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Holmes, Thomas W. "Creation Myths." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1243973511.
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Findlay, Linda. "Murky waters: navigating through the myths and rules of art making /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2337.
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Moss, Maria. "We've been here before women in creation myths and contemporary literature of the Native American southwest /." Münster : Lit, 1993. http://catalog.hathitrust.org/api/volumes/oclc/30100337.html.
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Rodin, Therese. "The World of the Sumerian Mother Goddess : An Interpretation of Her Myths." Doctoral thesis, Uppsala universitet, Religionshistoria, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-228932.
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The present study is an interpretation of the two myths copied in the Old Babylonian period in which the Sumerian mother goddess is one of the main actors. The first myth is commonly called “Enki and Ninḫursaĝa”, and the second “Enki and Ninmaḫ”. The theoretical point of departure is that myths have society as their referents, i.e. they are “talking about” society, and that this is done in an ideological way. This study aims at investigating on the one hand which contexts in the Mesopotamian society each section of the myths refers to, and on the other hand which ideological aspects that the myths express in terms of power relations. The myths are contextualized in relation to their historical and social setting. If the myth for example deals with working men, male work in the area during the relevant period is discussed. The same method of contextualization is used regarding marriage, geographical points of reference and so on. Also constellations of mythical ideas are contextualized, through comparison with similar constellations in other Mesopotamian myths. Besides the method of contextualization, the power relations in the myths are investigated. According to this latter method, the categories at issue, their ranking, as well as their changed ranking, are noted. The topics of the myths is issues important for the kingship and the country, such as irrigation, trade, health and healing, birth, collective work, artisanry and rivalry. All these aspects are used in order to express what the power relations between the goddess Ninḫursaĝa/Ninmaḫ and the god Enki look like. The relations are negotiated and recalibrated, which leads to the goddess getting a lowered status. Part of the negotiations and recalibrations is gender behavior, which is related to historical developments in society. The present work points to the function of these myths as tools of recalibrating not only deities, but also men and women in society.
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Doerr, Sarah A. "The man and the creation : an inquiry into the modern fascination of king Tutankhamun." Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1075.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Humanities
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Dorman, Daniel. "Creation Myth." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1493918336967034.
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Schadeberg, Thilo C. "Nguo-nyingi Mkoti: Mwanzishaji wa mji wa Ngoji (Angoche)." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97766.
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The title of this paper gives three variants of what historically is the same name:
Koti = the present-day indigenous name of Koti Island;
Ngoji = the older form of the same name;
Angoche = the official name of the town, adapted from the name of the AKoti people
EKoti is the language of Angoche, a town on the coast of Nampula Province, in Mozambique. EKoti is in most respects very similar to the neighbouring coastal varieties of Makhuwa, but it also has many lexical and morphological items that are derived from Swahili. My colleague F. U. Mucanheia, co-author of our forthcoming grammar of EKoti, has recorded a story about the origin of Koti Island and its people. In the present paper, I summarize the text of this oral tradition, and I compare it to the dynastic traditions from Angoche and to those found in the Kilwa chronicle, pointing out differences but also establishing links.
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Vcislo, Mark Vance. "Sartre's creation myth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0016/MQ27551.pdf.
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Gabrieli, Silvia. "Il potere performativo della Parola Divina nei miti di Creazione del Vicino Oriente Antico." Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3424726.
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Objective:
This thesis aims at identifying and analyze the role of the "Creative Word" or "Performative Word" in myths of creation of the Ancient Near East., through the study of two specific cases: the Memphite Theology in Egypt and the Enuma Eliš in Mesopotamia.
Methods:
Two case studies were selected according to the definition of the concept of “performativity”, both in cultural and linguistic studies, and through the application of a rigorous methodology for comparisons in humanities.
The analysis of the two case studies was preceded by a brief summary and a comparison between the so called “Ritual of the Opening/Washing of the Mouth” in Mesopotamia (mīs pî) and in Egypt (wp·t-rȝ). This comparison was useful for understanding the approach of these two cultures to the same problem: the attribution of a performative value to a cultural/artistic product.
The texts were extensively studied in two separate chapters, in which they have been explained according to their respective cultural and chronological backgrounds. In addition to the description of their contexts, they have also been related to other documents with the same cultural provenance (Egypt, Mesopotamia) sharing different degrees of affinity with our two initial texts.
Considering all the peculiarities of the two myths (structure and length of the narratives, complexity, language, fruition), their analysis did not develop in a perfectly mirrored way, but on a number of specific issues that have been identified within each text. The comparison was conducted mainly on the analysis of the similarities and differences found in these highlighted topics (linguistic features; how to create; creation as a "divine plan"; terminology; legacy).
Conclusions
The comparative activity has shown that both traditions shared and elaborated the concept of “Performative Word”, yet in two very different and peculiar ways, specific of the single context.
At the end of our investigation it has been possible to draw several conclusions regarding the legacy produced by these two important documents, in relation to other texts written several centuries later than the period in which these phenomena have been produced and enjoyed by an ancient audience.Obiettivo Questa tesi è volta all’individuazione e all’analisi del ruolo della “Parola Creatrice” o “Parola Performativa” nei miti di creazione del Vicino Oriente Antico. Questo percorso si sviluppa attraverso lo studio di due casi specifici: la Teologia Menfita in Egitto e l’Enūma Eliš in Mesopotamia. Metodo Attraverso la definizione del concetto di “performatività”, sia in ambito culturale, sia linguistico, e grazie ad un’attenta impostazione metodologica per la comparazione nelle discipline storiche-umanistiche, è stato possibile selezionare i due casi studio oggetto della presente indagine. L’analisi dei due testi è stata preceduta da una sintetica presentazione e comparazione del Rituale di Apertura della Bocca in Mesopotamia (mīs pî) e in Egitto (wp·t-rȝ). Tale comparazione si è rivelata utile per comprendere l’approccio di queste due culture al medesimo problema: l’attribuzione di una valenza performativa ad un prodotto culturale/artistico. L’analisi approfondita dei testi è stata affrontata all’interno di due capitoli separati, uno per l’ambito mesopotamico, uno per quello Egiziano. I due casi studio sono stati collocati storicamente e culturalmente, nonché posti in relazione con altri prodotti del medesimo contesto culturale (Egitto, Mesopotamia) aventi diversi gradi di affinità con i nostri due testi. Viste tutte le peculiarità (struttura e lunghezza della narrazione, complessità, lingua, contesto di fruizione) dei due miti, la loro analisi non si è sviluppata in modo perfettamente speculare, bensì su una serie di problematiche specifiche che sono state individuate all’interno di ogni testo. La comparazione si è svolta prevalentemente sull’analisi delle analogie e delle differenze riscontrate in questi specifici argomenti (prospettiva linguistica; modalità di creazione; creazione come “piano divino”; terminologia specifica; eredità). Conclusioni L’attività di comparazione ha portato in luce non solo la presenza, in entrambe le tradizioni, del concetto di “Parola Performativa”, ma anche il suo diverso livello di elaborazione e di specifico impiego all’interno dei diversi contesti culturali. Grazie a quest’indagine è stato possibile anche giungere a delle conclusioni circa l’eredità di questi testi nelle elaborazioni del pensiero del periodo successivo a quello in cui tali fenomeni sono stati prodotti e fruiti.
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Ruivo, Marina Silva. "Uma certa maneira de desejar a liberdade: caminhos da literatura de Carlos Heitor Cony no pós-1964." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-24072012-153200/.
