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Dissertations / Theses on the topic 'Feminist Myths'
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1
Semeniuk, Alexandra. "Myths of mentoring, a feminist analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0003/NQ41308.pdf.
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Moore, Brittany. "Evaluating Rape Myths at a Midwestern University." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1471533323.
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Phillips, Julie D. "Rape myths in the American movie industry : a content analysis and feminist criticism." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941729.
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This study explored rape depictions and rape myths in the mainstream American filmindustry. Four rape myths pervade American culture. The myths argue that women "ask" for rape, "deserve" rape, lie about rape, and are not really hurt by rape. These myths place blame on the victim and absolve the rapists on any wrongdoing. Furthermore, these myths attempt to justify male sexual aggression against women.This study explored film's portrayal of the rape event, the victim, the rapist, and the depiction of specific rape myths. A content analysis of 16 American films released between 1982 and 1994 revealed 27 victims of rape. The content analysis also provided a descriptive analysis of the rape event while a feminist analysis revealed the films' underlying ideological underpinnings.The content analysis revealed that the films distort rape by consistently portraying the rapist and victim as young white, middle class men and women. Additionally, the relationship between victim and rapist was distorted as well as the legal aftermath of the rape.The feminist analysis revealed that films perpetuate rape myths more frequently than they challenge these myths. In some instances, films presented the reality of rape, particularly the environment the victim would enter. Most films, however, advanced patriarchal beliefs about rape.Department of Journalism
4
Korkmaz, Fatma Tuba. "Rewriting Myths: Voicing Female Experience In Margaret Atwood'." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612766/index.pdf.
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Myths have been an undeniable source in both shaping and expressing the values, norms and behavioural patterns in societies. However, the archetypes in these myths have helped to oppress women in their personal and social lives and have forced them to accept identities which actually are not theirs. Feminist archetypal theorists propose that through a detailed study of common images of women&rsquos writings, fantasies, dreams and myths, the archetypes that women possess will be uncovered and the female experience will have the chance to be voiced more accurately. The aim of this thesis is to explore Surfacing and The Penelopiad by Margaret Atwood and Indigo and The Leto Bundle by Marina Warner to lay bare the attempts of both writers to break away from the male-oriented myths so as to rewrite female experience via rewriting myths. In four novels, the archetypes and mythical elements are used in rewriting the gender and sexual identity markers which have long been imposed on women by patriarchal mythmakers. By rewriting these markers, both writers not only voice the genuine female experience and the body but also pave the way for the creation of new myths which would celebrate female identity and freedom.
5
Wolf, Erin Irene. "A Thesis is Not a Diary and Other Myths." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1565810728861941.
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Ujevic, Danica. "(Re)Presentations of Sexual Violence Against Women: An Analysis of Media Reports of Rape." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32069.
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There is a problem with attitudes that blame the victim of sexual assault: these attitudes are widespread and show popular adhesion to assumptions about rape that have been criticized and combatted by feminists. These assumptions are known as “rape myths.” It is important to look at the role newspapers play in contemporary discourse around rape and the extent to which they reproduce rape myths or, alternatively, incorporate a feminist critique. This research examines how sexual assault is constructed in three English-language newspapers, The Toronto Star, The Globe and Mail, and The National Post in the year 2012. Using qualitative content analysis, themes of rape myths and the presence of feminist discourse are categorized. The power of language when describing rape in the media is recognized and a description of rape-supportive culture, within a feminist theoretical framework, is provided. The ultimate aim of this research is to identify and challenge myths and stereotypes surrounding rape as well as identify possible feminist discourse on rape in print news media in Canada.
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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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Hashmi, Sidra. "‘Non-Ideal’ Victims: The Persistent Impact of Rape Myths on the Prosecution of Intimate Partner Sexual Violence Against Racialized Immigrant Women in Canada." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42737.
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Intimate Partner Sexual Violence (IPSV) is a global issue that impacts women of all social locations, but it disproportionately impacts racialized immigrant women. While there is a lack of literature on the topic of IPSV in general, there is a particular dearth of research on the prosecution of IPSV cases involving racialized immigrant women in Canada. There is little research on how these women are revictimized within the criminal justice system because of rape myths pertaining to IPSV, race, and citizenship. In this project, I aim to interrogate the legal rhetoric within judicial decisions regarding cases of IPSV involving racialized immigrant women. In so doing, I ask: How do judges conceptualize racialized immigrant women in cases of IPSV? How do these conceptualizations reproduce myths and stereotypes about these women who report IPSV?
I use Feminist Critical Discourse Analysis (FCDA) to mobilize law as a gendering and racializing practice in my analysis of eight summaries of judicial decisions of criminal and immigration proceedings pertaining to IPSV. Critical Race Theory (CRT) contributes to my theoretical framework to advance our understanding of law as a gendering and racializing practice. Through an abductive process, I find three discourses that dominate judicial decisions: ‘ideal’ victims resist sexual assault and do not delay in reporting; ‘ideal’ victims do not know or maintain ongoing contact with the accused; and judges excuse defendants of sexual assault due to the beliefs that male sexuality is uncontrollable, and women pursue false allegations. These rape myths normalize violence against women of colour and immigrant women by reinforcing the view that they are ‘non-ideal’ victims.
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Linder, Kathryn E. "Narratives of Violence, Myths of Youth: American Youth Identity in Fictional Narratives of School Shootings." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298851564.
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Åberg, Robin, and Tobias Edlund. "Stjärnan misstänkt för våldtäkt : En kritisk diskursanalys av framställningen av våldtäkt på kvällstidningarnas sportsidor." Thesis, Uppsala universitet, Medier och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-433857.
