasses a wide repertoire of multi-media discourses (i.e., scientific, religious, legal, educational, political, commercial, humorous and popular) presented visually (movies, posters, comics, cartoons, flags, advertisements, logotypes), aurally (songs, harangues, sermons, speeches, radio programs) and in the written form (literary excerpts, newspapers, magazines, medical and religious treatises, conduct manuals, epistles), and whose aim is, ultimately, to illustrate the dissemination and scope of zoomorphic images in the representation of nation and gender during the Francoist dictatorship.
Apart from providing a panoramic view of the gendered fauna, these historical documents will also serve as the unifying thread to unravel the complexities of several censored artistic productions that cunningly resort to the prevailing bestial iconography to attack the androcentric state. By focusing on the animalized portrayals of the female characters of la Gata [the She-Cat] in Margarita Alexandre and Rafael María Torrecilla’s movie La gata (1956), la Loba [the She-wolf] in Rafael de León, Andrés Moles and Manuel López Quiroga’s copla “La Loba” (1960), and the surrealistic centaur woman Albina in Ana María Moix’s novel Walter, ¿por qué te fuiste? (1973), this work attempts to illustrate the co-existence of a counter discourse able to re-define the monolithic pillars of gender and nation upon which the Francoist regime was constructed.
Finally, to highlight the relevance of animal symbolism in the formation of concepts of gender and nation, this dissertation notes a similar deployment of the Francoist bestiary rhetoric in the nationalist discourse of the far-right Spanish political party VOX (2013-present).
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Lindström, Lovisa. "Människa och hund : Hur aktiva hundägare konstruerar denna relation." Thesis, Uppsala universitet, Sociologiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-175738.
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Tack till min handledare Lars Holmberg för de riktlinjer och stöd som du gav. Jag vill också tacka de snälla människorna på Uppsala Brukshundklubb för intervjuerna. Men framför allt min katt Sally, som under denna tid gick och födde tre underbara kattungar som jag kunde njuta av under pauserna.
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Dofs, Elin. "Onomatopoeia and iconicity : A comparative study of English and Swedish animal sound." Thesis, Karlstad University, Faculty of Arts and Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1746.
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The aim of this essay is to examine whether language is iconic or arbitrary in the issue of onomatopoeia, i.e. whether animal sounds are represented in the same way in different languages. In addition, I will also look at onomatopoeical words which have been conventionalised, when the meaning broadened and they finally became part of ordinary language.
It can be stated that arbitrary signs have slowly taken over as different languages have developed, but the reason why is a topic for discussion – is there a scientific cause, based on the theory of evolution, or an explanation found in religious myths? Whatever the reason is, it is not likely that iconicity will vanish totally. It is connected to human neurophysiology and an ancient part of language, a natural resemblance between an object and a sign which can exist in different forms. Onomatopoeia is one example of iconic signs, an object named after the sound it produces, and according to one theory conventionalised imitations is actually the origin of language. Nevertheless, there are two main categories – language being either iconic or arbitrary. Regarding onomatopoeia, my results suggest that language is only iconic to a limited extent. English and Swedish have some common representations of animal sounds, but the languages also differ in many ways. Conventionalising seems common in both languages and many of the words in my survey have been incorporated in dictionaries, representing more than only the sound of a certain animal.
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Buzková, Petra. "Čtení." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232407.
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Moreau, Ronan. "Sur les chemins des terres sauvages : figures et symbolique des animaux de la forêt dans l'Inde ancienne." Paris 3, 2008. http://www.theses.fr/2008PA030123.
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Cette étude des figures et de la symbolique des animaux sauvages dans l’Inde ancienne, repose sur une lecture des Veda et des épopées que sont le Rāmāyan_a et le Mahābhārata. Elle consiste à dresser un portrait aussi complet que possible d’animaux emblématiques de la forêt : loup, chacal, hyène, ours, lion, tigre, panthère, éléphant, rhinocéros, sanglier, et buffle. À la fois animaux vrais et conceptuels, leur image apparaît complexe et en partie attachée à la définition du milieu où ils vivent, l’aran_ya ou les « terres sauvages ». Essentiellement présents au travers de leurs relations avec l’homme, qui éprouve une fascination constante à leur égard, ils sont repoussés ou sollicités, conduisant dans ce dernier cas à une animalisation de l’individu. Avant tout lexical, le phénomène interroge sur sa nature profonde, et sur les liens entre l’homme et l’animal qui se révèlent ici par un transfert de force et de puissance. Cette relation amène logiquement à envisager l’animal sauvage cette fois dans un environnement divin et/ou démoniaque où, entre mythes et sacrifices, il apparaît tantôt comme protégé du dieu, tantôt comme l’une de ses multiples formes possibles, souventredoutableThis study about the images and the symbolism of the wild animals at ancient India is based on a reading of the Veda and the epics that are the Rāmāyan_a and the Mahābhārata. It consists in drawing up a portrait as complete as possible of emblematic animals of the forest: wolves, jackals, hyenas, bears, lions, tigers, panthers, elephants, rhinoceroses, wild boars, and buffalos. Equally real and conceptual animals, their picture seems complex and partially attached to the definition of the environment where they live, the aran_ya or the wilderness. Mainly represented through their relations with man, who is constantly fascinated by them, they are either pushed away or appealed, in that case leading to an animalisation of the individual. Primarily lexical, the phenomenon questions its deep nature and the links between man and animal, which reveal themselves by a transfer of strength and power. This relation tends logically to consider the wild animal in a divine and/or demoniac environment where, between myths and sacrifices, it appears sometimes as a protégé of the god, sometimes as one of its multiple forms, often dreadful
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Amadio, Ayla Martine. "Ritual Use of Animals at Formative Period Tayata: A Comparative Perspective." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/403.
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This thesis provides evidence for patterned and pervasive ritual symbolism through use of animals and animal imagery in early Mesoamerican villages. I look at the faunal remains excavated from Early and Middle Formative (1350-850 B.C) domestic and ceremonial contexts at the Mixteca Alta site of Tayata, Oaxaca. I focus on the presence of exotic and locally available fauna including: domesticated dog, fish, turtle, small bird and nine-banded armadillo. By investigating the variable use of these animals in purposeful domestication, seasonal celebrations, autosacrifice, as musical instruments and in conjunction with building dedications, I highlight their importance to understanding broader patterns in the site as a whole. Specifically, I compare the presence of these animals at Tayata to other contemporary artifact assemblages, regional iconography, linguistic data, ethnographic descriptions and ethnohistoric accounts of Oaxaca and Mesoamerica. This investigation of ritual deposits within village-level societies provides a means to understand larger socio-political dynamics in this region. Based on the evidence provided, the use of animals in ritual activity at Tayata fits into larger spatial and temporal patterns of local and exotic faunal assemblages seen throughout Formative Mesoamerica. The importance of ritual activity is seen in the association of these animals within residential, ceremonial and elite deposits across multiple sites, indicating an increase in socio-political complexity as well as the presence of a Pan-Mesoamerican belief system during the Early and Middle Formative Periods. This study integrates faunal data within larger patterns of cultural activity including architectural style and zoomorphic figurines. Finally, this approach provides a more thorough understanding of the importance of looking at the context of all artifact types, even those which exist in small quantities, to form a broader perspective on a site or region.
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Gauthey, Thomas. "L'éléphant dans la zoologie et la symbolique médiévales : connaissance et méconnaissance d'un très grand animal exotique." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE4097.
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L'éléphant du Moyen Âge occidental était un animal paradoxal. Absent de la faune européenne, il apparaissait pourtant dans une importante quantité et variété de sources, tirant largement profit des héritages scientifiques, littéraires et artistiques antiques : textes savants, récits historiques, écrits de voyageurs, fables animalières, miniatures dans les manuscrits, dessins sur les cartes et globes, fresques et sculptures dans l'architecture, tableaux en fin de période et ivoires dès la période altomédiévale. Il avait également parfois trouvé son chemin jusque dans les ménageries occidentales. De fait, la culture savante médiévale disposait d'un bon nombre de savoirs à son sujet, plus ou moins justes : sa place dans le monde animal ou dans la géographie, sa physiologie et son comportement, son exploitation par l'homme, sa morphologie étaient autant d'objets de discussions ou de contradictions. Jamais inconnu, l'éléphant était cependant mal connu, un étranger pour le monde occidental, profondément teinté d'orientalisme et de symbolisme chrétien : bête de guerre de l'Antiquité et de l'Inde médiévale, il était une démonstration vivante de pouvoir et d'opulence ; il était aussi, par essence, un animal pécheur, mais également doté d'une remarquable chasteté, un être d'une grande ambivalenceElephant in the western Middle Ages Europe was a paradoxical animal. Missing in european fauna, he appeared yet in a large quantity and variety of sources, taking great advantage of scientific, litterate and artistic legacies from the Ancient World : scholarly texts, historical accounts, writings of travelers, animal fables, miniatures in manuscripts, drawings on maps and globes, frescoes and sculptures in architecture, paintings in the late Middle Ages and ivories since the early Middle Ages. He also found sometimes his way into western menageries. De facto, medieval scholar culture had a lot of knowledge about him, more or less right : his place in the animal world or in geography, his physiology and behaviour, his exploitation by man, his morphology were subjects of discusses or controversies. Never unknown nor well known, the elephant were a stranger in the Western World, deeply tinged with orientalism and christian symbolism : warbeast from Ancient World and Medieval India, he was a living demonstration of power and opulence ; he was also, in essence, a sinner animal, but also gifted of a remarkable chastity, a being of great ambivalence
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Gomes, Murilo de Assis Macedo. "Entre as trevas e a luz: o percurso labiríntico em Todos os nomes de José Saramago." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-15032010-093633/.