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Esta tese objetiva perseguir os caminhos tomados pela ficção de Carlos Heitor Cony depois do golpe civil-militar de 1964, acontecimento que afetou a todo o País e que atravessou em definitivo a vida e a obra do escritor e jornalista. Para tal, centra-se na análise de dois de seus mais relevantes romances, Pessach: a travessia (1967), e Pilatos (1974), debruçando-se nos diálogos que ambos travam com mitos bíblicos, no modo como se relacionaram com os momentos socioculturais vividos pelo Brasil pós-golpe e, ainda, refletindo sobre os lugares que ocupam no seio da trajetória ficcional de Cony. Nessa direção, se a aproximação deliberada do universo político constituiu sem dúvida uma inovação de Pessach, mais significativo parece ser o elemento de que este romance colocou em xeque muitos dos ingredientes anteriores desta produção literária. Ao fazê-lo, acabou por questionar a própria possibilidade de continuidade da literatura do personagem escritor, Paulo Simões; do autor da obra, Cony; e da própria literatura brasileira naquele momento. Depois dele, surgiu Pilatos, inovando no insólito e grotesco de sua linguagem, mas nem por isso deixando de se fundar em muitos pontos de seus predecessores conyanos. E se por um lado pareceu voltar o leme novamente para o rumo da literatura, por outro inaugurou um longo e enigmático silêncio do escritor, a respeito do qual este trabalho procura lançar também mais algumas luzes.This thesis aims at pursuing the paths taken by Carlos Heitor Conys fiction after the civil-military coup of 1964, event that affected the whole country and definitely crossed the life and work of the writer and journalist. To this end, it focuses on the analysis of the two of his most important novels, Pessach: a travessia (1967), and Pilatos (1974), leaning on dialogues that both have with biblical myths, in the way how they connected with the socio-cultural moment lived in Brazil in the post revolution and, also, reflecting the places they occupy within Conys fictional trajectory. In this direction, if the deliberate approach to the political universe constituted without doubt an innovation of Pessach, more significantly seems to be the element that this novel put into question many of the ingredients prior to this literary production. In doing so, it ended up questioning its own possibility of literature continuity of the writer character, Paulo Simões; of the author of the novel, Cony; and of the Brazilian literature itself at that moment. After this, emerged Pilatos, innovating in unusual and grotesque language, but by no means lacking basis on many points of its conyanos predecessors. And if on one hand it seemed to have turned back the rudder to the direction of literature, on the other hand it inaugurated a long and enigmatic silence of the writer in respect of which this work also seeks to shed some more lights
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Morel, Dorothée. "Le mythe du golem, de la créature au créateur." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040241.
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Le mot golem, un hapax biblique traduit de l’hébreu golmi, présent dans le Psaume CXXXIX,16, désigne la forme du premier homme avant son animation par le souffle divin. Le plus souvent traduit par « embryon » ou « masse informe », son sens a généré une exégèse considérable.De la tradition juive, le mot en arrivera à désigner un homme artificiel, et sa création sera attribuée à de pieux rabbins dans une perspective d’imitation Dei, selon une interprétation magique du Sefer Yetsirah ou « Livre de la Création » qui en contiendrait la clé. L’expérience doit prouver la puissance créatrice des lettres de l’alphabet hébraïque ou des lettres du Nom de Dieu, selon les maîtres de la Cabbale achkénase et européenne du Nord. Ils ont consigné les techniques de création : c’est un rituel en deux temps, façonnement de la forme humaine à partir des éléments puis animation de celle-ci grâce aux récitations de combinatoires de lettres. La réussite de l’expérience est considérée comme la pierre de touche de la perfection religieuse du créateur comme de sa puissance créatrice, à l’instar de celle des lettres de l’alphabet hébraïque.Le golem entre dans le domaine légendaire vers la fin du XVIIIe siècle et les débuts du XIXe siècle, pour prêter à de saints rabbins des pouvoirs démiurgiques. A une première légende d’origine polonaise centrée sur le Rabbin Elias Baalschem de Chelm, succède la légende pragoise un peu plus tardive qui prend le pas sur la première et attribue au Rabbin Judah Löw ben Bezalel, outre des pouvoirs surnaturels, la création d’un golem censé protéger la ville juive des accusations de crimes riruels historiques. Si c’est au créateur que nous avons choisi de nous intéresser plus particulièrement, nous n’avons manqué d’évoquer le mot « golem » lui-même, son origine ainsi que celle de la légende et en regard de parallèles anciens. Nous nous sommes appuyée sur les thèmes mis en avant itérativement par les auteurs et dans lesquels s’inscrit le thème : Cabbale juive et mystique des lettres et du Nom de Dieu ou Schem. Magie, alchimie nous ont amenée à évoquer avec les auteurs le thème de Faust puis de Frankenstein explicites dans les textes, pour souligner la création dans la création. Nous nous sommes servie du thème du Graal pour mettre l’accent, avec une interrogation sur le parallèle icône et idole, sur la littéralité du thème de la création, avant d’en arriver à mettre l’accent sur une poétique des commencements, création de l’homme artificiel et création littéraire en miroirThe word golem, a biblical hapax which was translated from the Hebrew term “golim”, is to be found in Psalm CXXXIX,16. It refers to the shape of the first man before his being given life by the breath of God.Most of the time, translated by the word “embryo” or “shapeless mass”, its very meaning has given rise to considerable exegis.From the Jewish tradition, the word will consequently happen to describe an artificial man whose creation will be ascribed to devout rabbis who had in prospect an Imitatio Dei, according to the magic interpretation of the Sefer Yetsirah or “Book of Creation” which is supposed to hold the key of it. The experiment must prove the creative power of the letters of the Hebrew alphabet or the letters attributed to the Name of God, according to the Ashkenazi and Northern European masters of the Cabbala. They have consigned their techniques of creation; the ritual takes place in two stages: first of all, there is the building of the human shape from the elements, then its animation happens owing to the reciting and combined arrangement of letters. The success of the experiment is considered as the touchstone of the religious perfection of the maker as well as his creative power, just like that of the letters of the Hebrew alphabet.The golem became part of the legendary field between the end of the XVIIIth century and the beginning of the XIXth century, giving holy rabbis such powers as demiurges.The first legend brought to light has Polish origins and is centered on Reb Elias Baalschem of Chelm. Not long after it will give precedence to the legend born in Prague which tells the story of Rabbi Löw who, besides his supernatural powers, made a golem to protect the Jewish town accused of committing ritual historical crimes.Trought I decided to take a special interest in the maker’s function, actually I did mention the word golem, its origin as well as its legends, in connection with ancient parallels. I based my study on the iterated themes regularly brought to light by authors in whose works I might find the following themes: Jewish Cabbala, the mystic of the letters and the Name of God or Schem.Magic, alchemy would lead me to evoke the themes of Faust and Frankenstein and to underluie with their authors the theme of creation within creation.I called to mind the myth of the Holy Grail too, to wonder about the paralell between icon and idol, as well as about the literality of the poetic of all beginnings with the making of the artificial man and any literay creation, acting like a mirror writing
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DRUENER, ULRICH. "Richard wagner - la creation artistique entre l'ideologie et le mythe." Université Marc Bloch (Strasbourg) (1971-2008), 1987. http://www.theses.fr/1987STR20036.
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On constate que la creativite de wagner n'a pas encore ete etudiee. Celle-ci est un phenomene d'une intensite psychique et affective considerable, demandant des processus compensatoires particuliers. L'ideologie, d'une part, assure partiellement cette compensation, d'autre part elle constitue la motivation a la creation artistique. Vu cette connexion etroite de l'art et de l'ideologie, il convient de retracer cette derniere dans l'oeuvre. L'ideologie, forme consciente de la pensee, ne parvient pas a penetrer directement dans l'oeuvre d'art, les impulsions essentielles pour cette derniere etant formees par des processus inconscients. Ce n'est que par la regression mentale vers les matieres mythiques que l'ideologie parvient a une identification emotionnelle, capable de declencher les processus creatifs, permettant sa traduction artistique. Mais, en raison des particularites des phenomenes creatifs, les significations ideologiques de l'oeuvre d'art ne sont plus identiques a celles, extra-artistiques, qui en etaient la cause: il y a un processus de generalisation du sens, sensible a travers les differents stades creatifs du drame musical (dramaturgie, texte, musique). Par consequent les valences de ces trois parties du "gesamtkunstwerk" wagnerien sont souvent divergentes, rendant l'interpretation univoque impossible. - dans deux analyses modeles ("parsifal" et "tristan"), le sens du drame n'est plus represente selon le modele conventionnel d'une interpretation (plus ou moins artificiellement) univoque, mais sous forme d'une gamme fixant les significations extremes ressortant du texte et de l'action d'une part, et de la musique d'autre partWagner's creativity has not yet been analysed. This is a phenomenon of considerable psychic and affective intensity requiring particular compensating processes. On the one hand, the ideology partly effects this compensation, on the other hand, it furnishes the motivation for artistic creation. In view of the close connection between art and ideology, the latter has to be traced in wagner's works. Ideology being a conscious form of thought is not able to enter directly into the work of art whose essential impulses are arising from unconscious processes. Only by mental regression to mythic subjects the ideology will come to an emotional identification capable to initiale the creative processes, permitting its artistic translation. However, due to the special caracteristics of the creative phenomena, the ideological reflection in the work of art are not identical with the non-artistic ideology wich furnished the motivation for the creation: there is a process of generalisation of sense wich can be observed through the different creative phases of the musical drama (dramaturgy, textes, music). In consequence, the valencies of these three components of the wagnerian "gesamtkunstwerk" are often diverging, rendering an unambiguous interpretation impossible. - in two model analyses ("parsifal" and "tristan"), the sense of the drama is not longer represented according to the conventional model of a (more or less artistically) unambiguous interpretation, but in the form of a specter indicating the extreme significations evolving, one the one hand, from the action and the texte, and on the other hand, from the music
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Thompson, Mary Antoinette. "Foreign development workers in Guatemala, the evolving creation myth of one's self." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64928.pdf.