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This paper examines the Swedish tabloid press coverage of three rape case allegations where the accused was a high-profile sport star. Critical discourse analysis was applied as the theoretical and methodological framework combined with the theoretical concepts of monstering and rape myths. The three cases we examined were the rape allegations against Cristiano Ronaldo, the rape allegations against three Swedish hockey players and the child rape case involving the Malmö FF player Kingsley Sarfo. Monstering is a term used to describe the process in which the media portrays a rapist as a “monster” or “pervert”. By doing so the rapist is separated from “ordinary men”. If the problem is never identified as “men raping” then the solution can never be “stop men from raping” Rape myths on the other hand, focuses on how media reports on rape creates and sustains stereotypic ideas about rape. Research have found that if the media writes about rape in a stereotypical way then this perception of rape will spread to the readers. We found that monstering appeared regularly in each of the three cases mostly through naming and reference of the alleged perpetrators and the accusers. Rape myths also appeared in each of the three cases but to a lesser degree. Rape myths was prominent through a linguistic separation between the alleged rapist and the rape. Our results also showed that a patriarchal discourse was prevalent in the reporting on rape in the Swedish tabloid press.
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Reuter, Victoria. "Penelope differently : feminist re-visions of myth." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4f1ffe10-d690-441d-8726-7fe1df896cb4.
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This thesis examines feminist rewritings of the Penelope myth and the intersections between poetry, myth, and feminist theory. The theoretical framework develops from Rosi Braidotti’s theory of memory and subjectivity which has its roots in the work of Michel Foucault. In Braidotti’s understanding, subjectivity is constructed through narratives of the past including myth. In order to support new, minority, and dissident subjectivities, a re-remembering of mythical narratives needs to happen. This process is linked to Judith Butler’s recent work on narrating the self and to Adrienne Rich’s idea of “Re-vision”. What Butler’s theory adds to Braidotti’s is the notion of dispossession: that as subjects we do not own our identities. We are, instead, dependent on others for recognition. This co-dependence based notion of subjectivity has ethical implications for how we interact with one another and what kind of narratives we iterate and reiterate. The writers discussed in this thesis, namely, Francisca Aguirre, Katerina Anghelaki-Rooke, Gail Holst-Warhaft, and Margaret Atwood, not only rewrite Penelope, but perform Re-visions of the myth. They look back at it with a critical eye and remake it. This thesis further contends that Re-vision provides contemporary feminist writers with a reading and writing strategy that allows them to engage with myth in a way that parallels feminist theory’s efforts to construct new forms of subjectivity. Chapter 1 frames feminist appropriations of myth in a contemporary context and discusses Adrienne Rich’s theory of Re- vision. The next four chapters focus on specific writers who carry out a sustained dialogue with Penelope; they each take an element of the myth and tease it out towards a modern relevance. In looking at how Penelope is revised, this thesis demonstrates that women writers are engaged in a process of remaking canonical, mythic texts in such a way that speaks to contemporary issues of ethical subjectivity and self-making.
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Babbage, Frances. "Re-visioning myth : feminist strategies in contemporary theatre." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/36354/.
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This thesis examines the strategy of re-visioning myth within contemporary European feminist theatre, a strategy which has proved popular over time and across cultures but which has received insufficient critical attention. This study seeks to fill that gap by offering a framework through which this practice can be considered, exploring the diverse motivations of individual playwrights, and evaluating the achievements of particular plays in context. Twelve case studies are included, grouped together to demonstrate a variety of approaches to re-visioning ranging from utilisation of myth as pretext for examination of social issues, to an apparent abandonment of contemporary reality for a utopian otherworld. However, it is argued first that mythical, social and psychological strands remain intertwined, and second that the diversity of approaches reflects the importance for feminist theatre of selecting strategies to meet specific needs, and that these strategies can thus be viewed as complementary rather than in conflict. Chapter One introduces selected critical perspectives on myth, re-visioning and feminist theatre, framing these within Rita Felski's model of the feminist counter-public sphere. Chapter Two discusses plays by Hella Haasse, Franca Rame and Sarah Daniels, which examine myth as ideological narrative. Plays by Maureen Duffy, Caryl Churchill and David Lan, and Timberlake Wertenbaker, considered in Chapter Three, investigate myths of female violence. Chapter Four looks at plays by Andree Chedid and Angela Carter which use myth to confront women's complicity in maintaining the status quo. Plays by Serena Sartori, Renata Coluccini and Helene Cixous, discussed in Chapter Five, offer psychological investigations into women's relationships with myth, language and power. The thesis concludes with a summary of the research findings, and assesses their significance.
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Jacobs, Amber. "Theorising matricide : psychoanalysis, feminism and the Oresteian myth." Thesis, Queen Mary, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394372.
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Stoupas, Leslie Linger. "The myth of the feminine| Problematic fictions." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3723937.
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This study argues that the veneration, romanticization and projection of the feminine in depth psychology is problematic. Depth psychology claims that the masculine and feminine principles exist as archetypes in the collective unconscious. It also claims that these principles are not attached to men and women, yet it coopts imagery that represents the principles in ways that identify them as such, as well as describing certain modes of thinking or acting as definitively masculine or feminine. Specifically, the claim that the masculine principle dominates conscious life results in positing the feminine as a powerful unconscious force, leading to an interpretation of it as transcendent or numinous, revered as a principle needed to heal psychic damage from the overreach of the masculine in patriarchy. This veneration leads to the feminine being romanticized as a panacea for sociocultural ills and projected onto women as carriers of this healing potential.