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Entre as trevas e a luz: o percurso labiríntico em Todos os nomes de José Saramago é uma dissertação que visa mostrar de que modo o caminho trilhado pela personagem protagonista do romance constitui um processo de autoconhecimento em meio às múltiplas possibilidades de um espaço que se configura como labiríntico. Os conceitos de símbolo, espaço, lugar, não-lugar, individuação, anima, advindos da diversidade teórica, da qual se destacam C. G. Jung (1967/ 2000/ 2007), Gilbert Durand (2002), Marc Augé (1994), Gaston Bachelard (1988/ 1990/ 1993/ 1997/ 2001), Michel de Certeau (2001), contribuíram e sistematizaram o percurso analítico do presente trabalho, que ora propomos. Nosso intuito primeiramente é verificar como os espaços da porta e da escada aparecem enquanto símbolos que levam a personagem de uma condição à outra, estabelecendo mudanças que variam entre o eu e o outro e entre as trevas e a luz, buscando também o sentido destes elementos. Em seguida, demonstramos como a imagem do labirinto é (re)construída, tanto mitologicamente (através de referências intertextuais) quanto individualmente (pelo próprio percurso da personagem) em sua passagem por portas e por escadas em espaços interiores e em espaços exteriores na busca de sua anima.Entre as trevas e a luz: o percurso labiríntico em Todos os nomes de José Saramago is a study that aims at showing how the path chosen by the novels main character constitutes a process of self-knowledge among the multiple possibilities he comes across in a labyrinthic space. The concepts which structure and contribute to the development of this paper come from different theoretical backgrounds and include the notions of symbol, space, place, non-place, individuation and anima, as articulated by C. G. Jung (1967/ 2000/ 2007), Gilbert Durand (2002), Marc Augé (1994), Gaston Bachelard (1988/ 1990/ 1993/ 1997/ 2001), Michel de Certeau (2001). Our objective is first to consider how the space re-presented by the figures of the door and the stairs acquire symbolical value as they lead the main character from one stage to another, signaling the changes between the I and the other and between darkness and light, as he tries to unveil the meaning of such elements. Then, we focus on the way in which the image of the labyrinth is (re)constructed, both at a mythological level, through intertextual references, and at an individual level as we follow the course marked by the character in his journey through the doors and stairs he encounters in inward and outward spaces, in the pursuit of his anima.
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Pelissioli, Marcelo. "From allegory into symbol : revisiting George Orwell's Animal Farm and Nineteen Eighty-Four in the light of 21 st century views of totalitarianism." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15320.
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Os primeiros textos do escritor inglês George Orwell consideram o apelo do ideário comunista, ao passo que seus dois últimos romances, A Revolução dos Bichos (publicado em 1946) e 1984 (publicado em 1949) se contrapõem radicalmente a esse regime. Ao longo da segunda metade do século XX, foi-se estabelecendo a mística de uma forte ligação entre a obra de Orwell e o histórico do regime comunista, de modo que, com a queda do Comunismo, o desinteresse pelo assunto parece haver provocado uma diminuição no conceito dos méritos do escritor. O argumento da presente dissertação é que estamos frente a um momento nevrálgico no desenrolar da fortuna crítica de George Orwell, no qual a leitura alegórica feita até aqui deve ser substituída pela leitura simbólica, para que os textos do autor possam transcender à derrocada do movimento Comunista, sustentando-se na estética de sua literariedade e na atemporalidade de seu apelo ético. Em outras palavras, não é o texto de Orwell que precisa ser mudado, e sim, o ângulo de abordagem daqueles que constroem a fortuna crítica do autor, pois as referências temporais desgastadas diminuem a potencialidade interpretativa das obras. Um ponto comum que permanece, e que transpassa a obra literária de Orwell, é a opressão exercida por quaisquer sistemas políticos que possam ter atitudes consideradas totalitárias. Esta observação não remete apenas ao sistema comunista, mas também ao imperialista, ao autocrático, e até mesmo ao democrático. Orwell demonstra que um sistema não é totalitário por si só, mas através de suas atitudes em relação ao povo. Se, na época de seus lançamentos, a temática totalitária foi relacionada ao comunismo, tomando-se os textos como alegorias irreversíveis do discurso anti-comunista, a queda daquele regime, ou sua gradual abertura a práticas capitalistas, não basta para condenar as obras de Orwell ao anacronismo, descartando maiores possibilidades interpretativas. Ao propor uma releitura de A Revolução dos Bichos e 1984 substituindo as referências ao comunismo por qualquer tipo de prática totalitária — e concentrar o foco das observações no que é simbólico, ao invés de alegórico — acredito estar cumprindo minha parte neste processo de resgate da fortuna crítica de um escritor que considero ser um dos mais honestos e competentes de seu tempo.The first texts of the English writer George Orwell approach the appeal of Communist views; however, his two last novels, Animal Farm (published in 1946) and Nineteen Eighty-Four (published in 1949) radically oppose this regime. Along the second half of the 20th century , strong bonds were established between Orwell’s works and the history of the Communist regime, however, with the fall of Communism, the lack of interest for the subject seems to have generated a diminution in the merits and recognition of the writer. The argumentation of this thesis is that we have been facing a central moment in the unfolding of George Orwell’s critical heritage, in which the allegorical reading done so far must be replaced by the symbolical reading, so that the texts of the author can transcend the fall of the Communist movement, supported by the esthetic of the literariety and atemporality of their ethic appeal. In other words, it is not the text of Orwell which must be changed, but the angle of the approach of those who build the author’s critical heritage, because outdated temporal references impair the interpretative possibility of the works. A remaining point that seems to cross all Orwell’s literary works is the oppression exerted by any political systems that can have attitudes considered totalitarian ones. This remark does not address only the Communist system, but also the Imperialist, the autocratic and even the Democratic ones. Orwell demonstrates that a system is not totalitarian on its own, but through its manifestations towards people. If, at the age of their launchings, the totalitarian theme was connected to Communism, taking the texts as irreversible allegories of the anti-Communist discourse, the fall of that regime, or its gradual opening to Capitalist practices, is not enough to condemn Orwell’s works to anachronism, discharging more comprehensive interpretative possibilities. I believe that, by proposing a new reading of Animal Farm and Nineteen Eighty-Four, replacing the references to Communism for references to any kind of totalitarian practice--, and concentrating the focus of the observation on what is symbolical – I will be doing my part in this process of rescuing the critical heritage of a writer who I consider one of the most honest and competent authors of his time.
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Hassauer, Friederike. "Die Philosophie der Fabeltiere : Von der theoretischen zur praktischen Vernunft- : Untersuchungen zu Funktions- und Strukturwandel in der Fabel der französischen Aufklärung / von Friederike Hassauer." München : W. Fink, 1986. http://catalogue.bnf.fr/ark:/12148/cb34985068z.
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Oliveira, Ricardo Wagner menezes de. "Feras petrificadas: o simbolismo religioso dos animais na era viking." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8768.
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The Vikings, people who inhabited the Medieval Scandinavia, before the adoption of Christianity as the official religion in the eleventh century, had a very rich set of beliefs, rites and myths that were partially preserved by oral culture, manuscripts and archaeological remains and has been studied by researchers from all over the world. This dissertation makes an investigation of religious symbolisms attributed to animals in stone monuments erected during the Viking Age, and for that we use, as a study center object, the iconography present in the Scandinavian steles, making a dialogue between these imagistic representations and literary sources of Norse mythology, as well as many other sources of Old Norse Religion. Thus so, besides highlighting the peculiarities, inquiries and religious characteristics related to the main animals present in the Nordic religion, this work provides an overview of the current concept of religion of the Vikings and their most important aspects in a systematizing approach, because no one element of this fascinating religiosity of the north can be understood disassociated from the rest.
Os vikings, populações que habitavam a Escandinávia Medieval, antes da adoção do cristianismo como religião oficial no século XI, possuíam um riquíssimo conjunto de crenças, ritos e mitos que foram parcialmente preservados pela cultura oral, por manuscritos e por vestígios arqueológicos e que vem sendo estudado por pesquisadores de todo o mundo. A presente dissertação realiza uma investigação dos simbolismos religiosos atribuídos aos animais em monumentos de pedra erguidos durante a Era Viking, e para tanto, utilizamos como objeto central de estudo a iconografia presente nas estelas escandinavas, fazendo um diálogo entre estas representações imagéticas e as fontes literárias da mitologia nórdica, bem como com diversas outras fontes da Religiosidade Nórdica Pré-Cristã. Desta maneira, além de evidenciar as peculiaridades, indagações e características religiosas relacionadas aos principais animais presentes na religiosidade nórdica, este trabalho fornece um panorama geral da atual conceituação da religiosidade dos vikings e seus aspectos mais relevantes em uma abordagem sistematizadora, pois nenhum elemento da fascinante religiosidade deste povo pode ser entendido desassociado dos demais.
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Cambefort, Yves. "Le scarabée et les dieux : contribution à l'étude des coléoptères dans les mythes et symboles." Caen, 1996. http://www.theses.fr/1996CAEN1192.
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Dans l'ancienne egypte, le scarabee portait le meme nom que le dieu du soleil levant : khepri. Il etait de ce fait symbole de (re)naissance, et aussi simplement d'existence, de cette vie par excellence qui est celle du soleil (et du dieu re) ou du pharaon (et des dieux osiris et horus). Mais l'egypte n'a pas invente le scarabee : elle n'a fait que reprendre un symbole deja connu depuis l'epoque magdalenienne, et qu'on retrouve en outre chez de nombreux peuples <
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Emourgeon, Clève. "Usage et représentations de l’éléphant en Thaïlande : L’animal, le patrimoine, le symbole." Paris 10, 2010. http://www.theses.fr/2010PA100223.
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Cette thèse a pour objectif de dégager les processus mis en place pour qu’un animal en voie de disparition, l’éléphant en Thaïlande, reste un des symboles nationaux. Ainsi dans un premier temps, une étude du système domesticatoire met en évidence les représentations de l’animal associées au trois piliers de l’identité thaï : la royauté, la religion et la nation. Puis une analyse du discours de la population et des médias démontre que l’éléphant, fortement lié à l’homme et à la nation depuis des siècles, se retrouve aujourd’hui considéré comme un objet de maltraitance engendrant une perte de sens tant de ses représentations que dans la culture thaï. A partir de ce constat, une étude de tous les processus de conservation de l’animal réalisés par une ONG et le gouvernement est menée. Puis une analyse de la nouvelle grande utilisation de l’animal qu’est le tourisme révèle alors que l’animal alors conservé, protégé, touristifié devient un patrimoine thaï renvoyant grâce au tourisme les mêmes représentations dégagées dans la première partie. Le processus de patrimonialisation réalisé par les ONG, l’état et les camps touristiques permet alors de perpétuer l’animal et son symbolisme. Puis dans la dernière partie, il apparaît un processus d’invention de tradition autour du pachyderme permettant ainsi de lui redonner une place dans la vie de la population thaïlandaise, malgré les problèmes que l’espèce et les cornacs rencontrent. Forte des ces différentes analyses, en conclusion, l’éléphant reste l’objet le plus à même à symboliser la Thaïlande dans sa globalitéThe aims of this research are to expose the process set up to keep significant as a national symbol an animal on way of disappearance, the elephant in Thailand. In the first part, a study of its domestication system reveals some representations of this animal associated to the three pillars of the thai national identity: the kingship, the religion and the nation. Then an analyse of the population and media ‘s discourse demonstrate that the animal is now considered as mistreated, generating a loss of signification of the representations of the elephant, bounded to human and the nation for century, and the thai culture linked with it. Based on this fact, a study of all the conservation of the elephant process initiated by NGO’s and the state is made. Moreover an analyse of tourism, the new mass used of the pachyderm, shows that protected and being a touristic attraction, the elephant is becoming a thai heritage sending via tourism the same representation demonstrated in the first part. Due to the process of patrimonialization of the animal made by the NGO’s, the state as well as touristic camps, the elephant and its representations are surviving. In the last part appear some inventions of tradition involving elephant and giving it a new place in thai life, even the problems facing the animal and its mahout. Based in this tudies, I conclude that elephant is still the best object to symbolise the global thai nation
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Osborne, Katelyn. "Kindred." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3047.