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McCracken, Heather. "Creating Postcolonial National Heroes: The Revisionist Myths of W.B. Yeats and James Joyce." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1472725837.
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Gowdy, Robert Douglas. "Redemption and the Other: The Supernatural Narrator and the Intertextual (Sub)version of the Miltonic Command." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2530/.
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In literary discourse from the Genesis creation myth through John Milton's Paradise Lost and beyond, Eve has been patriarchally considered to be the bringer of Sin and Death into the world. In Paradise Lost Eve is depicted as deceiving Adam into the Fall by way of the Serpent. Paradise Lost creates a Miltonic command that helps to further blame Woman for Sin and Death. Milton's poem is based on the Genesis creation myth written by Canaanite authors. In this myth the Canaanite authors wished to rid the world of Goddess worship and, by humanizing Eve, they successfully obliterate that form of worship. As a result of this obliteration of the Goddess, Eve, as a humanized form of the ancient Goddess Asherah, remains unredeemed for her sin and forever held to blame.
Throughout what Michel Foucault calls the archive, or discourse in which power resides, Eve/Woman continues to be seen by patriarchal discourse as to blame for the Fall. There has never been a successful redemption for Eve in the archive. Although Samuel Richardson's Clarissa has been suggested as a successful redeemer of Eve, Clarissa's blatant will to death and, therefore, will to power precludes a successful redemption of Eve. The successful Redemption of Eve comes in Thomas Hardy's novel Tess of the D'Urbervilles. By way of Tess's Goddess stature and her self-sacrifice at the end of the novel she successfully effects a redemption of Eve/Woman. As Goddess, Tess enters a state of otherwise than being in the intertext and becomes the Supernatural narrator who narrates both her own story and the unsaid story of the Goddess in the mythic narrative. By way of this otherwise than being as the Supernatural narrator, Tess takes on Eve's blame and intertextually subverts the Miltonic command by narrating the Goddess's prehistorical purity. As a result, then, Eve is redeemed and the Goddess's unsaid story is reinstated in the mythic narrative.
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Geyer, Mary. "Robert Richard Torrens and the Real Property Act : the creation of a myth /." Title page, contents and conclusion only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09arg397.pdf.
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Damo, Elettra <1994>. "Glossopoeia and myth-making: The importance of linguistic creation in J.R.R. Tolkien's fiction." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19478.
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J.R.R. Tolkien, high fantasy writer, poet and philologist, as well as Oxford professor of linguistics,
created over 14 languages in the development of the background of his stories. From the
cosmogonical creation myth of "The Silmarillion", to the fairy-story lightness of "The Hobbit" and the
quest fantasy of "The Lord of the Rings", Tolkien’s fiction has its roots in the mythopoetic logics of
his theory of creative writing (or myth-making). This dissertation will seek to understand Tolkien’s
linguistic creation and his experiment of Quenya in particular, first in its historical and literary
context, and then assess its linguistic merit and behaviors.
In the first introductory chapter, Tolkien’s linguistic and academic background will be
investigated, along with mythopoetic construction in the author’s legendarium, setting the scene
for further linguistic analysis. In the second chapter, the timeline of Tolkien’s linguistic creation will be
traced, starting from the delineation of the different Middle-earth languages, to the development of the more
complex and articulated Quenya. The third and last chapter will deeply analyze Quenya language, focusing on its internal and external development.
This thesis aims to explore how the authentic nature of the language is developed and evoked through
the phonetics and phonology of Tolkien’s Quenya, using the poem “Namárië” from The Fellowship
of the Ring for analysis. Smith (2010:7) argues that Tolkien created a “flowing,” “light and
melodious” language, designed much like a Romance language, with no “potentially harsh”
phonemes or “brusque English consonant clusters.” But with such claims must come evidence.
This thesis provides the background research Smith (2010) lacks behind these claims, defining
Quenya as a functional language, with clear patterns and tendencies towards particular phonetic
and linguistic behaviors.
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Castaldo, Lundén Elizabeth. "Jaws: Creating the Myth of the Man-Eating Machine." Thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-89349.
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Jaws(Universal Studios, 1975) set a new standard for Hollywood film production byintroducing the concept of “summer blockbuster,” for a film that changed the way inwhich people thought about sharks. 37 years after the release of the movie, the idea of sharks as ferocious man-hunters still looms large in public opinion. Thisconceptualization of sharks as ruthless killers is mythical rather than factual, and thisresearch tracks the mechanisms that propelled the idea deep into popular culture.The dissertation addresses the problematics of media constructions through a casestudy of the movie Jawsdeparting from its production process, and by applyingBarbara Klinger’s interpretation of “epiphenomena.” The thesis studies how cinematravels into popular culture, by following the traces of the movie into other media, andits dialogue with the surrounding texts generated by PR, marketing andmerchandising; simultaneously, the thesis seek to demonstrate the connection between the movie as mythmaker and the stigmatized portrayal of sharks.
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McDonald, Kendra Lynne. "The creation of history and myth in Mary Boykin Miller Chesnut's civil war narrative /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487942182325108.
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NEMEYABAHIZI, DESIRE. "Metaphores et production du texte dans la creation narrative d'andre gide." Paris 8, 1996. http://www.theses.fr/1996PA081156.
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A partir des metaphores animales et des metaphores du corps, la these montre que, dans l'inconscient, la creation narrative d'andre gide nait d'un double fantasme : le meurtre et la devoration de la mere. Ce fantasme engendre l'histoire et le texte-langage. Elle exploite les elements des psychanalises freudienne et jungienne, de la critique de l'imaginaire, et de la theorie du texte contemporaine enrichie par la linguistique et ses differents courants. Elle restitue les mecanismes de mise en place des scenarii narratifs, des personnages, des themes, et du langage lui-meme. Elle met en evidence la parente du texte avec les mythes et discute du sens a donner a ces mythes, en eux-memes et dans l'oeuvre de gide. L'etude de la production du texte, concept de m. Riffaterre, retient cinq principes d'elaboration : le paragramme, l'euphemisation, l'equivalence, la rencontre intertextuelle et la motivation du texteThe thesis shows from animal and body metaphors that, in the uncoscious mind, a. Gide's narrativ creation arises from a double fantasy : murdering and devouring the mother. This fantasy generates the story and the speech. The thesis uses elements from freud and jung psychoanalytical studies : the imagination criticism and the contemporary theory of text, enriched by linguistics and its different movements. It restores the way of organizing narrative plans, characters, themes and language itself. It reveals the links between the text and myths and studies the meaning of myths themselves but also in the work of gide. According to the study of text production, a concept by mr riffaterre, five principles can be drawn : paragramm, euphemism, equivalence, intertextuality and motivation
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Brissette, Pascal. "La malédiction littéraire : constitution et transformation d'un mythe." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84481.
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Long before the publishing of Verlaine's Poetes maudits , it has been written and thought, in various circles and contexts, that writers of genius were doomed to an unhappy life. Nevertheless, it was only about 1760--1770 that the conditions allowing for the emergence of a myth of the unhappy writer were gathered. This myth affirms the christlike vocation of the author and associates greatness to unhappiness. This thesis seeks to understand this mythical phenomenon within a historical perspective. The first part recounts the three principal families of topoi associated, before 1770, to authorial unhappiness. These three series are those of melancholy, poverty and persecution. In the chapters concerning these topoi, the objective is to bring to light their specificity and also the representations and the exempla that they call to mind. Moreover, the goal is to identify the connections that are at work, in discourses, between melancholy and genius on the one hand, poverty and truth on the other hand, and finally persecution and merit. Even if one can't already consider that these various discursive connections are sufficient to build a mysticism of the unhappy man of letters, they still can be studied, in their context, for what they are: a pool of topoi where the writers would soon draw some discursive materials, and from which this myth will get its historical acceptability, its obviousness. The second part of the thesis is devoted to the study of this obviousness. After Rousseau, some believe that unhappiness is inseparable from genius, and that literary vocation is a curse spelled on the poet. From then on, the object of study is not anymore to follow each topos as if it was a separate thread, but instead, to see how all this acquires the value of commonplace (lieu commun ) between 1770 and 1840, in addition to imposing itself as an horizon of meaning. The last chapter and the epilogue show that the myth lives on, during the second half
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Blank, Alyssa S. "The Framing of Myth in the Creation of a Palestinian Identity: Hamas, Fatah and Children’s Media." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19934.