This dissertation employs philosophical and depth psychological theories highlighting the relationship between truth, history, myth and fiction to challenge mythopoetic narratives of the feminine and their effect on perceptions of women. Specifically, it uses James Hillman’s concept of healing fiction to demonstrate how narratives that result from mythopoetic collusion between psychological fictions are believed as true, and when applied retroactively, are used to reframe historical personal and cultural experiences. The study critiques the comingling of women and the feminine and the resultant essentializing of women by analyzing depth psychology’s anima theory, matriarchal and Goddess mythology popularized in the twentieth century, the conflation of women, nature and the feminine in the ecology movement, and narratives implying women’s obligation to use the feminine to heal the world.
The findings of this study call for the lived experience and potential of women to be recognized and valued above fantasies about the feminine. They also suggest that depth psychology’s insistence on the masculine/feminine polarization contributes to patriarchal ideology. Finally, they identify the feminine as a psychological fiction that helps the psyche navigate through the sociocultural complexity of patriarchal culture. Keywords: the feminine, healing fiction, women, patriarchy
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Pinto, Polyanna Ervedosa. "O feminino e a fragmentaÃÃo em "Noite na Taverna"." Universidade Federal do CearÃ, 2009. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=4570.
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nÃo hÃA anÃlise da linha de pesquisa sobre o imaginÃrio afetivo, no romance de Ãlvares de Azevedo, Noite na Taverna, parte do entendimento da enunciaÃÃo da memÃria sentimental e do feminino romÃntico. Dedicar-nos-emos ao entendimento dos conflitos perturbadores que se desenvolvem na obra, investigando as emoÃÃes das personagens e seu modo de contar histÃrias neste livro especÃfico. Interessa esmiuÃar os planos de Noite da Taverna, mostrando que o feminino à sempre o impulso principal da escrita devido à ligaÃÃo entre a mulher, a natureza e o mÃtico, promovido pelo Movimento RomÃntico. Em seguida, analisaremos o reflexo das relaÃÃes desarmonizadas na fragmentaÃÃo do discurso, a fim de estudar o ambiente infernal e sua conexÃo com MacÃrio para, finalmente, compreendermos a relaÃÃo de vida e morte em cada conto. As narrativas, embora ligadas pela Taverna, possuem suas particularidades na busca do esquecimento em virtude das decepÃÃes de amores frustrados e das paixÃes como objeto, seja atravÃs do imaginÃrio dos afetos, da simbologia, da HistÃria ou de outras possÃveis leituras que possam dar subsÃdios a esta dissertaÃÃo. O intuito principal à ver Noite na Taverna dentro da esfera do humano, mas ainda assim garantindo-lhe valor literÃrio e atmosfera diabÃlica que favorece a natural extravagÃncia azevediana, atestando a existÃncia de um feminino resgatado de tempos primitivos. Esperamos dar margem a um novo olhar da crÃtica sobre a obra azevediana, nÃo esquecendo os diversos estudos anteriores, mas garantindo-lhes continuidade.
The analysis of the line of research on affective imaginary in the novel by Ãlvares de Azevedo, Night at the Tavern, part of the statement of understanding of emotional memory and female romantic. Will pay-the understanding of disruptive conflicts that develop in the work, investigating the emotions of the characters and their way of story telling in this particular book. Interested teased the plans of Taverna Night, showing that the female is always the main impetus of writing because of the connection between women, nature and mythical, promoted by the Romantic Movement. Then it will analyze the reflection of the relationship disharmonize the fragmentation of the discourse in order to study the environment and its connection with infernal MacÃrio to ultimately understand the relationship of life and death on each count. The narratives, though linked by Taverna, have its merits in the quest for oblivion because of the disappointments of frustrated love and the passions as an object, either through the sympathetic imagination, of symbolism, history or other possible readings that can provide grants to this dissertation. The primary purpose is to see Night at the Tavern in the sphere of human, yet assuring it literary value and evil atmosphere that encourages the natural extravagance azevediana, proving the existence of a female rescued from primitive times. It is expected to give room for a new look at the criticism on the work azevediana, not forgetting the many previous studies, but guaranteeing their continuity.
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Gamboa, Solis Flor De Maria. "Towards a New Psychoanalytic Theory of Abandonment : A Feminist Intervention via Myth." Thesis, University of Sussex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504359.
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Newman, Rachel. "Defying the feminist dilemma Eavan Boland's "listen. This is the noise of myth" /." Click here to view, 2010. http://digitalcommons.calpoly.edu/englsp/5/.
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Thesis (B.A.)--California Polytechnic State University, 2010.Project advisor: Kevin Clark. Title from PDF title page; viewed on Apr. 20, 2010. Includes bibliographical references. Also available on microfiche.
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Hawthorne, Sian M. "Origins, genealogies, and the politics of mythmaking : towards a feminist philosophy of myth." Thesis, SOAS, University of London, 2006. http://eprints.soas.ac.uk/144/.
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This thesis develops and advocates a feminist philosophy of myth in order to reformulate influential understandings of the roles and functions of myths in recent mythological scholarship. The initial hypothesis which the thesis establishes in Chapter 1 is that the designation of myth qua myth is neither innocent nor organic; highly consequential interests are at stake when myths are narrated, and, moreover, the categorisation of some types of narrative as ‘myth’ and others as ‘science’, or ‘philosophy’, for example, indicates powerful assertions about their relative level of validity and authority. I argue that these assertions are implicated in discursive strategies of containment and exclusion and allied to forms of identity construction characterised by an assertion of singularity. They further rely on the location of a non-transcendable point of origin as a means of securing the stability and legitimacy of these constructions. I develop this argument, in Chapters 2–7, through an extended case study of the German search for origins from the seventeenth to the nineteenth centuries, and demonstrate its relationship to the German romantic attempt to construct a noble German identity. I critique these forms of identity and origin construction, arguing that the German case is but one example of the western metaphysical theories of ontology which are indebted to inflected patrilinearity, the main feature of which is a preoccupation with monogenetic singularity. I consequently develop an alternative feminist model of origins and identity in Chapters 8–10 based on poststructural and psychoanalytical feminist theories of maternality as a site of splitting, doubling, and process. I acknowledge that while the identification of origins is an ontological convention, the assertion of patrilineal provenance creates forms of subjectivity that are exclusionary, dialectical, and monolithic, and are, therefore, inadequate frameworks for constructing ethically oriented models of identity in a post-feminist context. In contrast, I suggest that metaphors of maternal origin offer a considerably more promising, if transitional, discursive frame for articulating identities that stress multiplicity, connectedness, immanence, and dialogue.