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Kindred, an MFA exhibition held at the Tipton Gallery located in downtown Johnson City from Feburary 22nd to March 4th. Kindred presents two bodies of work, which are a collection of drawings, etchings, monoprints, and lithographs, that center around a personal mythology and symbolism of self-identity and discovery. These works explore the physical and spiritual connection behind being a fraternal twin through the metaphorical use of animal imagery.
The ideas discussed in this paper center around the process of creating a personal mythology and symbolism through my observations of animals and how I relate that experience to other mythologies that inspire me. This process of creating narratives and iconography coincide with the writings of Joseph Campbell and Carl Jung. This paper also includes the inspiration of other artists, such as Beth Cavener and Dennis McNett, who also use animal imagery to explain a kind of kinship.
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FREITAS, JUNIOR Dario Taciano de. "O Simbolismo Animal Medieval: um safári literário em Moacyr Scliar e Manoel de Barros." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2449.
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Previous issue date: 2009-04-02It s known that the esthetic creation of diverse brazilian literature authors, has been the aim of study of several treatments, theoretic approach, critical and analytical, regarding its image content, symbolic and figurative. Although recurrent, the theoretic works that scrutinizes the animal figure, few productions are dedicated to its literary meaning, what, somehow, shows the lack of attention related to this issue. Without decreasing the importance of the traditional studies, that just presents the animal figure as own human s implicit form, this study tries to fill the critical lack, analyzing literary contemporaneous brazilian productions that contemplates the animal figure based in its symbolical aspects. Thus, as much of the imaginary and symbolism, arose in the bestiary medieval tradition, its recurrent found in the current literature, the following authors, of recognized prominence and importance in the context of national literature, were chosen to be analyzed: Moacyr Scliar and Manoel de Barros. So, there will be a descriptive, analytical, critical and interpretative study of the symbolical and imaginary presence of animals, respectively, in tales of O carnaval dos animais (1968) and in the poetry book Arranjos para assobio (1982), from its own distinction, its gender and its singularity, since each of this works, in addition being part of a particular historical context, it s marked by distinctive aspects of each author
Sabe-se que a criação estética de diversos autores da literatura brasileira tem sido alvo de estudos de variados tratamentos, abordagens teóricas e crítico-analíticas, no que diz respeito ao seu conteúdo imagético, simbólico e figurativo. Apesar de recorrentes, os trabalhos teóricos que rastreiam a figura do animal, poucas são as obras dedicadas ao seu significado literário, o que, de certa forma, mostra descaso sobre o assunto. Sem desfavorecer a importância dos estudos tradicionais, que apenas apresentam a figura animal como forma implícita do próprio homem, este estudo procura preencher essa lacuna na crítica, examinando obras da literatura brasileira contemporânea que contemplam a figura do animal baseado em seus aspectos simbólicos. Assim, como muito do imaginário e simbolismo, originado na tradição bestiária medieval, encontra-se recorrente na literatura atual, foram eleitos os seguintes autores contemporâneos de reconhecido destaque e importância no âmbito da literatura nacional, nos quais será analisada a temática em questão: Moacyr Scliar e Manoel de Barros. Haverá, portanto, a realização de um estudo descritivo, analítico e crítico-interpretativo da presença simbólica e imaginária de animais, respectivamente, em contos de O carnaval dos animais (1968) e no livro de poesia Arranjos para assobio (1982), a partir de sua própria distinção, seu gênero e sua singularidade, já que cada uma dessas obras, além de fazer parte de um contexto histórico particular, é marcada pelo traço distintivo de cada autor
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Gould, David Robert. "Rabbit warrens of South-West England : landscape context, socio-economic significance and symbolism." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27374.
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For several centuries following their introduction into the British Isles by the Normans, rabbits were farmed on man-made warrens. The right to hunt rabbits during the medieval period was restricted to the highest strata of society and warrens, and rabbit products, carried connotations of wealth and exclusivity. During the post-medieval period, as rabbits became less expensive, their exclusivity declined and access to the species increased across a wider spread of the population. Consequently, later warrens tended to be purely commercial ventures that in places lingered as a form of animal husbandry up until the early twentieth century. Evidence of these warrens is particularly common across England and Wales and typically, although not exclusively, takes the form of pillow mounds, earthworks created to encourage rabbits to burrow. Despite their longevity and high numbers, warrens remain relatively little studied. This thesis investigates surviving warren architecture within south-west England, incorporating archaeological data into a GIS in order to identify the locational, morphological and typological trends of the region’s warrens. It also assesses associations between warrens and other classes of archaeology, notably elite residences and parks, large ecclesiastical institutions and prehistoric earthworks. Doing so allows for a better understanding of warrens’ roles within their immediate environs and of their relationships with other aspects of the human landscape. This study also addresses natural geographical aspects of the landscape in order to determine the principal factors that influenced where warrens were installed. This study investigates documentary reference to warrens as many have not survived within the landscape. Medieval chancery rolls in particular allow for the creation of a national framework of warrening so that the South West can be compared and contrasted to other regions of medieval England. Documentary references, both medieval and post-medieval, to the South West’s warrens allow for the creation of a discrete regional history that defines the context for the establishment of the region’s warren architecture. This study assesses how rabbits were interpreted by medieval society and discusses symbolism, particularly the visual role played by warrens in advertising their owners’ wealth and any possible religious concepts associated with rabbits.
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Zhu, Xintian. "Les vyāla dans l'art de l'Inde (Vyalas = animaux fantastiques)." Paris 4, 1998. http://www.theses.fr/1997PA040308.
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Presque tous les temples de l'Inde depuis la période bouddhique comportent des animaux ou des êtres fantastiques, surtout sur les murs, pour protéger le lieu saint et créer le surnaturel autour des divinités. Ils occupent une place très importante sur tous les monuments. Aucune étude approfondie n'avait été entreprise sur leur origine, l'évolution de leur forme et l'évolution de leur place sur les temples. Cette étude débute avec les sceaux de la civilisation de l’Indus ou le concept d'une combinaison de partie d'animaux avec quelquefois des parties humaines, prend sa source. Elle continue avec les premiers grands monuments de l'époque bouddhique (1 er s. Av. J-c jusqu'au 3eme s. Ap. J-c), puis avec l'époque classique gupta et les siècles qui suivent, particulièrement du 7eme au 13eme s. Pendant cette période leur forme et leur placement ont été étudiés en profondeur dans trois régions : le nord et le centre, l’Orissa et le sud de l'Inde. Leur symbolisme et leur interaction avec les guerriers sur leur croupe ou sous leurs pattes, ont été expliqués. Le second volume illustre avec des photographies et des dessins les principaux types d'êtres fantastiques qui correspondent au texteAlmost all the temples of India since the earliest times present fantastic beings and animals in order to protect the sanctity of the temple and to create the supernatural. They are mainly placed on their walls where they occupy an important place. No deep study of the subject as a whole has ever been undertaken, especially concerning their origin, the evolution of their form and the changes in their place on the temple. This study begins with the Indus valley seals when the concept of the combination of animal parts, and sometimes human parts, seem to originate. It continues with the earliest great Buddhist monuments (1st century b. C. To 3rd century a. D. ) Where a great many forms appear, then the classical gupta period and the following centuries, particularly from the 7th to the 13th, during this period their form and their place have been studied more precisely in the three main regions: north and central India, Orissa and south India. Their symbolism and their interaction with the human warriors riding them and at their feet have been explained. The second volume illustrates with photographs and drawings the principal types of fantastic beings corresponding to the text
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Shahbaz, Pegah. "Les récits persans en prose en Inde : exemple : Touti-Nâme." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC030.
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Ce travail de recherche vise à présenter une collection de récits traditionnels persans, soit tirés et traduits des ressources indiennes, soit écrits et composés directement en persan dans le sous-continent. Notre attention s'est portée sur les récits en prose qui détiennent plusieurs emprunts de la tradition et la culture indienne, et ceux qui sont enrichis par des éléments narratifs et imaginaires fabuleux. Ces spécificités apparaissent dans de divers aspects : la structure du récit-cadre, les thèmes principaux et les personnages des contes. Les récits indo-persans sélectionnés sont présentés en détail par des informations sur leurs auteurs / traducteurs, la date et le lieu de composition, leurs thématiques, leurs sources originales, les manuscrits disponibles et d'autres références. La recherche actuelle est également un effort pour la pratique et le développement de la perception symbolique dans les récits classiques. Touti-Nâme, choisi comme le corpus de notre étude, nous fournit des scènes sur la vie sociale, les relations intimes et conjugales dans les contextes individuels et sociaux. J’ai examiné les thèmes dominants de la ruse des femmes, du conflit entre le désir et la loi, du rêve et du rire à travers des approches mythiques et symboliques. Le rôle prépondérant des personnages féminins et des perroquets sont étudiés profondément dans les contes. J'ai aussi essayé d'analyser les aspects psychiques des personnages par le biais de l'approche psychanalytique jungienne. Des exemples concrets de l'autorité et des jeux de pouvoir entre les sexes sont donnés dans Touti-Nâme comme spécificité des sociétés traditionnelles patriarcalesThe present research aims to introduce a collection of Persian traditional narratives, either translated from Indian sources, or written and composed directly into Persian language in the sub-continent. Our focus has been on prose narratives which hold multiple specificities borrowed from Indian tradition and culture, and are enriched by fabulous and imaginary narrative elements. Such specificities appear in diverse aspects : the frame structure of the stories, the leading themes and the typical Indian characters. These stories are presented in detail by providing information about their authors / translators, date and place of composition, themes, original sources, available manuscripts and other references.The current research is also an endeavor to practice and develop symbolic perception in classical stories. Touti-Nâme, chosen as our target text, demonstrates social life, conjugal relationships and power-struggle in both individual and social contexts. The dominant themes of women’s guiles and tricks, love and law conflict, dream and laughter have been examined through mythical and symbolic approaches. Women characters and birds such as parrots have gone through profound studies due to their predominant roles within the tales. I have also tried to study psychological aspects of story characters and their role in the events by means of the Jungian psychoanalytical approach. Concrete examples of gender authority and power-games in traditional patriarchal societies have been given in Touti-Nâme
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Andreasson, Christine. "De medeltida djurfigurernas idévärld : med kyrkomålaren Johannes Rosenrods exemplifiering." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1917.