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This thesis is an exploratory examination of identity construction and children’s media, with a focus on the Palestinian political groups of Fatah and Hamas. It looks at how children’s media are framed within the context of the Arab-Israeli conflict. It examines how internal and external social factors contribute to identity formation and the interaction among these elements during times of conflict and war.
This thesis hypothesizes that both Fatah and Hamas use various myths to differing degrees in order to frame their conception of a Palestinian identity. Specifically, it explores the use of the Myth of Battle, the Myth of Hero, the Myth of Victim, the Myth of Religion, the Myth of Land and the Myth of Other. It seeks to determine which of these myths each group emphasizes through a qualitative and quantitative visual ethnographic content analysis.
The quantitative analysis uncovered interesting, albeit not statistically significant, differences between Fatah’s and Hamas’ use of all of the myths in their videos. Specifically it found that both groups made equal and great use of the Myth of Religion; that Hamas produced the videos with the greatest focus on the Myth of Battle and the Myth of Hero; and that neither group greatly emphasized the Myth of Victim, the Myth of Land or the Myth of Other. Finally, the analysis discovered positive correlations between the Myth of Hero and the Myth of Battle as well as between the Myth of Battle and the Myth of Other.
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Fremeth, Howard. "The creation of Telesat: Canadian communication policy, Bell Canada, and the role of myth (1960-1974) /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2098.
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Burgess, Claire Reilly <1990>. "The Book of Copper and the Anvil of Death: Gothic Elements of William Blake’s Creation Myth." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15193.
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This Joint Degree thesis will pull largely from William Blake’s major poems and visual art between America, A Prophecy (1793) and Jerusalem (1820) in order to contribute to a dimension of the discussion of Blake’s later “prophecies” that has not received much attention in Blake scholarship until fairly recently. This dimension is the Gothic elements of Blake’s oeuvre, which extend well beyond the artist’s predilection for graveyard imagery. With recent scholarship by David Punter as its base, the thesis will demonstrate that the substance of William Blake’s creation myth (concerning two demiurges, Urizen and Los, and their part in the simultaneous creation and fall of both mankind and the material world) lies upon Gothic bones. The narrative web Blake spins, like those of Faust and Shelley, among others, relies upon a hubristic seeker of arcane and profane knowledge creating something monstrous.
The thesis will be broken into three parts. Part one will center around the nature of the arcane knowledge itself. This section will first demonstrate that Blake believed himself to be the possessor of divinely-bestowed, powerful knowledge before showing — largely through visual analysis of Blake’s illustrations — that he gave this same knowledge to his two major players in the creation myth: Urizen and Los. The second section will develop this line of thinking with several bits of in-depth analysis of the characters themselves and their actions in the poetry, showing that the source of this knowledge within the narrative is, in true Gothic fashion, the grave. The third and final section will turn to the abominable result of Urizen and Los’s machinations: fallen man, who is monstrous in his very nature.
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Burgess, Claire Reilly <1990>. "The Book of Copper and the Anvil of Death: Gothic Elements of William Blake’s Creation Myth." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15194.
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This Joint Degree thesis will pull largely from William Blake’s major poems and visual art between America, A Prophecy (1793) and Jerusalem (1820) in order to contribute to a dimension of the discussion of Blake’s later “prophecies” that has not received much attention in Blake scholarship until fairly recently. This dimension is the Gothic elements of Blake’s oeuvre, which extend well beyond the artist’s predilection for graveyard imagery. With recent scholarship by David Punter as its base, the thesis will demonstrate that the substance of William Blake’s creation myth (concerning two demiurges, Urizen and Los, and their part in the simultaneous creation and fall of both mankind and the material world) lies upon Gothic bones. The narrative web Blake spins, like those of Faust and Shelley, among others, relies upon a hubristic seeker of arcane and profane knowledge creating something monstrous.
The thesis will be broken into three parts. Part one will center around the nature of the arcane knowledge itself. This section will first demonstrate that Blake believed himself to be the possessor of divinely-bestowed, powerful knowledge before showing — largely through visual analysis of Blake’s illustrations — that he gave this same knowledge to his two major players in the creation myth: Urizen and Los. The second section will develop this line of thinking with several bits of in-depth analysis of the characters themselves and their actions in the poetry, showing that the source of this knowledge within the narrative is, in true Gothic fashion, the grave. The third and final section will turn to the abominable result of Urizen and Los’s machinations: fallen man, who is monstrous in his very nature.
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Szabo, Bobbie. "Love is a Cunning Weaver: Myths, Sexuality, and the Modern World." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1493247491671522.
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Potter, Bradley G. "Constructing Caesar: Julius Caesar’s Caesar and the creation of the myth of Caesar in history and space." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1086197240.
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Potter, Bradley G. "Constructing Caesar Julius Caesar's Caesar and the creation of the myth of Caesar in history and space /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1086197240.
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Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains 158 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 June 2.
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Orth, Michael D. "Mirages Solidified: Myth, Beautification, and Tourism In The Creation of Santa Barbara’s El Pueblo Viejo Landmark District." DigitalCommons@CalPoly, 2011. https://digitalcommons.calpoly.edu/theses/615.
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A number of books and articles have been written on the social movement to reimagine Southern California’s past in the nineteenth and early twentieth centuries. While many of the pageants, parades, and public displays that defined this regional movement now reside in the pages of history, some architectural examples from this period are still visible today. In many cities, these examples are scattered throughout the community; while in others like Santa Barbara, they represent the centerpiece of the city’s architectural distinctiveness.
Santa Barbara’s architecture challenges urban scholars to successfully garner an accurate sense of the past. More importantly, such historic spaces divert attention away from the social efforts that led to their inception. This thesis charts the history of Santa Barbara’s architectural reinvention and how the stylistic proliferation influenced the way various generations would think about the city’s past. The renaissance in a uniform Spanish style not only inspired local beautification efforts but also historic preservation, which ultimately resulted in the creation of the El Pueblo Viejo Landmark District in 1960. Additionally, this narrative critically examines the area’s history prior to the district’s establishment to show how economic profitability guided city planning, beautification, tourism, and preservation toward the ultimate solidification of the town’s Spanish image.
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Navarro, Aliste Daniela. "Miltonic influence in John Keats: creative process of reshaping myths in Hyperion and The fall of Hyperion: a dream." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/137777.
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Dyer, Emily L. "Sugar Nine: A Creative thesis." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1342.
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This collection of short stories explores the different ways women tolerate violence in exchange for some form of validation. The narratives focus on women and the reverberations of small moments which carry violent mass. While the violence occasionally includes physical elements, the collection is more concerned with the ways women accept emotional and psychological violence—specifically from men. Themes, motifs and symbols from the Clytie-Helios myth are threaded throughout the collection as well as a concern for space and touch, art and the creation of art, silence and voice. All of these elements involve control as the women characters in these stories struggle to resist their own objectification. A critical introduction which explains how form and language amplify story precedes the collection.
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Puyôou, Bianca. "Pygmalion, un mythe génésiaque. Conceptions et représentations du pouvoir créateur." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040215.