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Carlsson, Anneli. ""¡Cáncer es una mujer pegada como una sanguijuela sesenta años succionándole el alma!" : Un examen de los rasgos misóginos en la novela El desbarrancadero de Fernando Vallejo." Thesis, Högskolan Dalarna, Spanska, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-13623.
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El desbarrancadero, published in 2001 by Colombian author Fernando Vallejo is foremost a moving story about brotherly love, but it is also a highly critical novel that lashes out on a number of phenomena such as the catholic church, the Pope and the very idea of religion. It also addresses the poverty of Colombia, its corrupt politicians, the drug trade, viral diseases and animal abuse to mention a few more subjects. This essay however, does not aim to explore any of the above mentioned matters but rather examine how women are portrayed in this novel. The objective of this investigation, based on feminist theories, is to establish the very clear presence of misogyny attitudes.
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Rodrigues, Claudia Flores. "PROSPECÇÕES À AUTENTICIDADE: O USO DO MITO GREGO COMO POSSIBILIDADE DE SE PENSAR O (DOCENTE )FEMININO." Universidade Federal de Santa Maria, 2008. http://repositorio.ufsm.br/handle/1/6849.
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In this work intends to grow a reflection it remains in that measured the use of the myth as metaphor to think on her the feminine, it can limit or powerful the educational
work. The thematic accuses X woman in the universal history he/she has as conductive thread the myth of Pandora, in what refers to the blame attributed to the
woman and the blames that the women carry as reflex of a Jewish-Christian education in times of modernity or the triple day of work reflex of the life of this
century. As theoretical reflectors " of analysis, he/she appears the gender, tends socially in view the attempt of understanding of the relationship built between men
and women, as well as of the construction of the woman teacher's feminine subjectivity. Divided in four moments, the work begins with a narrative fictitious maid
starting from real facts. Further on, teacher Ethos's character that will dialogue with the protagonist of the history about the human's propositions appears, what is worth the own narrator's internal dialogues and explicit the authors that go being introduced in your ideas along the narrative. The third part is the interviews (real) with teachers that talk about some of your existences. Finally, after the analysis of the interviews,
the absolution of Pandora and the presentation of the categories observed in the interviews it works as backdrop for a reflection on the subject's formation and the use
of the Greek myth as possibility of to think on him and to bring to the surface searches on the human, in the case of this work, the woman.Neste trabalho se propõe desenvolver uma reflexão sobre em que medida o uso do mito como metáfora para se pensar sobre o feminino, pode limitar ou potencializar o trabalho docente. A temática culpa X mulher na história universal tem como fio condutor o mito de Pandora, no que se refere à culpa atribuída à mulher e as culpas que as mulheres carregam como reflexo de uma educação judaico-cristã em tempos de modernidade e/ou a tripla jornada de trabalho reflexo da vida deste século. Como "refletores" teóricos de análise, aparece o gênero, tendo em vista a tentativa de entendimento da relação socialmente construída entre homens e mulheres, bem como da construção da subjetividade feminina da mulher professora. Dividido em quatro momentos, o trabalho inicia com uma narrativa fictícia criada a partir de fatos reais. Mais adiante, surge a personagem do professor Ethos que vai dialogar com a protagonista da história sobre as proposições do humano, o que valida os diálogos internos da própria narradora e explicita os autores que vão sendo apresentados nas suas idéias ao longo da narrativa. A terceira parte são as entrevistas (reais) com professoras que falam sobre algumas das suas vivências. Por fim, depois da análise das entrevistas, a absolvição de Pandora e a apresentação das categorias observadas nas entrevistas funciona como pano de fundo para uma reflexão sobre a formação do sujeito e o uso do mito grego como possibilidade de se pensar sobre ele e trazer à tona prospecções sobre o humano, no caso deste trabalho, a mulher.
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Miser, Martha Freymann. "The Myth of Endless Accumulation: A Feminist Inquiry Into Globalization, Growth, and Social Change." Antioch University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1317997334.
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Juschka, Darlene M. "Feminist encounters with symbol, myth, and ritual, Mary Daly, Elisabeth Schüssler Fiorenza, and Rosemary Radford Ruether." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0014/NQ41445.pdf.
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McReynolds, Susan. "The weave of myth and history : Irish women's poetry as an arbiter of feminist critical differences." Thesis, University of Ulster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287131.
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McKenna, Cecile Gouffrant. "A psychoanalytical exploration of feminine virginity| From Freud's taboo to Lacan's myth." Thesis, California Institute of Integral Studies, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3712682.
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This theoretical study seeks to continue the work initiated by Freud in 1918 on the taboo of virginity by assessing (a) the place of virginity in Lacan's theory on femininity and (b) the question of whether virginity can be considered a myth in Lacanian terms. Feminine virginity is the object of this research, with a focus on heterosexual feminine virginity in contemporary U.S. culture. The approach selected is psychoanalytical and uses the theory of Jacques Lacan, a 20th-century French psychoanalyst. As Lacan never refers to virginity or to the Freudian taboo of virginity, his work offers a space for new research.