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In the medieval ruling catholic time the church walls was swarmed with programs of pictures with religious motives there the animal figures rich symbolics was significant first and foremost for the illiterate. Principally the inspiration comes from the antiquitys pagan world of fables and bestiary Christian world of symbols with the bible as the essential source. The essay describes six of the most common animal symbols who occur; dragon, the sneak in the Paradise, mouth of hell, lion, the fox as a preacher and the devil. To attain to a discussion about why just animals are used as symbols for human characteristics in the medieval church art instead for human beings as it's actually be about, I have studied bestiary and other literature about medieval churchpainting to get an understanding about the history of ideas about the thoughts of the time and about symbolics of animals, worth and how the Christianity have had an influence on the pictures. I have used Johannes Rosenrods church pictures from Tensta church in Uppland from 1437 as an exemplification but also mentioned other unknown painters who used similar animal codes and motives. It's plausible that the purpose of the animal figures was both religious and political, which was used by both the spiritual and the worldly authority so they could keep their dominance over the peasant. The figures was simple to read and remember and they made a deep impression on the people together with the sermon. The churchgoer get so to speak a sound- and image experience, a medieval reality who impress their world of ideas. When it's about the artistic formation of religious expression and characteristics it was undoubtedly a great advantage for the artists to use an animal code like a schemata. The medieval unchangeable animal symboles was ready to be used for anyone who wished.
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Danrey, Virginie Malbran-Labat Florence Pelon Olivier. "Recherche sur les êtres fantastiques dans la glyptique mésopotamienne de la fin de l'époque d'Obeid au milieu du 1er millénaire av. J.-C. /." Lyon : Université Lumière Lyon 2, 2004. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2004/danrey_v.
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Silva, Margarida Sônia Marinho do Monte. "Desenho animado e educação: calça quadrada, cabeça redonda?" Universidade Federal da Paraíba, 2010. http://tede.biblioteca.ufpb.br:8080/handle/tede/4921.
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Previous issue date: 2010-08-20Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The thesis presents an analysis of the relation between the contents transmitted by the SpongeBob animated series and the infantile subjectivity formation using the concepts of symbolic representation, internalization and resistance based on Piaget (1978) Vygotsky (2007) and Giroux (1986) respectively. In this investigation sixty-two children, between 03 and 05 years old, took part. They were students from the Basic Education School of the Federal University of Paraíba, enrolled in the morning and afternoon shifts in 2009. The ethnographic research used the direct observation, interviews with the students and dialogues in circle before and after they watched the SpongeBob series video. The data obtained and submitted to analyses indicate that the contents, of the mentioned cartoon, intervened in the subjectivity of the infantile spectators, between 03 and 04 years old, in a proportion higher than in those who were 05 years old. Such interference is demonstrated by the preference of being the main cartoon character, adopting standardized attitudes and behaviors. Nevertheless, this does not prevent the children from adding their own meaning to the cartoon s contents. The thesis still advocates that the school education has the potential to prepare the students as concerns educating them by means of the television media, specifically, the cartoons, through the dialogue and the critical analysis; procedures adopted by the critical pedagogy. We concluded that we should integrate to school the educational studies for the television media as both a pedagogical instrument and a study object so as to promote a critical behavior in the students in regard to the media.
A tese contém uma análise da relação entre os conteúdos transmitidos pelo desenho animado Bob Esponja e a formação da subjetividade infantil utilizando os conceitos de representação simbólica, internalização e resistência, baseados em Piaget (1978) Vygotsky (2007) e Giroux (1986), respectivamente. Nesta investigação, participaram 62 crianças de 03 a 05 anos, alunos da Escola de Educação Básica da Universidade Federal da Paraíba, matriculados nos turnos manhã e tarde em 2009. A pesquisa etnográfica utilizou a observação direta, entrevistas com os alunos e rodas de conversa antes e depois que os mesmos assistiram ao vídeo do desenho animado Bob Esponja. Os dados obtidos e submetidos a análise indicam que os conteúdos do referido desenho interferiram na subjetividade dos espectadores infantis de 03 e de 04 anos, em proporção maior do que naqueles de 05 anos. Esta interferência é demonstrada pela preferência em ser o personagem principal do desenho, adotando atitudes e comportamentos padronizados, no entanto, não os impedindo de acrescentar aos conteúdos do desenho animado um sentido próprio. A tese defende ainda que a educação escolar tem potencial para capacitar os alunos no sentido de educar para mídia televisiva, especificamente os desenhos animados, através do diálogo e análise crítica, procedimentos adotados pela pedagogia crítica. Concluímos que devemos integrar à escola os estudos de educação para a mídia televisiva, como instrumento pedagógico e como objeto de estudo para que se desenvolva nos alunos uma postura crítica diante dela.
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Cooper, Simon George Art College of Fine Arts UNSW. "Mutant manifesto: a response to the symbolic positions of evolution and genetic engineering within self perception." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/44255.
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Believing that ideas about evolution and genetics are playing an increasing role in popular conceptions of who we are and what it means to be human, I sought ways to express this through my art. In particular I tried to articulate these notions through figurative sculpture. As the role of figurative sculpture in expressing current ideas about being human has declined in the West, I saw this as a challenge. It was the intent of my Masters program to reposition the sculpted body back within contemporary western cultural contexts. For an understanding of those contexts I relied heavily on my own culturally embedded experience and observations. I took as background my readings of evolutionary inspired literature and linked it with my interpretations of the genetic mythologies so prevalent in recent movies. The result was an image of contemporary humans as multifaceted, yet subservient to their genes. These genes appear to be easily manipulated and the product of technological intervention as much as, if not more than, inherited characteristics. As part of developing a sculptural form able to manifest this, I investigated some non-western traditions. I used field trips and residencies to research Buddhist and Hindu sculptures of the body and developed an interest in the spatial and conceptual relationships between those bodies. Through making figurative work in the studio, I came to realise the figures' inadequacy in expressing temporal relationships. As temporal change is a fundamental element of evolution and genetics, I needed to explore this element. The result was a number of series; groups of works that create their own context of relationships. Not all these groups use sculptures of the body but they evoke the notion of bodies, naturally or technologically hybridised, mutating, transforming, evolving and related to each other generationaly through time.
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Pohnert, Tami. "The Effects of Pet Ownership on Physical Well-Being in Older Adults." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2238.
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A large percentage of Americans own pets which may impact their health. This study examines pet ownership’s effect on well being in older adults looking at race/ethnicity. A sample of 6,565 older adults (>60) was selected from the Third National Health and Nutrition Survey. Pet owners comprised 28.3% of the sample. The theories of symbolic interaction and social integration were used to examine pet ownership’s effect on physical components of well-being. The descriptive results showed statistically significant differences in age, education, income, and marital status between pet owners and non-pet owners. Pet owners were younger, more educate, higher income and married. Similar results were found for Caucasians, African Americans and Mexican Americans. Logistic regression for the entire sample revealed pet owners were more likely to have a positive self perception of health, normal blood pressure, improved function, less chronic conditions, improved function and more falls. Multiple regression revealed pet owners had more hospital stays, but fewer physician visits and nursing home stays than non-pet owners. When examined by race/ethnicity differences were found between pet owners and non-pet owners that differed from the general sample results. This research revealed that pets overall positively impact their owners’ health but it appears to differ based on race/ethnicity. Further research is needed on pet ownership’s effect on older adults specifically in regards to race.
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Strubel, Armand. "La rose et le graal. Techniques de la litterature allegorique en france a la fin du xiie siecle et au xiiie siecle." Paris 4, 1986. http://www.theses.fr/1986PA040225.
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Le but de l'etude est une synthese sur la production allegorique au xiiie siecle : formes, types, procedes, topique. L'analyse est essentiellement rhetorique, et se tient a l'ecart de tout systeme preconcu, tant moderne que medieval. Le concept de base en est le double sens, dans ses varietes de l'allegorie proprement dite, de la parabole et de l'allegorese. La senefiance se presente soit sous l'aspect d'un commentaire separe, soit sous des formes integrees, paralleles ou implicites. Le songe est plus un indice formel qu'un gage de verite : il definit le statut du sujet. La coherence litterale est obtenue par l'enchainement metonymique des metaphores ou des comparaisons. L'allegorie est enumerative (decomposition d'un objet, enumeration d'actions), dramatique (itineraire, conflit ou mariage) ou parabolique. La personnification n'est porteuse de double sens que par l'insertion dans des systemes metaphoriques (discours, action, relations entre personnifications) la topique se partage en grands ensembles (amour, vices et vertus, figures philosophiques) et motifs ubiquistes. Le corpus defini par le grundriss est a reorganiser : exclusions, ajouts, distribution selon des criteres formels en deux stades de complexite (formes simples selon les trois types de metaphores, formes derivees par juxtaposition, enchainement ou combinaison). Par des processus d'evolution interne du genre, la litterature animale se rapproche de l'allegorie et lui emprunte des moyens d'expression. Le roman rencontre l'allegorie par un developpement logique de la senefiance du graal. Mais sa demarche est la parabole. Paraphrases et bestiaires marquent le seuil de l'allegorese, pratique specialisee qui se limite a la manipulation du code. Leur role est cependant important dans l'acclimatation des motifs allegoriques et dans l'elaboration du vocabulaire, moins toutefois que celui des modeles latins du xiie siecleThe aim of this study is to work out a synthetical view of 13th century allegorical productions : writing forms, types, devices, topic. Our analysis is mainly rhetorical, and tries to stand far from any system, be it modern or mediaeval. Its basic concept is double meaning, which occurs as proper allegory, parable or allegoresis. The second sense, senefiance, is present either as separated commentary, or in different - integrated, parallel or implicit - shapes. Dream, unexpectedly scarce, is to be considered as a formal mark, defining the situation of the allegorical i, rather than an indication of the truth of fiction. The literal coherence depends on the metonymic connection between metaphors or comparisons. The making of double sense rests on a few patterns, such as enumeration (dividing in parts, series of actions), dramatic process (travel, positive or ne- gative symetry), developped comparison. Personnification only provides double meaning when it is involved in metaphorical determinations : discurse, action, interrelation, semblance. Allegorical writing crea- tes a restricted topic, which is shared into large fields (love, vir- tues and vices, philosophical figurs like fortune, raison, nature, mort) and numerous widespread motives. The corpus of the grundriss has to be completely reorganized, according to mere formal criteriums, into different levels of complexity : simple, including the three kinds of metaphor, and derived by adding independant metaphors, or by lin- king, or by combination. Beast literature draws near to allegory by an inner evolution of the style. Arthurian novel meets allegory by the logical developpment of the senefiance of the grail. Biblical paraphra ses and bestiaries belong to the specialized practice of allegoresis, and are only concerned with the manipulation of the code ; they play a great part in the transmission of exegetical motives
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Palmas, Jauze Daisy de. "La figure du dragon : des origines mythiques à la Fantasy et à la Dragon Fantasy anglo-saxonnes contemporaines." Thesis, La Réunion, 2010. http://www.theses.fr/2010LARE0025/document.