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Ce travail herméneutique interdisciplinaire où littérature et philosophie intimement s’entremêlent et dialoguent avec les sciences dites dures, s’est tout d’abord employé à définir la notion de mythe comme type de récit littéraire illustrant une prise de position quant à une question métaphysique et a révélé le récit ovidien de Pygmalion comme un mythe génésiaque au cœur duquel se trouve l’homme. Cheminant du XVIIIe au XXe siècle au fil de l’histoire des idées européennes, il s’est ensuite arrêté sur les différentes productions littéraires allemandes, françaises et italiennes réinvestissant le mythe à la lumière de la problématique dégagée du texte mère : celle de l’ampleur du pouvoir créateur de l’homme, afin d’en extraire les caractéristiques communes. Dans leur traitement de l’eros et de l’art, ces dernières posent un rapport à autrui et au monde orienté vers une dynamique de création se réalisant à travers un processus analogue, reposant sur les représentations ainsi que l’implication et les dispositions mentales et personnelles du sujet, l’extase, la volonté et la foi. Forts de leurs enseignements et de ce constat, il s’est à son tour emparé de cette question à travers l’élaboration d’un mythologisme anthroposophique convoquant des découvertes ayant eu lieu au XXIe siècle dans le domaine des neurosciences, de la physiologie, de la sémiostylistique, de l’éthique et de l’esthétique. Ce système de pensée, dans une quête de compréhension de ce processus créatif, a mené à la redéfinition d’un Homme alors compris comme essentiellement mû par un instinct représentationnel, un mouvement plasmateur, évoluant entre Créativité, Plaisir et Beauté, à travers l’exercice duquel il réalise sa LibertéThis hermeneutic interdisciplinary work, where literature and philosophy are tightly intertwined and converse with the so-called hard sciences, first proceeds to define the notion of myth as a literary type of story that illustrates a stance on a metaphysical question. It reveals Ovid’s story of Pygmalion as a genesiac myth in which mankind is at the heart. Progressing from the XVIIIe to the XXe century along the history of European ideas, it then halts at the French, German and Italian literary works that revisit the myth, in light of the question drawn from the source text – that of the extent of Man’s creative power – in order to extract the common characteristics. In their study of Art and Eros, they present a relationship to the world and to the others that is directed toward a dynamic of creation that is realized through a similar process based on the representations along with the mental and personal implication and dispositions of the subject, ecstasy, will and faith. In turn, drawing on their lessons and this observation, this work eventually answers this question by elaborating an anthroposophical mythologism that call upon XXIe century discoveries in neurosciences, physiology, semiostylistic, esthetic and ethic. This system, in its quest of understanding this creative process, has led to the redefinition of a Man essentially led by a representational instinct, a creative gesture, moving from Creativity, to Pleasure and Beauty, by which he achieves his Freedom
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Anderson, Vera. "Numerology as the base of the myth of creation, according to the Mayas, Aztecs, and some contemporary American Indians." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186236.
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This dissertation intends to demonstrate the impact of numerology in every aspect of the lives of ancient precolombian people as well as several contemporary American Indian tribes. For this reason numerology may be viewed as a true science, that is both an esoteric and a philosophical one. Thus, numbers may be looked upon not only as abstract signs, but as all inclusive entities in and of themselves. To the ancients, numerical symbols had an occult connotation that transcended the restrictive boundaries of simple computation. For instance, numerology had an integral role in Maya, Aztec, and some contemporary American Indian religious ceremonies. As an example, the high priests were able to predict future events by making intricate numerological computations. Further still, Maya and Aztec calendars were so accurate that they demonstrated an extraordinary knowledge of astronomical events. In order to accurately study the intricate subject of numerology it was necessary to divide the dissertation in several parts. These parts include a concise discussion of the Maya, the Aztec, and certain contemporary American Indian tribes. A general account of Maya, Aztec, and Contemporary American Indian culture and society was included, using the available data of present day archeological and written documents, in order to accurately describe the philosophy of these people. From an examination of the life and culture of these ancient societies, the basis for their myths of creation and the impact of numerology on those particular myths may be easily ascertained. The conclusion discusses how numerology shaped two great civilizations, that of the Maya and Aztecs, and how these basic esoteric numbers were absorbed and changed, to suit the needs and culture of some present day American Indian tribes.
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Lagrou, Sarah. "La création poétique dans le théâtre grec classique ou comment surprendre toujours dans un cadre traditionnel : l’exemple du mythe d’Œdipe dans la tragédie grecque." Thesis, Lille 3, 2016. http://www.theses.fr/2016LIL30012.
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Cette thèse de doctorat vise, à partir de l'exemple que constitue le traitement du mythe d'Œdipe par les trois dramaturges que sont Eschyle, Sophocle et Euripide, à comprendre comment les tragiques grecs, qui traitaient toujours des mêmes histoires, et suscitaient pourtant l'intérêt du public, ont su renouveler la création théâtrale, en parvenant à ne pas faire les mêmes pièces à partir des mêmes légendes. Certes, la matière mythique n'était pas figée en soi ; toutefois, comme la tragédie était un genre très codifié dans sa structure et relativement limité en termes d’effets visuels, c'est surtout sur le texte même que l'auteur pouvait intervenir, au prix d'un travail toujours renouvelé sur sa langue.C'est donc au texte même des tragédies que cette étude s'attache, texte qui est abordé selon une triple perspective, à la fois herméneutique, philologique et comparatiste, ce qui permet de comprendre non seulement les enjeux profonds de chacun d'eux, mais aussi les variations sur le mythe et les effets ainsi créés. Le corpus, restreint mais raisonnable (Les Sept contre Thèbes d'Eschyle, l'Œdipe Roi, l'Antigone et l'Œdipe à Colone de Sophocle, et les Phéniciennes d'Euripide), est analysé avec rigueur et aussi peu d'a priori que possible. Cette étude permet de mieux comprendre le fonctionnement de la tragédie, ainsi que la façon dont une poétique se renouvelait sans cesse et évoluait de la sorte, en explorant les possibilités que lui offrait sa langue et en travaillant sur les représentations et les contenus traditionnels dont le poète tragique héritait. Ce projet vise ainsi à mieux saisir les ressorts de la création poétique dans un contexte culturel qui permet d’appréhender au mieux les limites entre lesquelles elle est mise en œuvre ; il permettra également d'approfondir la compréhension d'une culture qui prenait plaisir à aller voir des pièces dont elle connaissait déjà la finThe aim of this PhD thesis, based on Aeschylus’, Sophocles’ and Euripides’ treatments of the Oedipus myth, is to understand how Greek tragic playwrights – who aroused the public interest while always dealing with the same stories – managed to reinvent theatre and write new plays out of the same myths. Admittedly, mythical material was not fixed, yet, tragedy was a genre which structure was highly codified, and quite limited in terms of visual effects. Thus, it was mainly within the text itself that authors could intervene by way of an ever-repeated work on their own language. Therefore, it is the texts of tragedies themselves which are the subject of this study, and which will be explored from three different perspectives; hermeneutic, philological and comparative. This not only allows for an understanding of the deeper issues each text tackles, but also of the variations on the myth and the effects they create. The corpus (Aeschylus' Seven against Thebes, Sophocles' Antigone, Œdipus Rex, Œdipus at Colonus, Euripides' Phoenician Women) – limited yet reasonable – will be analysed rigorously and with as little a priori as possible. What is proposed in this study is a better understanding of how the mechanics of tragedy worked, as well as of how part of a poetics could evolve through perpetual renewal, as tragic poets explored the possibilities of their language, worked on representations and traditional materials they had inherited. The aim of this study is to better grasp the means of poetic creation in a given cultural context so as to gain the best possible understanding of the limits within which it took place. It also allows for a deepened understanding of a culture in which people still enjoyed plays while already knowing how they would end
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Randell, Meredith. "Fertile Dreams: Birthing a Discursive,Abject, Postproduction Story Space." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367238.
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The aim of this project is to create a ‘story space’ that cultivates and challenges enduring dominant myths about the Australian landscape by using perverse and abject audio-visual strategies and ‘postproduction art’ practices. This project draws on Australian writer Ross Gibson’s theories on dominant cinematic Australian landscape myths and an aspect of French psychoanalyst Julia Kristeva's theory of abjection from her book The Powers of Horror (1982) to challenge these myths. The cinematic myths that this project responds to relate to non-indigenous Australians’ largely unconsummated desire to understand and unite with an intolerant and sometimes vengeful landscape.
Metaphorically, abjection describes anything that is cast-off or excluded from the dominant social norms, and can include people, objects, spaces, motion and stories. Cast-offs represent the binary opposite of what is accepted by the dominant social norms, such as right and wrong, life and death, or “human and non-human” (Creed 1993, 8). This project sought to challenge and update dominant social norms by creating a physical lived story space based on Finnish architect Juhani Pallasmaa’s (2006) concept of the lived cinematic image as ‘lived space’. Located in a gallery, the story space I have created consists of audio-visual artworks that present an abject interpretation of trees that inhabit under-represented swamp and native forest landscapes located in Moreton Bay and Byron Bay.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Edley, Christopher. "Riding into myth: Manifest Destiny, Nietzschean ethics and the creation of a new western frontier mythology in Cormac McCarthy’s Blood Meridian." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/7334.