Virginity is presented in its historical context, followed by a recounting of the various proofs of virginity utilized—to demonstrate the lack of scientific accuracy. A review of current information disseminated in the U.S. media on the topic of virginity provides an account of two movements in fierce opposition. It is then proposed that virginity is a cultural concept, and the review of literature continues with an assessment of virginity in psychoanalysis. Freud's work on taboo and his article "The Virginity Taboo" (Freud, 1918/2006c) set the stage for a total of six psychoanalytical papers that address feminine virginity. The theoretical tools used for this research consist of Freud's greatest contribution, the unconscious, and his work on feminine sexuality. Lacan's psychoanalytical project is presented in its historical context, and concepts relevant to this study are defined. Further, an elaboration of the role and purpose of myths in psychoanalysis, with a review of the contributions from Freud, Lévi-Strauss, and Lacan, provides the basis for the discussion.
This research led to two major conclusions. First, virginity plays no role in sexual difference in Lacanian theory; to the contrary, it negates sexual difference. Second, virginity is a myth that refers to the impossible response to the Other's desire. Virginity belongs to the imaginary, inasmuch as it is a semblance placed over feminine jouissance in the failed attempt to inscribe the feminine all into the symbolic, under the phallic function.
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Oshindoro, Michael Eniola. "Myth Is Its Own Undoing: Approaching Gender Equity Through Gender Dialogue In Ayọbami Adebayọ’s Stay With Me (2017) And Lọla Shonẹyin’s The Secret Lives Of Baba Sẹgi’s Wives (2010)." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586457496960154.
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Irving, Margaret J. "Toward a female clown practice : transgression, archetype and myth." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1583.
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Women who learn to clown within Western contemporary theatre and performance training lack recognizably female exemplars of this popular art form. This practice-as-research thesis analyses my past and present clowning experiences in order to create an understanding of a woman-centered clown practice which allows for the expression of material bodies and lived experiences. It offers a feminist perspective on Jacques Lecoq’s pedagogy, which revolves around a notion of an ‘inner clown’ and is prevalent in contemporary UK clown training and practice. The thesis draws on both the avant-garde and numerous clown types and archetypes, in order to understand clowning as a genre revealed through a range of unsocialised behaviours. It does not differentiate necessarily between clowning by men and women but suggests a re-think and reconfiguration to incorporate a wide range of values and thought processes as a means of introduction to a wider audience. Specific concerns with the terms clown and clowning initiate this investigation, resulting in the creation of a ‘clowning continuum’, which offers a practical way of understanding various modes of clowning and various types of clowns. I examine my experiences, including those of ‘failure’, while working with renowned performer trainers, as well my negotiation of gender and sexuality through both my clowning in character and my creation of clowns. The twentieth century avant-garde artist Baroness Elsa von Freytag-Loringhoven, who inspired me to create ‘Clown Elsa’ and take her to art galleries and onto the street, is identified as a ‘radical female proto-clown’. My practical investigations into the potential interrelatedness of the masquerade of femininity and the mask of the clown are also shaped by discourses of hysteria and the carnivalesque. Drawing on Bakhtin’s concepts of carnival, dialogic practice and heteroglossia, as well as the transgressive potential of classical myth and archetypes for women, this thesis reconfigures clown practice and discourse by both challenging and developing upon Lecoq’s outmoded pedagogic practice. Its goal is to open it up for more types and modes of clown, in particular an ‘inner clown’ that can operate in a number of masks. It culminates in my creation of a feminist clown, Sedusa, who is inspired by Hélène Cixous’s writing on l’écriture feminine, myth and laughter in ‘The Laugh of the Medusa’ (1976). Sedusa expands clown models and masks for women by exploiting the ‘masquerade’ of femininity, a term originally coined by Joan Riviere in 1929. The thesis includes a performance as Sedusa as an embodiment of my research findings.
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Jiang, Ru Lian. "Femininity, aesthetic labor, and the myth of transformation :engaging the post-feminist discourse of beauty vlogging in China." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3952611.
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Tobler, Judith. "Gendered signs of the sacred : contested images of the mother in psychoanalysis, feminism, and Hindu myth." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/13910.
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Bibliography: leaves 333-354.This thesis engages a multi-disciplinary theoretical approach to identifying, analysing, and interpreting discourse relating to the feminine and the maternal found at the intersection of psychoanalysis, feminism, and religion. The study explores embodiment, gender, and the sacred as expressed in symbolic representations of the mother and the institution of motherhood in patriarchy. I have therefore drawn on Freudian and post-Freudian theories, gender analysis, feminist critical analysis, and classical Hindu goddess myth to discern ways in which sacred images of the mother serve to reinforce the oppression of women on the one hand and can be transformed to provide empowering symbols for women's lived reality on the other. Theory of sacred space is also employed, particularly with regard to the human production of the sacred through the contested politics of sacred space.
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Hernandes, Therezinha Maria [UNESP]. "A montanha de vidro e o feminino: do poder ao desvanecimento." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/158282.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O presente trabalho visava, inicialmente, a investigar a realimentação da história pelo mito, e deste pela realidade, por meio da análise comparativa entre textos diversos, a partir do conto de fadas A montanha de vidro, traduzido do alemão para o inglês por Andrew Lang. Todavia, a partir do levantamento e seleção de textos que tomou em consideração um conjunto de elementos do conto-base relacionados com a expressão “montanha e mulher”, acreditamos estar diante de dados de natureza simbólica anteriores ao mundo pagão politeísta androcêntrico. Constatamos, das derivações do uso desses símbolos, que a figura feminina gradualmente perdia poder até desaparecer por completo, restando da ligação desses símbolos com o universo feminino apenas resquícios. Portanto, embora não se tenham deixado de lado ferramentas pertinentes ao campo da psicanálise e da história, privilegiaram-se conceitos antropológicos para a análise comparativa desses símbolos, em mitologias e narrativas de culturas diversas, na medida em que foram apropriados do feminino, primeiramente pelo universo masculino, tanto divino quanto humano, e do mundo pagão pelo cristianismo.