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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 dangerA 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
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Dalbion, Mathilde. "Représentations et exercice du pouvoir : les fables du "Calila et Dimna" castillan du XIIIe siècle, un miroir animalier du monde de cour." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30056.
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Dans un certain nombre d’œuvres didactiques et sapientiales du Moyen Âge, l’animal est utilisé comme représentation du prince et de son entourage. L’animal est tantôt filtre, tantôt masque, un regard porté sur les cours princières par des auteurs plus ou moins impliqués dans celles-ci, et qui trouvent en l’animal l’outil le plus expressif pour exposer certaines valeurs ou dénoncer certains comportements. Notre étude se fonde sur un ensemble de sources, essentiellement le Calila et Dimna composé en Castille au milieu du XIIIe siècle pour l’infant Alphonse (futur Alphonse X) ; l’analyse inclut une étude de l’itinéraire textuel du Calila et Dimna : quelles différences présentent les versions indienne (Panchatantra), persane, arabe (Kalila wa Dimna), hébraïque, castillane, et les versions latines (Jean de Capoue et Raymond de Béziers). L’étude est étayée par une comparaison avec des textes indiens, persans et arabes qui offrent un rapport thématique avec ce traité dans la représentation du monde animalier. Textes latins et français (Roman de Renart, Roman de Fauvel accessoirement) complètent le corpus. Nous nous interrogeons aussi sur l’influence de la fable antique gréco-latine sur le traité (Ésope, Avianus), dans le choix des animaux et de leurs caractéristiques, notamment ; et sur les modalités de la transmission à l’Occident d’autres textes ayant suivi des itinéraires parallèles (Sendebar, Secret des Secrets, Roman des Sept sages de Rome). Nous nous demanderons si le Calila et Dimna n’était pas – comme le Renart ou le Fauvel – la caricature d’un certain milieu curial que les lecteurs contemporains n’avaient aucun mal à reconnaître ; et ce qu’il s’agisse de la version arabe ou de la version castillane du traité, étant entendu que chaque traducteur successif a contextualisé cette vision de la cour. Nous chercherons à comprendre la fonction et les mécanismes de ces masques animaliers : au-delà d’un bestiaire complexe, que nous nous attacherons à analyser de façon détaillée, en quoi et comment l’animal sert-il de filtre aux critiques politiques, comment constitue-t-il le miroir d’une vie de cour, et quelles images nous renvoie-t-il des courtisans ? Quels animaux sont-ils choisis (selon les versions) pour incarner tel ou tel homme de cour ? Quels préceptes moraux, traits de caractères, ou valences symboliques chaque animal « humanisé » véhicule-t-il ? Pourquoi utiliser des animaux ? Sont-ils là pour distraire les princes ou permettent-ils aux auteurs d’en dire plus qu’ils ne pourraient se l’autoriser, avec des héros humains ? L’animal est-il donc masque ou miroir ?In a number of didactic and sapiential works of the Middle Ages, the animal is used as a representation of the prince and his entourage. The animal is sometimes a filter, sometimes a mask, looking at the princely courts by more or less involved authors. They find in the animal the most expressive tool to expose some values or to denounce some behaviours. Our study is based on a variety of sources, mainly the Calila et Dimna composed in Castile in the middle of the 13th century for the Infante Alfonso (future Alfonso X); the analysis includes a study of the Calila et Dimna textual path: what are the differences between Indian (Panchatantra), Persian, Arabic (Kalila wa Dimna), Hebrew, Castilian and Latin (Jean de Capoue and Raymond de Béziers) versions ? The study is supported by a comparison between some Indian, Persian and Arabic texts offering a thematic relevance in the animal world with this treatise. Latin and French (Roman de Renart, Roman de Fauvel secondarily) texts complete the corpus. We are also wondering about the Greco-Latin antique fable influence on the treatise (Esope, Avianus), concerning the choice of the animals and their characteristics. The modes of transmission to the Occident of other texts that followed parallel ways (Sandbar, Secret des Secrets, Roman des Sept Sages de Rome) are reviewed. We will be wondering whether the Calila et Dimna was not, as le Roman de Renart or le Roman de Fauvel, the caricature of a certain curial milieu that contemporary readers had no difficulty to recognise; Both the Arabic and the Castilian version of the treatise are concerned, on the understanding that each successive translator contextualised this vision of court. We will seek to understand the function and the mechanisms of these animal masks: beyond the complex bestiary, which will be thoroughly analysed, how and to what extent the animal is used as a filter for political criticism, how it constitutes the mirror of a court life, and what are the reflected images of the courtiers ? What animals are chosen (depending on the version) to embody one courtier or another ? Which moral precepts, character traits or symbolic values, each « humanised » animal is transmitting ? Why use animals ? Are they there to amuse princes or to allow the authors to tell more than they could with human heroes ? Is the animal a mask or a mirror ?
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Ray, Corey Carpenter. "Understanding the ancient Egyptians : an examination of living creature hieroglyphs." Thesis, Stellenbosch : Stellenbosch University, 1999. http://hdl.handle.net/10019.1/51538.
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Thesis (MA)--Stellenbosch University, 1999.ENGLISH ABSTRACT: In this thesis an exploration is made into whether or not hieroglyphs reflect ideas of the ancient Egyptians themselves. By examining "living creature" hieroglyphs one may contemplate why the ancient Egyptian chose a particular manner of depiction. The manner of depiction can then be examined insofar as what ideas they may reflect. In this way study into other groups of signs such as those of the environment may be used to further illuminate the lives and our understanding of the ancient Egyptian(s). This thesis begins with an examination of both the problem inherent in such a task and an overview of some of the "processes" involved. By understanding that a reconstructed reality, that of the hieroglyph, reflects both real and perceived characteristics represented in glyphic form, one may seek out the mental impressions considered relevant to the people themselves. Next the role literacy played and still plays is discussed. This discussion includes a brief historical overview of both the history of decipherment and the "language" of the ancient Egyptians. The importance of "writing", artistic in nature in Egypt in regards to hieroglyphs, is then discussed as it relates to its use as symbol. Hieroglyphs are then discussed in their role as art, communication, and language emphasizing the multitudinous role(s) which they served. The importance is thus reiterated that hieroglyphs served as a communication of ideas to both the literate and the "illiterate" in at least a menial manner. After providing a "background" context of both the world and time of hieroglyphs and their subsequent "understanding" and interpretation, there is an analysis of the hieroglyphs for living creatures including the following Gardiner groupings: (1) mammals, (2) birds, (3) amphibians and reptiles, (4) fish, (5) invertebrates and lesser animals. The signs are examined in regards to their function and variations followed by some observations and comments related to the "structure" and perspective of the sign itself. Summary observations and comments are then made about each group. The thesis is then brought full circle by examining the implications of what hieroglyphs can tell us about the ancient Egyptians, via the perceptive and communicative role which they played. By understanding hieroglyphs as "fingerprints" of/from the mind of the people and subsequently their culture, this framework may provide a new mechanism into understanding the Egyptian via their own visualization and perceptive nature. A case is then proposed that this new "mechanism", if it is indeed considered feasible, can be applied to not only the physical world consisting of nature such as the environment, but also to groups which depict manmade objects.
AFRIKAANSE OPSOMMING: In hierdie tesis is die moontlikheid ondersoek dat hierogliewe iets van die ideewereld van die antieke Egiptenare reflekteer. In die bestudering van "lewende wese" hierogliewe kom vrae op soos waarom die antieke Egiptenare juis 'n spesifieke vorm van voorsteIIing verkies het. Die vorm van voorsteIIing kan dan bestudeer word vir die idees wat dit moontlik mag reflekteer. Ander groepe/velde van tekens, soos die van die breër omgewing, kan gebruik word om verdere lig te werp op die lewe van die antieke Egiptenaar(e) en ons verstaan daarvan. Die tesis begin met 'n bestudering van die inherente probleme in die aanpak van so 'n taak en 'n oorsig oor sommige van die "prosesse" daarby betrokke. By die verstaan van die hieroglief as 'n gekonstrueerde realiteit, wat weklike sowel as afgeleide eienskappe reflekteer, ontdek die ondersoeker daarvan iets van die persoonlike/kulturele indrukke wat deur hierdie groep mense as relevant ervaar is. In die volgende afdeling kom die rol van geletterdheid aan die beurt. Hierdie bespreking sluit 'n bondige historiese oorsig oor die geskiedenis van ontsyfering asook die taal van die Egiptenare in. Die belang van die "skryfkuns" en veral die kunsaard daarvan in die Egiptiese hierogliewe word vervolgens bespreek. Dit is veraI waar soos dit in verhouding staan met die gebruik daarvan as simbool. Die veelsydige rol(le) en belang van hierogliewe in die kuns, kommunikasie en taal word dan ondersoek en bespreek. Die klem word daarop gelê dat hierogliewe as die kommunikasie van idees aan beide die geletterde en "ongeletterde" dien. Nadat 'n agtergrondkonteks van die wereld en tyd van die hierogliewe en die daaruitvloeiende "verstaan" en interpretasie daarvan gegee is, word 'n analise van die "lewende wese" hierogliewe gedoen. Dit sluit die volgende groeperinge van Gardiner in: (1) soogdiere, (2) voels, (3) amfibiee en reptiele, (4) visse, (5) invertebrata en kleiner diere. Hierdie hierogliewe word ondersoek in terme van hulle funksie en variasies, gevolg deur waarnemings en opmerkings aangaande die "struktuur" en die perspektief van die teken. Opsommende observasies en enkele opmerkings oor elke groep volg daarna. Die tesis word afgerond met 'n ondersoek na die implikasies van wat ons kan wys word uit die hierogliewe aangaande die antieke Egiptenare, via die perspektiwiese en kommunikatiewe rol wat dit vervuI. Deur hierogliewe te verstaan as die "vingerafdrukke" van die begrip van hierdie mense kan hierdie raamwerk 'n nuwe meganisme in die verstaan van die Egiptenaar via die visualisasie en waarneembare aard daarvan, vorm. 'n Voorstel word gemaak dat hierdie nuwe "meganisme", indien dit uitvoerbaar is, toegepas kan word, nie net op die hierogliewe van die fisiese wereld bestaande uit die natuur en die omgewing nie, maar ook op hierogliewe wat mensgemaakte voorwerpe voorstel.