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Cormac McCarthy’s Blood Meridian or the Evening Redness in the West is a provocative evocation of the American West that has attracted a wide range of critical responses. This study has three foci: the novel as epic myth, McCarthy’s critique of Manifest destiny, and the influence of Nietzschean philosophy on the judge and McCarthy’s portrayal of the human condition. These concerns conduce to an alternative reading of the conclusion of the novel. Blood Meridian is a unique textual enterprise as it both conforms to and subverts mythic conventions associated with both Classical epic and the American West. Recognition of the resonances between Blood Meridian and these mythologies helps the reader to engage with McCarthy’s ambitious creation of a powerful literary allegory in the tradition of Twain and Faulkner. Having situated McCarthy’s enterprise within these co-ordinates, the study then moves on to examine the novel’s stunning critique of Manifest Destiny, in the context of the implications that such thinking has had on American foreign policy over the past two centuries, and that continue to inspire American involvement in military conflicts well into the twenty-first century. The final area of focus is the influence of Friedrich Nietzsche’s philosophy on the character of the judge and the weltanschauung that the novel presents. McCarthy’s ultimate objective is to demonstrate that humankind’s most basic condition is an inherently violent one. The more critically accepted reading of the novel is challenged by postulating the kid’s triumph over the judge as not only in keeping with the literary tradition of Melville and others but also a logical outcome of the novel’s allegory of American military involvement in Vietnam. The study concludes that whilst McCarthy has gone on to receive critical acclaim and public praise for works published after Blood Meridian, this work remains both his artistic masterpiece and his most far-reaching engagement with issues of eschatological and political importance. It is argued that, given the contemporary escalation in geo-political tensions, Blood Meridian may well continue to provide insight into the nature of American domestic and foreign policy for decades to come.
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Moro, Simonetta. "Re-constructing Babel : the history and creative possibilities of a myth, explored through text and installation." Thesis, University of Central Lancashire, 2003. http://clok.uclan.ac.uk/20904/.
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This thesis and related artwork examines the layers of meaning around the Tower of Babel and how the myth can be visually represented today. This thesis attempts to give new readings to the myth drawing on history, literature, philosophy and architectural writings while using multi-media visual experimentation to highlight the contemporary experience. The Tower of Babel acts as a generator of the creative process and provides a structural framework for the motivation of my creative practice. Throughout the written thesis the relationship between the myth and a possible contemporary reality is explored and can be seen as crucial to understanding the depth to which the myth has influenced and shaped contemporary art practice in terms of both the theory and the actual making and presenting of artwork in the late 20" and early 21" century. In the artwork this reality manifested itself in the three- part multi site exhibition of installations of my work, Reconstructing Babel. This acted as a test case in which the ideas about how and why the myth exists are explored and confronted within a given environment, the museum. Overall, the thesis and artwork show in combination how the modern Babel manifests itself as an excess of communication in which we are no longer able to select or decode. It is a city in the throes of continuous transformation which is searching for order, a centre, a name and a universal language.
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Polycarpou, Charis. "(RE) creating a theatre of myth : pedagogy and cultural heritage in a theatre for Cypriot youth." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3648/.
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This thesis will argue that the contemporary educational system of Cyprus denies young people opportunities to participate in the creation of their culture, which can provide the nest for the exploration and understanding of their individual and collective lives. Culture, in schools, is treated not as a dynamic process in which the young people can play the main role but instead as a static field of knowledge that should be studied and learnt. This approach, however, contradicts the same principles that were the foundations of the ancient culture that the young Greeks have inherited from the past whose performative and participatory nature ascribed to it a proactive and democratic public life that guaranteed everyone the right to speak and act. This thesis argues that the Greek young people of contemporary Cyprus should be entitled to participation in recreating and reconstructing the meanings and values of those stories that have inherited from the past and that bind them together as one people in ways that help them make sense of their contemporary private and public roles. The thesis argues that the myths of the past should be reinterpreted and repositioned again in the present to respond to the immediate social context of the young people in a participatory and democratic way so as to enable a progress of this culture and a connection between the past, the present and the future. The thesis shows that culture is under continuous reconstruction taking on the example of fifth century BC Athens where theatre and public life fed one another and developed to respond to the current socio-historical context of the time. Throughout, the thesis shows in what ways theatre can provide the means for the investigation of the inherent meanings in the myths of the past and also its significance in playing the role of the social agent that can enable transformation and progress. The thesis consists of an introduction, eight chapters and a conclusion. In the Introduction I identify the problem that exists in the contemporary educational system of Cyprus concerning the way that the field of culture is approached and present the conceptual framework that provides the foundation for proposing a new Theatre of Myth. Chapter one provides a critical reflection on and analysis of the oral culture of Homer to the democratic fifth century BC Athens and the birth of tragedy. Chapter two studies, both from the ideal and the material aspect, the social role of the Athenian tragic theatre and its polis during the fifth century. Chapter three seeks to base the arguments made in the thesis of the educational and political role of the fifth century theatre through a critical analysis of its form and content. Chapter four identifies and supports the principles of the proposed Theatre of Myth, drawing from the twentieth century developments in Modem Drama whilst chapter five shows how the Drama-in-Education tradition attempts to bridge the practices in the Modem Drama paradigm to come closer to the proposed theatre model. Chapter six provides the methodology followed for a pilot case study that attempts to transfer the Theatre of Myth into practice, which is the preoccupation of chapter seven. Chapter eight discusses and analyses the findings of the case study to inform the theoretical lines of the model of the Theatre of Myth. Some conclusions are discussed concerning the potential and the limitations of the Theatre of Myth in the end of the thesis.
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Powers, Riva R. "A Little Pozo Underfoot." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1407454840.
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Souza, Filho Adilson de. "A desconstrução do conceito de saga na Teologia da Criação em Karl Barth." Universidade Metodista de São Paulo, 2012. http://tede.metodista.br/jspui/handle/tede/204.
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Previous issue date: 2012-01-30What characterizes academic research in a doctoral course is that it should fulfill two fundamental requirements. The first is the element of innovation, the ability to enrich research on the theme. The second is that it should promote new ways of reading. We therefore believe that this thesis has met the expectation, the innovative element of this research being the deconstruction of the concept of the creation saga proposed by Karl Barth. It is new because we could not find, as we had suspected, any author, or even work or research that proposed to face the same task. Instead, there are even some authors that highly praise the research conducted by Karl Barth, as is the case of Coats and Brueggemann. Although they respond to some points of Barth s theology, they did not specifically deal with the concept of saga. The second aspect, structurally related to the first, is that it promotes new possibilities of reading. Using the approach of Paul Ricoeur, we propose a new biblical hermeneutics, based on what this author calls a long way, which makes use of various methods, including the historical-critical, to seek an interpretation of the text world which manages to make sense of the world outside the text. We believe that this proposal can overcome the purely dogmatic reading of the text world. According to Ricoeur, we believe that the foundational elements that guided the hermeneutic of Dasein, or even around the subject/object relation can contribute to a new hermeneutic, since it does not make the same concessions to the knowing subject. Thus, the possibility of a new reading appears from what Ricoeur has defined in dialectical relationship between the text world and the world outside the text, as a transforming and revelant representation. And this is where the Holy Scriptures has the the position of source of revelation and inspiration.
O que caracteriza uma pesquisa acadêmica num curso de doutorado é a apresentação de dois quesitos fundamentais. O primeiro é o elemento de inovação, capaz de enriquecer a pesquisa sobre o tema proposto. O segundo é o dos apontamentos como possibilidades de promoverem novos caminhos de releituras. Nesse sentido, nos convencemos de que a presente tese atende a expectativa, pois, o elemento inovador desta pesquisa é a desconstrução do conceito de saga da criação proposto por Karl Barth. É novo porque não encontramos, como suspeitávamos, nenhum autor, ou mesmo obra ou pesquisa que tenha proposto esta mesma tarefa. Ao contrário, há até alguns autores que enaltecem a pesquisa realizada por Karl Barth, como é o caso de Coats e Brueggemann. Apesar de reagirem a alguns pontos da teologia de Barth, porém, não o fizeram, especificamente, ao conceito de saga. O segundo quesito, estruturalmente ligado ao primeiro, é o que promove as possibilidades de releituras. A partir do pensamento de Paul Ricoeur propomos uma nova hermenêutica bíblica, fundamentada a partir daquilo que Ricoeur chamou de via longa, que utiliza-se de vários métodos, inclusive o histórico crítico, para se buscar uma interpretação do mundo do texto que gere sentido ao mundo frente ao texto. Acreditamos que esta proposta é capaz de superar a leitura puramente dogmática do mundo do texto. De acordo com Ricoeur, acreditamos que os elementos fundantes que pautaram a hermenêutica em torno do Dasein, ou mesmo, em torno da relação sujeito/objeto podem contribuir para uma nova hermenêutica, desde que não façam as mesmas concessões ao sujeito conhecente. Assim, a possibilidade de uma nova releitura se revela a partir daquilo que Ricoeur definiu, na relação dialética entre mundo do texto e mundo frente ao texto, como representância (réprésentance) revelante e transformante. E é nesse ponto que as Sagradas Escrituras ocupam o posto de fonte de revelação e inspiração.
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Marshall, Lea. "No Greater Weight." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/408.