The present work aimed, initially, to investigate the feedback of the history by the myth, and of the myth by the reality, through the comparative analysis between diverse texts, from the fairy tale The Glass Mountain, translated from German into English by Andrew Lang. However, from the collection and selection of texts that took into account a set of tale-base elements related to the expression "mountain and woman", we believe that we are faced with symbolic data that predate the pagan androcentric polytheistic world. We have seen from the derivations of the use of these symbols that the female figure gradually lost power until it disappears completely, leaving only the remnants of the connection of these symbols with the female universe. Therefore, although relevant tools in the field of psychoanalysis and history have not been overlooked, anthropological concepts for the comparative analysis of these symbols were favored in mythologies and narratives of diverse cultures, inasmuch as they were first expropriated of the feminine, by the male universe, both divine and human, and only then were they expropriated from the pagan world by Christianity.
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Fernandes, João Paulo da Silva. "De Ariana para Dionísio: (re) criação do mito em júbilo, memória, noviciado da paixão, de Hilda Hist." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8243.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Hilda Hilst (1930-2004) is this work anchor, specially her poetry, to which we direct our critical-interpretative view to the poems entitled Ode descontínua para flauta e oboé. De Ariana para Dionísio is based on Júbilo, memória, noviciado da paixão (2008), considering its dialogues between the epic tradition about Ariadne and Dionysius’ myth. To observe the Dionysian myth (re)creation and its nuances on the hilstian literary production is our main aim, intending to establish a comprehension on poetic recurrences; thus to reflect reverberated echoes expressed by the feminine-lyrical voice present on the ten poems, in which the body and the love are metaphors from the erotic and possibly configure images to the reader, through a plurality of meanings. In this way, there is an articulation with theory approaches by Pound (2003), Eliade (2010), Grimal (2011), Cassirer (2000), among others that establish an intersection between myth and literature. Approaching this tangible proximity, methodologically we suggest the reading of symbolic images throughout “concision” as an analytic category, articulating internal and external meanings on the poems lyrical and verbal plasmation. On this perspective, the inception of extra-literary elements on Hilda Hilst’s poetics configures a language actualization, (re)signifying the Dionysian myth through the feminine voice on our contemporary background.
Hilda Hilst (1930-2004) é a âncora deste trabalho, especialmente a sua poesia, a qual lançamos nosso olhar crítico-interpretativo aos poemas sob o título Ode descontínua para flauta e oboé. De Ariana para Dionísio, parte da obra Júbilo, memória, noviciado da paixão (2008), considerando seus diálogos com a tradição épica acerca do mito de Ariadne e Dioniso. Observar a (re)criação do mito dionisíaco e suas nuanças na produção literária hilstiana é o nosso principal objetivo, de modo que estabeleçam de compreensão nas retomadas poéticas; bem como, refletir os ecos reverberados pela voz lírico-feminina nos dez poemas, nos quais o corpo e o amor são metáforas do erotismo e, possivelmente, configuram imagens ao leitor através da pluralidade de sentidos. Há, no entanto, articulações com aportes teóricos de Pound (2003), Eliade (2010), Grimal (2011), Cassirer (2000), entre outros que estabeleçam intersecções entre o mito e a literatura. No que tange a essa aproximação, metodologicamente, propomos uma leitura das imagens simbólicas a partir da “concisão”, enquanto categoria analítica, articulando significações internas e externas na plasmação lírico-verbal dos poemas. Nessa perspectiva, a inserção de elementos extraliterários na poética de Hilda Hilst, configura atualização da linguagem, (res)significando o mito dionisíaco pela voz feminina no contexto da contemporaneidade.
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Deus, Alberto Manuel Sequeira Afonso de. "Alcoolismo no feminino." Doctoral thesis, ISPA - Instituto Universitário das Ciências Psicológicas, Sociais e da Vida, 2012. http://hdl.handle.net/10400.12/1735.