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Bransell, Oskar. "Krigare, härskare och djur : Relevansen av djursymbolik för sammanhållning inom krigargrupper i yngre järnålderns Skandinavien." Thesis, Uppsala universitet, Arkeologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446421.
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This thesis examines the relevance of animal symbolism for group cohesion within Vendel- and Viking Age warrior groups. Late Iron Age Scandinavia (c. 550-1050) saw increased political centralization where leading figures would legitimize and maintain their authority by forming and maintaining warrior groups. Animal symbolism is examined with regards to its role in stimulating processes of 'ingroup identification and identity fusion, which are likely to have been of vital importance in facilitating cohesion within ancient Scandinavian warrior groups. Literary, historical and archaeological sources are examined and compared in order to identify independently reoccuring phenomena, which collectively provide indications about the martial ideologies and practices of the Vendel- and Viking periods. Animals were used as identifying symbols for specific individuals, groups and organizations which could hade served to identify group members and hightlight the distinctiveness of ingroups in order to stimulate cooperation. Particular animals such as ravens were used by Scandinavian leaders in order to indicate martial competency and connections to the god Odin. Both of these functions would have increades the warrior bands' confidence in, and presumably loyalty towards their commanders. Animal symbolism was likely used by some warrior groups in the assumption of therianthropic identities. Conceptions of therianthropy could have stimulated identity fusion by cultivating specific personality traits, providing ideological motivations for violent actions, enhancing actual or perceived combat performance and by distinguishing therianthropic warriors from the rest of society. The relevant forms of animal symbolism would have coexisted to various degrees withing the same or similar ideological frameworks with Odin as a reoccuring and significant - but not necessarily essential - central figure.
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Carbune, Michel Elena Liamara. "Résurgences originaires, dénominateurs communs entre l'art et le rite : questions autour de l'altération." Rennes 2, 2006. http://www.theses.fr/2006REN20025.
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La théorie de Carl Gustav Jung, élaborée autour de la notion " d'âme anthropoïde " laisse supposer que l'individu porte avec soi un quantuum de valeurs et de symboles archétypaux, qui perdurent dans son inconscient, au-delà des faits culturels qui forgent sa perception par rapport à la réalité. C'est à partir de là que nous avons investigué ces multiples lectures possibles engagées autour de l'œuvre d'art. En interrogeant le champ des valeurs primitives, des comportements rituels, des projections mythologiques, des faits et des agissements explicables par l'adhésion à un ensemble de croyances communes, nous arrivons ainsi à définir ces dénominateurs qui font que l'art et le rite se reflètent et se répondent réciproquement. La mise en avant de ces éléments est ainsi un facteur qui amplifie la potentialité du message plastique. De là, le terme de " résurgence ", de là l'intérêt pour le sacrifice animal. Quelques questions sont posées également concernant l'altération corporelle, notre objet de travail étant cette dépouille animale de laquelle l'artiste aura fait un instrument de travail. La décomposition progressive de la chair connote, inévitablement, la consommation de l'animal immolé par le feu. Aussi, dans une autre perspective, elle soulève des angoisses et des contraintes dans le travail concret de l'artiste. La revisite de l'Actionnisme Viennois comprend ainsi quelques interrogations qui se proposent d'approfondir le rapport établi entre les faits artistiques et leur possible connotation rituelle. " Après un long silence, ils entendirent, dans les dunes, le chant limpide des rites ! "The theory that Carl Gustav Jung has elaborated around the notion of an “anthropoid soul” leads us to think that the individual bears in himself a quantum of archetypal values and symbols which remain in his unconscious, beyond the cultural facts that build up his perception in relation to reality. It is therefrom that we have investigated the various possible interpretations of the work of art. By questioning the field of primitive values, ritual behaviours, mythological projections, of the facts and activities that can be explained by the adhesion to a whole set of common beliefs, we succeed thus in defining the denominators which make that art and rite reflect on each other and reply to each other. Putting forward these elements is thus a factor that amplifies the potentiality of the plastic message. Hence, the term of “resurgence”, hence, the interest in the animal sacrifice. A few questions are also asked regarding the bodily alteration, the subject of our study being this animal corpse which the artist will have used as a working tool. The gradual decay of the flesh inevitably implies the consumption of the animal sacrificed through fire. Also, in a different perspective, it raises fears and constraints in the concrete work of the artist. So, the revisiting of the Viennese actionism includes a few questions whose object is to deepen the relationship established between the artistic facts and their possible ritual implications. “After a long silence, they could hear the clear song of the rites in the sand dunes !”
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Otterdahl, Sara, and Josefin Westling. "Instruktioner som hjälper : En studie om förutsättningar för lärande och anpassningar i praktiska ämnen på ett naturbruksprogram för att bemöta funktionsvariationer, med utgångspunkt i Galperins teori om stegvist lärande." Thesis, Stockholms universitet, Specialpedagogiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-145392.
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Instruktioner som hjälper En studie om förutsättningar för lärande och anpassningar i praktiska ämnen på ett naturbruksprogram, med utgångspunkt i Galperins teori om stegvist lärande Sara Otterdahl och Josefin Westling Sammanfattning Syftet med studien var att undersöka på vilket sätt lärandesituationer utformas och anpassas i praktiska moment, på ett naturbruksprogram, för att elever ska utveckla ett eget kunnande. Observationer utgjorde den främsta insamlingsmetoden och kompletterades med intervjuer och audiovisuellt material. Utöver sex observationer av lektionstillfällen genomfördes intervjuer med 2 lärare och 5 instruktörer. Metoden för bearbetningen av materialet var en kvalitativ innehållsanalys, där kategorier skapades inom vilka datamaterialet sorterades och analyserades. Studien bygger på Galperins teori om det stegvisa lärandet. Teorin talar om hur instruktioner kan och bör struktureras samt hur elever utvecklar lärandet med hjälp av rätt orienteringsbas (instruktioner). Det specialpedagogiska fältet kopplas i studien till resultatet genom att Galperins teori och metod kan ses som ett sätt att förebygga svårigheter och att anpassa när svårigheter uppstår. En första slutsats i studien är att de instruktioner som ges innan en uppgift ska genomföras inte är tillräckliga utan att lärare och instruktörer ger elever fortlöpande anpassade instruktioner. De instruktioner som används när eleverna inte själva klarar av att utföra uppgifterna är till stor del muntliga och ges till en eller en mindre grupp elever. Studien visar att instruktionerna hjälper eleverna att klara av att genomföra uppgifterna och att detta tycks ha att göra med att instruktionerna ger eleverna förståelse för materiella objekt och symboler och hjälper eleverna att komma tillbaka till orienteringsbasen. En andra slutsats i studien är att eleverna behöver en orienteringsbas som tar hänsyn till den komplexa undervisningsmiljön som kännetecknas av att eleverna behöver klara av att samspela med djur och att hantera den egna kroppen. Eleverna behöver instruktioner för hur de ska göra detta och studien visar att det behöver ske en växelverkan mellan agerande och orienteringsbas, där eleven i de oförutsägbara situationer som uppstår behöver få anpassade och fortlöpande instruktioner.
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Sweydan, Francois. "Recherches sur le système de représentations symboliques de l’art néolithique aux textes des pyramides- Origines et formation des éléments de la religion solaire de l’Egypte antique." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20009.
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Dès les premières dynasties, le pictogramme fut dans l’écriture le prolongement des représentations figuratives naturalistes, logogrammes dans les palettes funéraires décorées protodynastiques. Ce constat nous porte à les mettre en correspondance avec l’art pariétal du néolithique nubien, le prédynastique égyptien, et celui des aires culturelles périphériques. La reconsidération des pétroglyphes en tant que symboles et idéogrammes, c’est-à-dire des mythogrammes autant que des logogrammes-phonogrammes polysémiques permet de dégager un système structurel de représentations symboliques universel dans la vallée du Nil. Essentiellement funéraire, il est organisé autour d’une nouvelle lecture en relation aux mythes fondateurs de l’Œil d’Horus/solaire, s’exprime dans des rites primitifs de revivification, de renaissance, néolithiques et prédynastiques, explicités ensuite durant les premières dynasties sur des tablettes, des sceaux-cylindres votifs, et l’onction du mort avec les sept huiles canoniques et, enfin, dans les Textes des Pyramides. Contrairement à l’idée commune d’opposition des notions de Nature-Culture, il est question de les conjuguer, de réconcilier la dualité non binaire et de voir, par exemple, les fonctions héliotrope et/ou héliophore des animaux du bestiaire soudanien, avec Sokar le faucon funéraire, les garants bienveillants des métamorphoses et de renaissance du soleil/des défunts, par ailleurs, félidés, canidés, antilopes…, investis du numineux des divinités tutélaires. À la lueur d’une nouvelle lecture du mythe “osirien” primitif de métamorphose, nous reconsidérons les conceptions sur le sacrifice animal sur des bases d’anthropologie religieuse. Loin d’une maîtrise et soumission de la nature, et d’un diffusionnisme, l’interculturalité de la pensée mythique archaïque première dans la vallée nubiano-égyptienne et des régions périphériques multiethniques implique, vis-à-vis du monde naturel et des forces spirituelles numineuses, la transculturalité des conceptions solaires et le partage pluriculturel, transhistorique des croyances résurrectionnelles polycycliques. Ainsi, les pétroglyphes d’animaux, les scènes de chasse animale, les représentations de barques, de sandales, etc., sont de nature funéraire votive, apotropaïqueSince the beginning of the first dynasties, the pictogram in writing was the extension of naturalistic figurative representations, logograms in the decorated funerary protodynastic palettes. This statement carry us to link them with the parietal art of Neolithic Nubia, the egyptian Predynastic, and peripheral cultural areas. We have reconsidered the petroglyphs as polysemic symbols and ideograms, i.e. mythograms as well polysemic logograms-phonograms, allowing us to draw up a structural system of symbolic representations, universal in the Nile valley. Basically funerary, the system is organised around a new reading in connection with the founding of the ‘Eye of Horus’/solar myths, and express itself in primitive Neolithic and Predynastic rites of revivification, rebirth, more explicit afterwards during the first dynasties on labels, votive cylinder-seals, and anointing the deads with the seven holy canonical oils, finally in the Pyramid Texts. Contrary to the common idea which opposite the Nature-Culture notions, there is some question to combine them, to reconcile the non-binary duality and to see, for example, the heliotrope functions and/or heliophore animals of the sub-Saharan bestiary, with Sokar the funerary hawk, the benevolent guarantors for the rebirth and metamorphosis of the sun/deads; otherwise felids, canids, antelopes…, invested by the numinous of the protecting divinities. In consequence of a new reading of the primitive ‘osirian’ myth of metamorphosis, we have reconsidered the conceptions about animal sacrifice on the basis of religious anthropology. Far from bringing under control and submission of nature, and diffusionnism, the intercultural (cross-cultural) of the first archaic mythic thought in the multi-ethnic nubian-egyptian valley and associated neighbouring areas involves, towards the natural world and the numinous spiritual strengths, the cross-cultural of solar conceptions and multicultural, trans-historic sharing of the polycyclic resurrectional believes. Thus, the animal petroglyphs, cynegetic scenes, boats and sandals representations, etc., are of funerary votive, apotropaic nature
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Eraßme, Rolf. "Der Mensch und die 'Künstliche Intelligenz': Eine Profilierung und kritische Bewertung der unterschiedlichen Grundauffassungen vom Standpunkt des gemäßigten Realismus." Diss., RWTH Aachen, 2002. http://hdl.handle.net/10919/71556.