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Writing these poems over the last several years has been both challenge and solace. Many of them have been written under great constraints of time and energy, in flashes of insight (sometimes even at stop lights), and later revised. Taken together, they reflect preoccupation with the weight and heft of a thinking life in many different manifestations: internal, domestic, aesthetic, political. The writing of them has created for me quiet places for both close looking and expansive thinking, and into these places I hope my readers can walk, through the poems themselves.
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Šimůnková, Vendula. "Rozvoj tvořivosti u zaměstnanců." Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-17066.
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The main topic of the diploma thesis is creativity and its function in CIE Automotive company in Valašské Meziříčí. Creativity is the integral part of personal and working life of each person. It influences the ability of the company to react to possible changes and it can also dramatically influence the existence and prosperity of the whole company. CIE Automotive is an important supplier in automobile industry. In a long term the company faces lack of support and development of creativity of its employees. The main aim of the thesis is to explore the relation of CIE Automotive employees to creativity and on the basis of this information formulate a suggestion of new project for creativity development in CIE Automotive. The theoretical part is dedicated to specification of essential definitions associated with creativity and its function in the company. In the thesis are used two main methods for necessary data finding - interview and questionnaire. On the basis of received information are suggested recommendations to CIE Automotive and created entirely new program to support the development of creativity among employees in the above mentioned company. In the practical part the emphasis is placed on weakness identification resulting from the interview with HR manager and mentioned questionnaires. Weaknesses are considered to be insufficiently creative atmosphere, lack of team support, inefficient communication in the company and vague program for creativity support. Considering the weaknesses, there are recommendations suggested how to focus on improvement of weaknesses and also created a new program to support creativity - REGIA IDEA.
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Klasovsky, Stokely James. "The Sailor Did as the Devil Bade." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1269032153.
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Herculano, Josimar Rodrigues. "Arte como necessidade da existência na filosofia de Nietzsche." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/5603.
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Previous issue date: 2011-10-31Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The art that in Nietzsche s philosophy goes through all his lifetime and beyond that stretches for all posterity, is in this paper approached as being, according to philosophical thinking, the highest of the existential forms. In a consequent way, this leads to the understanding and acknowledgement that art is, in all the forms that it can be expressed by its muses - and especially for Nietzsche regarding tragic art in ancient Greece -, much more than what it seems to be, that is, inversely, the very existence manifests itself, necessarily, through art, therefore it is impossible to think of each one in an unconnected manner. More than a simple connection,existence, that is, life and art in a Nietzschean sense, in other words, creation, appear as all the crystalized forms of that that has no absolute shape or as Nietzsche described them according to his interpretation of the myths of Dionysus and Apollo. The first as being the representation of the misshapen and the hollow, that is, of the chaos and the abyssal darkness; the latter, on the other hand, as being the one that represents the rising of the being that, from the abyssal darkness, appears on the surface of existence usually and through the perception of the beautiful forms, but also through the opposing perception of the ugliness that, however, even the latter when expressed aesthetically through artistic inebriation both Dionysian and Apollonian, only occur due to its subordination to the natural artistic creation of both forms, beautiful and ugly, that is, through a soothing pathos, in other words, resisting against the unavoidable Nietzschean will to be in any way that it becomes, and all that, beyond good and evil.
A arte que na filosofia de Nietzsche ocupa todo o tempo de sua vida e para além desta estendese por toda posteridade é aqui neste escrito abordada como sendo, segundo o pensamento do filósofo, a mais elevada das formas existenciais. Uma constatação que submete de modo consequente ao entendimento e à compreensão de ser ela, a arte, sob todas as formas que suas musas a expressam - especialmente para Nietzsche no que refere à arte trágica na Grécia antiga-, muito mais do que parece, quer dizer, inversamente, que a própria existência se manifesta de modo necessário através da arte, portanto, que é impossível pensar uma e outra de uma forma desconexa. Mais do que uma simples conexão a existência, isto é, vida e arte no sentido nietzschiano, ou seja, enquanto criação, é uma e mesma coisa e que assim sendo, aparecem sob todas as formas cristalizadas daquilo que no fundo, não possui forma definitiva alguma ou como Nietzsche as descreveu conforme sua visão e interpretação dos mitos de Dionísio e Apolo. O primeiro mito como sendo o representante do disforme e do sem fundo, isto é, do caos ou o nada abissal; o segundo como sendo aquele que por sua vez, representa o apaziguamento da irrupção criadora, artística do ente desde o nada abissal aparecendo na superfície do existir normalmente e através do sentimento das formas belas, mas também pelo sentimento contrário do feio que, todavia, mesmo este último quando expresso esteticamente via embriaguez tanto dionisíaca quanto apolínea, só ocorre devido sua subordinação à criação artística natural das formas tanto belas quanto feias, isto é, por um pathos que possa apaziguar, ou seja, resistindo à inelutável vontade nietzschiana de ser de qualquer modo que venha a ser, e isto tudo, para além de bem e mal.
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Valverde, Campos Juan Carlos. "De l'écologie à l'écosophie : l'intuition de Raimon Panikkar." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAK007/document.
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La crise environnementale a bouleversé la vie de l’homme et toutes ses activités. L’écologie a essayé de trouver des solutions aux problèmes qui nous assaillent, mais elle reste toujours dans le même logos qui nous a mis dans ces difficultés. La théologie, quant-à elle, s’est intéressée depuis peu de temps à cette question. Elle a répondu aux reproches qui lui ont été adressés avec une théologie renouvelée de la création. Notre auteur, Raimon Panikkar, propose de compléter cette approche avec une nouvelle théologie trinitaire. C’est ce qu’il a appelé l’« intuition cosmothéandrique » qui établit une relation étroite et constitutive entre Dieu, l’homme et le cosmos. Cette intuition implique de prêter une attention particulière à la sagesse. Il s’avère donc urgent que l’écologie chemine de pair avec l’écosophie. Dans ce but, il conviendrait que l’homme cultive les vertus qui lui permettront de retrouver son lien avec les autres dimensions de la réalité. Cette nouvelle approche a deux corollaires fondamentaux : une éthique et une théologie politique écosophiques, que nous nous proposons de développer pour prolonger la pensée de PanikkarThe environmental crisis has disrupted the lives and activities of man. The ecological movement has proposed solutions to the problems we face, but it always uses the same Logos that got us into these difficulties. Theology, however has focused on this question only recently. It answered to criticisms with a renewed theology of creation. Our author of interest, Raimon Panikkar, proposes to complement this approach with a new Trinitarian theology. What he called the “cosmotheandric intuition” establishes a constitutive close relationship between God, man and the cosmos. This intuition means paying special attention to wisdom. It is therefore urgent that ecology walks hand in hand with ecosophy. To this end, mankind ought to cultivates the virtues that will allow it to reconnect with the others dimensions of reality. This new approach has two fondamental corollaries : an ecosophical ethics and a ecosophical political theology, that we intend to develop in order to prolong on Panikkar’s thought
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Eileen, Clements. "Re(dis)covering the creative power of eros : finding liberation from neoliberalism through the feminist awakening of aphrodite-demeter consciousness." Thesis, Federation University Australia, 2019. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/173363.
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There is a problem with western patriarchal capitalist narratives of love and connected models of subjectivity which some feminisms, in particular, neoliberal (post)feminism, continue rather than criticise. This is a problem, not only because these feminisms uphold existing patriarchal structures and values, but because models of patriarchal subjectivity are founded on a repression and devaluation of love that contributes to what I am naming a ‘crisis of love’ in neoliberal societies. While some solutions to this problem have been offered, including by feminist love studies scholars, none of the solutions address the whole issue – for example, feminisms that ignore issues of spirituality and the female subject’s relationship to the divine, and the impact of myth on the psyche. Until these aspects are included in a rethinking of both female subjectivity and narratives of love, the problem will not be solved. There are many kinds of love but Eros in particular, which is such a charged narrative in western patriarchal capitalist society, is the kind of love that most urgently needs to be rethought and re(dis)covered. Through examination of the major founding myth of female subjectivity for western patriarchy – the Madonna/whore binary – a pathway to addressing this problem of love becomes possible. Rethinking this binary according to reinterpretations of the myths of Aphrodite and Demeter offers a rethinking of Eros as a creative, life-affirming power. This renewed narrative of Eros creates new models of female subjectivity – and the potentiality for new models of ethics – that challenge the contemporary neoliberal paradigm.Doctor of Philosophy
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Bittarello, Maria Beatrice. "The re-creation of ancient classical religions on the World Wide Web : Neopaganism as contemporary mythopoesis." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/226.