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Tese submetida como requisito parcial para obtenção do grau de Doutoramento em Psicologia - área de especialidade Psicologia ClínicaEste trabalho visa contribuir para um maior esclarecimento sobre os processos psicológicos associados ao alcoolismo na mulher. Partimos do pressuposto de que o alcoolismo corresponde a um processo de alienação resultante da impossibilidade de construção de novas perspectivas sobre a realidade individual, mantendo-se no entanto as capacidades de crescimento mental que permitem ultrapassar a crise em que se encontram. A revisão bibliográfica centrou-se no campo psicanalítico, o que vai ao encontro dos nossos interesses pessoais, e nos permite clarificar estes processos inerentes à expansão mental dos sujeitos. Destacamos o pensar e a simbolização, com os seus processos implícitos (reparação, formação simbólica, PSD, função-alfa e transformação) que correspondem aos pontos essenciais da investigação sobre as capacidades de crescimento mental em mulheres alcoólicas. O instrumento utilizado para o estudo destes processos psíquicos foi o Rorschach, o qual foi descrito nas suas características e modo de utilização, no contexto do modelo dinâmico proposto pela Escola Francesa (Rausch de Traubenberg e Chabert) e ampliado por Emília Marques, concluindo com a pertinência desta técnica projectiva no estudo das potencialidades de crescimento mental dos sujeitos. Com o objectivo de se identificarem os padrões da realidade subjectiva, foi aplicada a todas as participantes uma entrevista clínica semi-estruturada. Seleccionámos 100 mulheres internadas na Clínica de Alcoologia da Casa de Saúde do Telhal. O critério de escolha residiu fundamentalmente no facto de terem o diagnóstico atribuído pelas Psiquiatras Assistentes, de Síndrome de Dependência Alcoólico e não apresentarem outras patologias psíquicas. A amostra inicial foi dividida em dois grupos com base na forma como descrevem o seu percurso de vida e a dependência do consumo de bebidas alcoólicas. A análise dos resultados recolhidos dos protocolos foi feita segundo os procedimentos da Escola Francesa, introduzindo uma expansão no sentido de se poderem captar mais especificamente os processos psíquicos seleccionados por nós. Cada um dos processos psíquicos foi decomposto em vários componentes, e operacionalizando vários factores, de modo a poder ser facilmente identificado: modelo continente-conteúdo, vínculos, movimento PS↔D, função-alfa e teoria das transformações. Em relação à análise da forma como é pensada a realidade, estudamos os mitos individuais, e a sua expressão nos dois grupos de participantes. A análise dos resultados relativa aos protocolos e às entrevistas foi realizada em duas etapas: em primeiro lugar, procedeu-se a uma análise quantitativa, elaborando quadros relativos a cada factor previamente definido e a sua expressão em cada grupo de participantes e, em segundo lugar, qualitativa, através da análise dinâmica de excertos das entrevistas e da captação dos processos psíquicos em questão. Concluímos que a possibilidade de saída da crise existencial em que se encontram estas mulheres é possível quando o pensamento é suficientemente flexível, capaz de permitir a coexistência de períodos de integração e de dispersão, permitindo então o acesso a um registo simbólico. A flexibilidade criativa, dependente da qualidade da função continente, permite a criação de novas verdades e de novos sentidos sobre a realidade interna e externa, permitindo em última instância a escolha de novas formas de vida. ----------- ABSTRACT ----------- This work aims to contribute to a greater insight into the psychological processes associated with alcoholism in women. We assume that alcoholism is a process of alienation resulting from the impossibility of constructing new perspectives on individual reality, keeping however the capacity of mental growth which may allow them to overcome the crisis. The bibliographic revision carried out is centered in the psycho-analytical field, which reaches out to our personal interests, and allows us to clarify these mental processes inherent to the mental expansion of the subjects. We highlight the thinking and symbolism, with its implicit processes (reparation, symbol formation, PSD, the alpha function and transformation) that correspond to the essential points of research on mental expansion in alcoholic women. The instrument used to study these mental processes was the Rorschach, which was described in its characteristics and usage in the context of the dynamic model proposed by the French School (Rausch Traubenberg, Chabert) and extended by Emilia Marques. It ends with the relevance of this projective technique in the study of the subject’s capacity of mental expansion. With the aim of identifying patterns of subjective reality, every participants was applied a semi-structured clinical interview. We chose 100 women admitted to the Alcohological Center (Casa de Saúde do Telhal). The criteria for the choice lay basically in the fact that they were diagnosed, by assigned psychiatrists, as alcoholics without any further psychiatric diseases. The initial sample was divided into two groups based on how they described their life paths and how they had become dependent on alcohol consumption. The protocols were analyzed in accordance to the French School procedures, introducing an extension so that we might be able to capture more specifically the psychic processes we had selected. Each mental process was decomposed into several components, thus dealing with various factors, in order to be able to identify: reparation, symbol formation, PSD, the alpha function and transformation. Regarding the analysis of how reality is thought, we studied the individual myths, and their expression in both groups of participants. The results analysis concerning the protocols and interviews was conducted in two steps: firstly, we conducted a quantitative analysis, by drawing up individual frameworks showing results for each factor, and its expression in each group of participants. Secondly, qualitative - through analysis of excerpts from the interviews and the collection of the mental processes in question. We have concluded that these women may be capable of leaving their current existential crisis when their thought is flexible enough, able to allow the coexistence of integration periods and dispersion periods, thus allowing access to a symbolic register. Creative flexibility, dependent on the quality of the containing function, allows the creation of new truths and new meanings for the inner and outer reality, ultimately allowing the choice of new life forms. Alcoholism can be seen as a "palliative" to a greater psychological distress, enabling each individual to create an individual myth, a source of greater consistency to his identity. Challenging the myth that is metaphorically referred to as the "removal of the mask," depends on the ability to face the new and the unknown, reporting this possibility to each subject’s creative capacity.
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Hestetun, Øyunn. "A prison-house of myth? symptomal readings in Virgin land, The madwoman in the Attic, and The political unconscious /." Stockholm : Almqvist & Wiksell, 1993. http://catalogue.bnf.fr/ark:/12148/cb35577879j.
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Nacaguma, Simone. "Uma poética do humano = algumas notas sobre a açorianidade de Vitorino Nemésio." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270243.