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After a short introduction concerning the problem of "Artificial Intelligence" (AI) the work continues with a summary of the state of the art.Thereafter, it goes on to profile four different basic scientific views of human beings and AI: symbolism, connectionism, biologism and physicalism. The emphasis is on the elucidation of anthropologically relevant statements to intelligence, spirit, thinking, perception, will, consciousness, self-consciousness, feelings and life.It is demonstrated that the basic views referred to represent greatly abbreviated and distorted pictures of human beings. Theories that do not go beyond the quantifiable level cannot adequately encompass the nature of relevant concepts and capabilities. That is above all because of the fact that generally a philosophical materialism is advocated, which considers the existence of intellectual substances impossible. For this reason a philosophical critique is necessary. The position of moderate and critical realism is advocated, whose anthropological statements are secured by epistemological and metaphysical investigations.The work comes to the conclusion that human beings cannot be understood symbolistically, connectionistically, biologistically or physicalistically. Man is a physical-intellectual entity, endowed with reason, a living social being. He is formed and led by his intellectual and therefore immortal soul, which gives him uniqueness, irreplaceability and the value of personhood. He is capable of thinking and thus of objective, abstract perception, and therefore is intelligent. Humans have an unfettered will, which, led by mental perception, is to be directed toward the good. They are moreover, through reflection, self-conscious. Humans live an intellectually determined life, which essentially differs, despite biological similarity, from that of animals and cannot possibly, due to its substantial superiority, have developed from animal life.All substantial anthropological abilities (such as intelligence, will, consciousness etc.) presuppose spirit. Because it is not within the power of human beings to create a simple substance such as spirit, a thinking, perceptive, intelligent, willing, self-conscious, sentient living being can at best be only technically imitated, modelled or simulated but never be reproduced, copied or created. The relationship of humans to AI is thus determined by an insuperable difference between their natures.
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Mezan-Muxart, Virginie. "Savoirs et représentations de la genette (Genetta genetta) dans le bassin méditerranéen de la préhistoire à nos jours Histoire d’une belle méconnue. : histoire d’une belle méconnue." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCD088.
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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 iconographiquesOriginating 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
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Vändel, Liminga Ulla. "Individuationsprocessen från ett kvinnligt perspektiv : myterna om Sofia och Inanna, sagan om Tusenskinn betraktade ur jungiansk synvinkel." Thesis, University of Gävle, Department of Humanities and Social Sciences, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-362.
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C. G. Jungs teori om individuationen, och huvuddelen av de beskrivningar som finns av den, t.ex. via myter och sagor, utgår från ett manligt perspektiv. Vissa har dock diskuterat den utifrån ett kvinnligt perspektiv, och pekar på att kvinnans och mannens processer skiljer sig åt. Inom denna uppsats har jag utforskat kvinnans individuationsprocess, genom att diskutera myterna om Sofia och Inanna, samt sagan om Tusenskinn, med hjälp av jungianska metoder och en modell av kvinnans individuationsprocess föreslagen av Pia Skogemann. Jag har utforskat huvuddragen i den kvinnliga individuationsprocessen, hur de exemplifieras i dessa berättelser, vilka arketyper som är viktiga(st) i denna process och tittat på likheter och skillnader mellan kvinnlig och manlig individuationsprocess. Huvuddragen i kvinnans individuationsprocess innehåller en igångsättande fas, då Personan ifrågasätts av Jaget, och det omedvetna börjar bryta fram. Därefter följer faser då jaget möter både det manliga i olika skepnader, både av positiv och negativ karaktär, d.v.s. olika Animusuttryck, och det kvinnliga, som kan motsvara arketyperna Personan, Jaget, den Stora Modern, Skuggan och även Självet. Den innefattar också ett tydligt nedstigande, där Jaget måste våga överlämna sig, eller dra sig tillbaka till mer primitiva stadier. Slutligen sker ett återvändande, där alla delar förenas, för att uppnå helhet och då Självet träder fram. Dessa faser återfinns i alla tre berättelser. Myten om Inanna har den mest fullständiga beskrivningen av individuationsprocessen. I kvinnans individuationsprocess verkar Animus ha en central betydelse, medan Skuggan verkar spela en mindre roll, jämfört med i den manliga individuationsprocessen. Det är också troligt att kvinnans Skugga har andra karaktäristiska är mannens, t.ex. skam, skuld, svartsjuka. Den verkar också hanteras annorlunda av kvinnan än av mannen, där det för kvinnan handlar om kärlek, integration och acceptans, istället för att ta strid och besegra den.
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Oliver, Desmond Mark. "Cultural appropriation in Messiaen's rhythmic language." Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:54799b39-3185-4db8-9111-77a8b284b2e7.
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Bruhn (2008) and Griffiths (1978) have referred in passing to Messiaen's use of non-Western content as an appropriation, but a consideration of its potential moral and aesthetic failings within the scope of modern literature on artistic cultural appropriation is an underexplored topic. Messiaen's first encounter with India came during his student years, by way of a Sanskrit version of Saṅgītaratnākara (c. 1240 CE) written by the thirteenth-century Hindu musicologist Śārṅgadeva. I examine Messiaen's use of Indian deśītālas within a cultural appropriation context. Non-Western music provided a safe space for him to explore the familiar, and served as validation for previously held creative interests, prompting the expansion and development of rhythmic techniques from the unfamiliar. Chapter 1 examines the different forms of artistic cultural appropriation, drawing on the ideas of James O. Young and Conrad G. Brunk (2012) and Bruce H. Ziff and Pratima V. Rao (1997). I consider the impact of power dynamic inequality between 'insider' and 'outsider' cultures. I evaluate the relation between aesthetic errors and authenticity. Chapter 2 considers the internal and external factors and that prompted Messiaen to draw on non-Western rhythm. I examine Messiaen's appropriation of Indian rhythm in relation to Bloomian poetic misreading, and whether his appropriation of Indian rhythm reveals an authentic intention. Chapter 3 analyses Messiaen's interpretation of Śārṅgadeva's 120 deśītālas and its underlying Hindu symbolism. Chapter 4 contextualises Messiaen's Japanese poem Sept haïkaï (1962) in relation to other European Orientalist artworks of the late-nineteenth and early-twentieth centuries, and also in relation to Michael Sullivan's (1987: 209) three-tiered definitions of japonism.
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Jacobsson, Madeleine. "Dr. Eleine Mad." Thesis, Kungl. Konsthögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-587.
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Dr. Eleine Mad är Madeleine Jacobsssons talesperson för dom vetenskapliga och paranormala upptäckter som uppstår i hennes världar. Hon beskriver innehåll, teknik och estetik utifrån ett kategoriseringssytem där konsten delas upp som olika typer av komponenter och därefter avkodas dessa allteftersom. För att förstå intuitionens inblandning i arbetsprocessen omförvandlas den till tre separata roller av en Sökare, Samlare och Myntare. Med rollerna försöker jag beskriva på vilka sätt som intuitionen är till gagn eller av förödelse för det konstnärliga arbetet. Sagan om M handlar om en grodlik karaktär, Delop, som lämnar sin hemplanet för att uppsöka andra världar. I sitt sökande hittar Delop ett folkslag vars syn och levnadssätt skiljer sig från hennes erfarenheter av “verkligheten” såsom hon lärt sig att överleva i den.Dr. Eleine Mad is Madeleine Jacobsson's spokesperson for the scientific and paranormal discoveries that arise in her worlds. She describes content, tecniques and aesthetics based on a categorization system where art is divided into different types of components and then decoded as they go. To understand the intuition's involvement in the work process, it is transformed into three separate roles by a Seeker, Collector and a Myntare(In swedish language the one who is a "myntare" -is verbally declaring a concept or term). With these roles I try to describe in what ways intuition is beneficial or devastating to the artistic work. The story of M is about a frog-like character, Delop, who leaves the home planet to seek out other worlds. In her search, Delop finds a world whose views and lifestyles differ from her experiences of "reality" as she learned to survive in it.
Recorded sound and image material of the presentation is available for private use.
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Lacoste, Frédéric. "L'oiseau dans la poésie de Saint-John Perse, Kenneth White et Philippe Jaccottet : une pensée analogique au service du mystère." Bordeaux 3, 2006. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2006BOR30021.