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The thesis argues that Neopaganism on the Web is an example of mythopoesis and aims at showing both the novelty and the limits of such mythopoesis. I use the term "mythopoesis" in its original Greek meaning, i.e. "the creation (the making/crafting) of a myth or myths", thus stressing the dynamic way in which the process of creation (of myths, rituals, divinities, identities—all implicitly or explicitly played out, connected, and organised as "stories", which can be told, written or performed, as well as represented as images) unfolds in Neopaganism. Neopagan mythopoesis on the Web is new, original, and structurally different from other previous and contemporary examples of mythopoesis, either religious or not, since it does not refuse, put aside, or implicitly contradict, the rational framework elaborated by Western culture. The research involves exploring the contemporary cultural and historical context that allows for mythopoesis to take place and the technology that allows for it to develop. It analyses the key features of Neopaganism on the Web as they emerge from the mythopoeic recreation of two ancient goddesses (Gaia, and Artemis/Diana) and an ancient ritual (the Eleusinian mysteries). In covering several different fields (from ancient religions, to the Internet, to myth and ritual theory), and in examining a range of heterogeneous materials (from ancient texts, Neopagan hymns and art, to hypertexts), the analysis adopts an interdisciplinary approach.
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Carreiro, Marcos Vinícius Nunes. "The Silmarillion e o desenvolvimento de uma nova mitologia no século XX." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7917.
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J.R.R. Tolkien began writing his stories in the early twentieth century, with the intention of creating a mythology to his country, England. It is for this purpose that he builds an extensive set of tales, of which The Silmarillion is the reunion of his main narratives, whereas they narrate the beginning of a world known mainly for being the scene of the events of The Lord of the Rings. Thus the objective of this work is to show if Tolkien was even able to create a mythology, and try to point out how he did it and what influenced him in that trajectory, using, for this, not only critics of the work of the author, such as Tom Shippey and Amanda Dutton, but also theorists whose works are recognized in the analysis of myths, such as Eleazar Meletínski and Joseph Campbell.
J.R.R. Tolkien começou a escrever suas histórias no início do século XX, com a intenção de criar uma mitologia que servisse de a seu país, a Inglaterra. É com esse objetivo que ele constrói, ao longo de toda a sua vida, um extenso conjunto de relatos, sendo The Silmarillion a reunião de suas principais narrativas, visto que narram o início de um mundo conhecido principalmente por ser palco dos acontecimentos de The Lord of the Rings. Assim, o objetivo deste trabalho é mostrar se Tolkien, sendo autor do século XX, foi mesmo capaz de criar uma mitologia, ao passo em que http://lattes.cnpq.br/6194240116275620 http://lattes.cnpq.br/1028003493670371 tenta apontar como o fez e o que o influenciou nessa trajetória, utilizando, para isso, não apenas críticos da obra do autor, como Tom Shippey e Amanda Dutton, mas também teóricos cujos trabalhos são reconhecidos na análise de mitos, como Eleazar Meletínski e Joseph Campbell.
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Escurignan, Soizic. "Le récit des origines dans la « Estoria de España » d'Alphonse X le Sage (1252-1284)." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30030.
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La Estoria de España a été rédigée sous l’égide du roi Alphonse X le Sage, roi de Castille et du León (1252-1284). Elle retrace l'histoire de l'Espagne et plus spécifiquement de la Castille, des origines jusqu'au XIIIe siècle. Si beaucoup de chercheurs de renom ont étudié la Estoria, tous ces travaux, par ailleurs indispensables, ne proposent qu’une vision partielle de la chronique. Aucune étude d’ensemble n’a été consacrée au récit des origines jusqu’à Pelayo, alors qu’il nous semble que ce récit occupe justement un rôle fondamental dans la Estoria. Les 565 premiers chapitres ne peuvent être considérés comme un simple préliminaire sans aucune connotation politique. L’analyse des différents épisodes, des nombreux portraits, des structures mythiques, ainsi que des procédés d’écriture présents dans le récit nous ont permis de mettre au jour les liens entre la Estoria et l’idéal alphonsin.Nous avons ainsi mis en lumière les procédés utilisés par le Roi Sage pour construire l’ancienneté et le prestige de l’Espagne, seules qualités aptes à fonder la légitimité. Alphonse X se démarque à la fois de ses voisins européens – qui ont fondé leur ancienneté sur le mythe troyen – et de ses sources péninsulaires – focalisées sur des origines wisigothiques – et glisse vers ce que nous appelons un néo-gothicisme non exclusif, teinté de néo-romanisme. Désormais ce n’est plus tant d’une lignée réelle que le Roi Sage se prévaut, mais d’une lignée symbolique, politique, sapientielle et spirituelle. Il établit une continuité à deux niveaux, une continuité inscrite dans le temps long, la translatio imperii, et une continuité directe entre chaque fondateur, chaque roi exemplaire et lui-même. Ce transfert de puissance incessant permet au souverain de légitimer sa façon d’exercer le pouvoir. La chronique revendique ainsi un rôle de pasteur et de vicaire pour le roi qui n’a nul besoin de l’intercession ou de la tutelle de l’Église. Quant à la noblesse, elle est comme effacée de la chronique et placée dans une relation de dépendance vis-à-vis du roi. Chaque complication, chaque déconvenue rencontrées par Alphonse X dans la réalité semble ainsi trouver sa réponse dans la chronique. Mêlant habilement structures et topiques bibliques, antiques et médiévaux, le souverain développe un mythe de création nationale et célèbre un territoire et un passé communs, garants de l’identité hispanique. Le récit des origines se veut donc programmatique, et plus que cela, performatif. Il s’agit d’un projet total, à la fois modèle royal, sociétal et nationalThe Estoria de España was written under the aegis of Alfonso X the Wise, king of Castile and León (1252-1284). The chronicle traces the history of Spain and specifically of Castile, from the origins to the thirteenth century. Although many renowned researchers have studied the Estoria, all these works, which are also indispensable, propose only a partial vision of the chronicle. No comprehensive study has been devoted to the narration from origins to Pelagius, even though it seems to us that the story of the origins plays a fundamental role in the Estoria. The first 565 chapters cannot be considered as a simple preliminary without any political connotation. The analysis of the various episodes, the numerous portraits, the mythical structures, as well as the methods of writing present in the narrative allowed us to unearth the links, between this chronicle and the alfonsine ideal. We have highlighted the particular processes used by the Wise King to build the great age and prestige of Spain, the only qualities capable of founding legitimacy. Alfonso X stands out both from his European neighbors – who founded their antiquity on the Trojan myth – and from his peninsular sources – focused on Visigothic origins – and slides towards what we have called a non-exclusive neo-Gothicism, tinged with neo-Romanism. Henceforth it is no longer so much of a real lineage that the Wise King can claim, but of a symbolic, political, sapiential and spiritual lineage. He establishes a two-level continuity, a continuity inscribed in the long time, the translatio imperii, and a direct continuity between each founder, each exemplary king and himself. This incessant transfer of power through time allows the ruler to legitimize his way of exercising power. The chronicle thus claims a role of pastor and vicar for the king who does not need the intercession or the tutelage of the Church. As for the nobility, it is in some ways erased from the chronicle. The nobles are placed in a relationship of dependence concerning the king. Every complication, every disappointment met by Alfonso X in reality seems to find their answer in the chronicle. Skilfully mingling biblical, ancient and medieval structures and topics, the sovereign develops a myth of national creation and celebrates a common territory and past, guarantors of Hispanic identity. The story of origins is therefore programmatic, and more than that, performative. It is a total project, at once royal, societal and national
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Spiteri, Michael Richard, and redgreen@bigpond net au. "Theatre of light - living images in shadows and light." RMIT University. Creative Media, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090709.140613.
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How the artist deals with death, loss and the spiritual has been a major theme of art throughout history. New media tools provide renewed opportunity to explore these themes while testing the tools against a familiar subject. This research attempts to deal with these themes by examining and reinterpreting them through myths while evaluating the tools of creative media. In so doing, this has the potential to uncover any revealing insights that are relevant to the times. The project uses myth to explore the potential of the interaction between 2D digital images and 3D virtual environments. Elements of particular significance in the 3D virtual environment - such as Lighting and Point of View - are examined from the perspective of an artist who has practised only in 2D. Twelve final works have been generated for this project and presented as large-scale digital prints, along with a short video piece. In particular, the research explores 3D lighting techniques of 2D images by applying theatrical protocols within a virtual, computer-generated environment, and using myth as context and driving principle. The idea of theatre 'flats' has been applied as a device within the virtual realm to provide a conceptual housing and rationale for virtual lighting techniques, virtual camera techniques, digital rendering and digital printing.