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La question de l'oiseau dans la poésie contemporaine se pose avec une certaine évidence. Impossible, semble-t-il, d'ouvrir un recueil de poèmes sans tomber à de nombreuses reprises sur des références explicites à l'oiseau : à son vol bien sûr, mais aussi à son chant, à sa présence discrète mais permanente. Comment expliquer cette re��currence dans la production contemporaine ? Et qu'est-ce qui constitue la singularité de l'oiseau dans le règne animal ? Après avoir justifié le rapprochement des trois poètes de notre corpus, nous avons fondé notre travail selon des perspectives analogiques et transdisciplinaires. Renouant à un certain degré avec la mystique médiévale, la poésie cherche les frontières de l'homme dans l'univers-macrocosme. L'oiseau, qui semble une limite ultime pour le psychisme humain, nous permet de redéfinir l'animalité selon un principe de "consanguinité" (Saint-John Perse). Contre la propension moderne à l'émiettement, au dispersé, au catalogique, cette pensée analogique à l'œuvre dans la production poétique de nos auteurs, cherche à reconstituer la trame et à "recoudre l'univers". La dimension métaphysique, souvent non revendiquée chez nos poètes, reste ainsi constamment sous-jacente. Au-delà d'une lecture du réel qui s'appuie sur la précision de la science, une "autre dimension", proche de l'Ouvert rilkéen, imprègne leurs œuvres. L'oiseau, à travers les motifs du vol et du chant, dessine alors les contours d'une poétique liée à la modernité esthétiqueThe question of the bird in contemporary poetry seems to be obvious. It's really impossible to open a collection of poems without seeing lots of explicit references to the bird : his fly, his singing, and his discreet but permanent presence. How to explain this recurrence in contemporary production ? And what's the foundation of the bird's particularity in the animal kingdom ? After justifying the connection of the three poets of our corpus, we based our work on analogical and transdiciplinary viewpoints. Reviving the medieval mysticism, poetry looks for the limits of human nature in the world-macrocosm. The bird, that seems the last limit for the human psychism, allows us to redefine animality in accordance with a principle of "consanguinity" (Saint-John Perse). Against the modern proclivity to dispersion and catalogue, this analogical thought circulating in the poems of our authors, wants to reconstruct the weft, to "sew up the universe". The metaphysical dimension, that is not often clearly claimed by our poets, is always underlying. Beyond a description of the real world, that is leaning on the precision of the science, another dimension, verging on rilkean "Ouvert", impregnates their works. The bird, through the patterns of the flight and the singing, draws the lines of poetics linked by aesthetic modernity
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Chao, Chia-Hsiang, and 趙佳祥. "「Virtual Mythical Animals」The Recording of the Creation of Peep Behavior in Internet Age through the Evolution of Mythical animal Symbols." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/ra7ztv.
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碩士國立臺中科技大學
商業設計系碩士班
101
The birth of mythical animals has a great relationship with people''s living styles and living hopes. As times changed, the styles and decorations have also changed. These changes are all closely related to the cultures and ideologies during the times, and indirectly record the memories and characters of an era. Because of the contexts recording of the symbols, the researcher had been inspired to believe that internet media is the sustenance and what modern people are relying on. This is the characteristic and the culture in this age. The researcher hoped to record the culture of modern people sunk in peep behavior on internet through the evolution of the ornamentation of mythical animals. This creation research investigated the evolution of internet era and had understood the internet behavior, "peep", and analyzed the Chinese ornamentation and the mythical animal’s models; organized and combined to internet peep culture to create a new generation of internet animals, and to investigate the internet users’ hidden avoid behaviors and mentalities of satisfying their selves’ desires through the creation of huge monsters. This creation adopted computer hand-painted techniques and video post-production, and combined them with post-modern collage, virtual, transformation, and other skills to create diverse vocabulary of painting. It is hoped that the idea of the diverse illusory internet peep culture can be conveyed. The creation purposes were as following: （1）Organizing Chinese decoration and related literary theories of Chinese Mythical animals to be the future recording of combining into the internet peep culture, and to be the reference of other creators in the future. （2）The first phase of the creation research of “Virtual Mythical animals” was about the “Twelve Symbols of Sovereignty”. This mixed the internet peer culture with community symbols to create the images of “Twelve Pseudo-Symbols of Sovereignty”. Furthermore, in the second phase of this creation, the images were combined with the models of the mythical animals and their meanings to create the new internet peeping mythical animals. Thus a complete set of creative projects had been constituted. (3) This creation research had hoped to record the internet peep culture in the way of narrative symbols through the context of the evolution of the mythical animals, and made the world aware of this issue. Has the reflexive self sunk in it?
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Chen, huiping, and 陳慧萍. "The Discussion Of The Symbolic Meaning And Creative Expression Of Animals And Plants' Images." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/51499218656990127958.
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碩士中國文化大學
美術學系
100
Abstract The purpose of the discussion of the symbolic meaning and creative expression of animals and plants' images, is to explore the Western science artists’ painting techniques and artistic spirit in plants and animals Figure, as well as how scientists to master plants and animals’ form and spirit while they’re studying their form and habits. The researcher not only study these as a source of inspiration, but also convey an even greater study and training in operation, in order to find out the different creative spaces between flora and fauna paintings. This study contains six chapters, and its main points are as follows. First, a basic discussion of the study： Introduction： a brief introduction of the research motivation and the purpose, the methods, the scope and the structure in this study. Second, the main content： Chapter II, “Beauty” the pursuit of the essence of the art, the scientificartist “Animals and Plants" , Andrey Avinoff 〈Andrey Avinoff, 1844~1949〉; Chapter III “Wing” a mistake Animals and plant science illustrator Cornelia Hesse-Honegger〈Cornelia Hesse- Honegger, 1944~〉These chapters focused on the scientific life of the artist's creative process and creative performance techniques, to interpretation the deeper meaning of the Animals and Plants beyond appearances, and also the symbolic meaning of the character . Third, the exposition of result of the research： Chapter IV, “Analysis & elaboration of self-creation”： the researcher did self-created experiment according to the preceding chapters,and introduced personal painting ideas, themes, content and form one by one. Chapter V “Appreciation of personal works ”： With the impact of Avinoff’s and Cornelia’s painting, the researcher reinterpreted the technique, the usage of color and screen architecture with the self-created series, “Flower in flower, frog inflower.”Chapter VI “Conclusion”：The comments of the knowledge gained in this research, and introspect, hope of self-creation. Keyword：Scientific Artist, Animals and plants, Symbolic
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Syu, Shun-jie, and 許舜傑. "“Naked Wolf”- the Anima/Animus and the Symbols of Eileen Chang and Her Works: “Jasmine Flavored Tea” as the Main Focus." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/hqku4e.
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碩士國立中山大學
中國文學系研究所
97
“Jasmine Flavored Tea” is one of the earliest published works of Eileen Chang. However, the autobiographic fiction which focuses its topic on “looking for Father” has not been valued by the academic circle for a long time. In fact, “Jasmine Flavored Tea” is the center text(centext) among Eileen Chang’s works. She semioticizes this work according to its plot and then makes these elements metaphors of her later works. This is the key to discussions about the hypertextuality between the texts of Eileen Chang and the phenomenonal world. By using a new approach of criticism called “the School of Super Searching,” this discourse attempts to blend the research achievements of modern anthropology, psychology and folkloristics into traditional searching, to do gender studies by searching “psychological facts,” and to focus on the intertextuality between the plot of the fiction and the folk data. By means of the motive tied with folktales and folk customs, and of the related significant notions like misogyny, twins complex, endogamy desire, liminality and initiation rite, divine king and scapegoat, and individuation process, with a close reading on the text of “Jasmine Flavored Tea,” this discourse explores how the pieces of symbolism and meaning in the text associate with the life experiences of Eileen Chang.The issues dealt by this discourse are as follows: 1. Lead a large amount of anthropological concepts into literary criticism, and make intertextual comparison between ethnography and literary works. 2. Clarify the countervailing process between masculinity and femininity in “Jasmine Flavored Tea” by means of the connotative plot structures of the fairy tales, “Iron John” and “Little Red Riding-Hood,” in the text. Men gradually construct masculinity by adopting male violence in order to get rid of maternal swallowing and paternal castration. 3. The practical operatoins of Jung’s theory in literary criticism: (1) Twins complex is an important complex to present the relationship between ego and Anima/Animus. (2) Synchronicity and the possibility of predictive text(predictext). (3) Clarification on the relationship between “sukuu” and the self. (4) Application of the participation mystique on the narrative point of view. 4. Apollo’s Neuroses- Reinterpretation of the implication for the incest by Oedipus in the texts of Eileen Chang. 5. There exists an association between fowls as the symbol of twins complex and Eileen Chang’s family. 6. The riddle about Eileen Chang in her late years is an individuation process from putting on the wolf’s skin to taking it off. 7. The comparison between the autobiographic works, “Jasmine Flavored Tea” and Little Reunion.
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Min, Chiu Huai, and 邱慧敏. "A study of the Relationship between the Symbolic Meanings of Animal Images and Character Shaping in The Legend of Deification." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/u4mm9u.
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碩士國立臺東大學
兒童文學研究所
98
Although The Legend of Deification is not as important as the four Chinese masterpieces in the field of classic literature, it has been revised multiple times to the version suitable for children and teenagers. In the modern age, The Legend of Deification has also been reproduced for different mediums other than the traditional book form. As the focus of this research this study will discuss the relevancy and importance of animal images mentioned in the book. The Legend of Deification was the literature accumulated from Generation to Generation, this study discusses character shaping not solely based on descriptions provided in the book, but also the impacts that the belief systems, contemporary collective consciousness, societal backgrounds, ancient legends, and cultural beliefs have on The Legend of Deification. Furthermore, this study will utilize mythological and archetypal criticisms as the basis of theoretical framework, coupled with judgments from the diachronic perspective, to deeply analyze legends and totemistic beliefs and their relevance to the symbolic meanings of animal images. It is the goal of this study to identify the symbolic meanings of animal images and their relationships with character shaping, the relationship between animal image talismans and character shaping, and the relationship between the rides and character shaping. From the study of these three relationships, this research has concluded that it does not matter whether it is the character, talisman, or the ride, the symbolic meanings of animals have a profound influence on character shaping and even inspired character shaping. Moreover, the relationships among the talisman, ride, and character shaping indicate that animal symbolism has a close connection with the owner of the animal.
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JINDRÁKOVÁ, Edita. "Filosofická interpretace děl Marca Chagalla." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-172627.
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This thesis covers the interpretation of life and work of Marc Chagall, jewish painter of 20th century. Goal of the thesis is to highlight symbolic motives of his work, and later on interpret those on selected pieces. The thesis is divided into four parts. First part is devoted to the life of the painter and his jewish origin, which had a significant influence on the character of his work. Second part covers the meaning of symbols in art and religon in general. Third tries to compare Chagall's conveyance with two jewish philosophers of the dialog: E. Lévinas and F. Rosenzweig. Fourth then interprets selected pieces with philosophical or religious extent. Whole thesis is based on the conception that art is able to convey messages and interpret the world around us.