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Orientador: Fabio Akcelrud DurãoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Em comemoração aos quinhentos anos dos Açores, em 1932, Vitorino Nemésio (1901-1978), poeta e ficcionista açoriano, cunhou o neologismo açorianidade a fim de expressar a singularidade da existência do homem açoriano profundamente marcado pela condição de ilhéu. O objetivo desta tese consiste em identificar e analisar alguns elementos medulares de sua açorianidade a partir de um percurso sobre a sua narrativa de ficção. Nosso percurso tem início em seu primeiro romance (Varanda de Pilatos, 1927 ), inclui as três novelas de A Casa Fechada (1937) e finaliza-se em seu último romance, Mau Tempo no Canal (1944). A análise de Varanda de Pilatos e das novelas de A Casa Fechada revelou um caráter ambíguo do feminino, sob diversos aspectos, concebido essencialmente por um sincretismo entre uma ancestralidade mítica pagã e outra cristã. Esse sincretismo se expressou, inicialmente, por meio da evocação dos mitos de Vesta/Vênus e da Virgem Maria. Verificamos, todavia, que esses mitos se desdobram em outros mitos femininos, os quais, por sua vez, guardam todos, por um lado, a matriz do duplo feminino Lilith/Eva; e, por outro, o feminino como expressão de forças ctônicas e telúricas que remontam à mítica clássica. Esse sincretismo, contudo, não se apresenta de forma "estática"; sob uma perspectiva cronológica, essas narrativas espelham uma progressiva diluição desses mitos, o que culmina em Mau Tempo no Canal. Grosso modo, poderíamos dizer que essas narrativas, em certa medida, narram o processo de ocultamento e de sincretismo desses mitos femininos ao mesmo tempo em que narram o seu aburguesamento, visto que, segundo a nossa leitura, é a partir do drama masculino originado no contexto do casamento por interesse que o feminino nemesiano se configura, embora não se limite a esse aspecto. Na verdade, o conflito nemesiano recorrente consiste no casamento por interesse como obstáculo à reunião dos amantes.Assim, poderíamos dizer que o feminino nemesiano é erigido a partir do contexto social insular açoriano, e de sua singular religiosidade, ao mesmo tempo em que se funda em uma concepção mítica da própria Terra, isto é, o feminino nemesiano se caracterizaria, por sua condição liminar entre o local (particular) e o universal, entre o sagrado e o profano, entre o Bem e o Mal, entre a bruxa e a santa, entre o diabo e o divino, entre a sombra do enigma e a luz do conhecimento. Refletir, portanto, sobre a açorianidade de Vitorino Nemésio implica refletir sobre a relação entre o masculino e o feminino insulares, o que acreditamos constituir traço medular de sua açorianidade, isto é, de sua poética
Abstract: In 1932, to celebrate the 500th anniversary of Azores, the azorean poet and fictionist Vitorino Nemésio (1901-1978) coined the neologism 'azoreanity' to express the Azorean's peculiar existence, which was deeply marked by their insular condition. This dissertation intends to identify and analyze some central elements of Nemésio's 'azoreanity' condition through his work of fictional narrative. In order to do that, we examined his first novel Varanda de Pilatos (1927 ), his three short stories in A Casa Fechada (1937) and his last novel, Mau Tempo no Canal (1944). The analysis of Varanda de Pilatos and A Casa Fechada revealed, in some aspects, an ambiguous character of the 'feminine'. The syncretism of a pagan mythical origin and a Christian one, conceived of this ambiguous character. Initially, the syncretism was expressed via the evocation of the myths of Vesta/Venus and of the Virgin Mary. These myths, however, unfolded into other feminine myths, which on the one hand kept the matrix of the double 'feminine' Lilith/Eve, and on the other hand the 'feminine' as the expression of chtonic and telluric forces that go back to Classical Mythology. Nonetheless, this syncretism was not presented in a 'static' fashion. Under a chronological perspective, these narratives mirrowed a progressive 'dilution' of these myths, which culminated in Nemésio's last novel Mau Tempo no Canal.We could say that these narratives, to a certain extent, narrate the process of concealment and syncretism of these feminine myths, and at the same time narrate their mbourgeoisement, since, according to our reading, it is from the masculine drama originated in the context of marriage of convenience that the nemesian 'feminine' is formed, although not exclusively. In fact, the recurrent nemesian conflict consists of the marriage ofconvinience as an obstacle for the reunion of lovers. In this way, we could say that the nemesian 'feminine' was built on the social context of the insular Azorean and their religious peculiarity, and, concomitantly, it was founded in the mythical conception of the Earth; i.e., the nemesian 'feminine' would be characterized by its liminal condition, between the 'local' (restricted) and the 'universal', between the 'sacred' and the 'profane', between Good and Evil, between the witch and the saint, the devil and the 'divine', between the enigma's shadow and the knowledge's light. Therefore, to think of Vitorino Nemésio's 'azoreanity' implies thinking of the relation between the insular 'masculine' and 'feminine', which we believe constitutes the essential trait of his 'azoreanity', i.e., of his poetics
Doutorado
Historia e Historiografia Literaria
Doutor em Teoria e História Literária
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Reinders, Gretchen 1976. "Women's reactions to a realistic rape portrayal and the influence of feminst identity and rape myth acceptance." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4482.
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Thesis (Ph.D.)--University of Missouri-Columbia, 2006.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (May 1, 2007) Vita. Includes bibliographical references.
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Antonellini, Sofía. "ABOUT "GENDER IDEOLOGY" AND OTHER MYTHS : A decolonial critique of Antigender Discourse in contemporary Argentina." Thesis, Linköpings universitet, Tema Genus, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-162909.
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The antigender discourse emerged in Argentina after the rejection of the bill to decriminalize and legalize abortion in 2018. Due to the lack of material available to conduct a thorough research, they emerged as a group academically unexplored. This thesis aims to fill this gap while studying the discursive strategies and organizational structure of the groups against “gender ideology”. Drawing from contributions of decolonial feminisms and intersectional analyses, this study depicts the intricate context where such groups are situated, recognizing the effects of coloniality permeating their discourse. While contrasting the information collected, through online research and semi-structured interviews, this study aims to dismantle the politics of identity beyond the façade of the antigender cause.
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Garsten, Sofia, and Miriam Nilsson. "Deus Ex Machina : en kvalitativ studie i skildringen av feminin artificiell intelligens i filmen Ex. Machina." Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-125584.
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With this study, the authors wish to highlight the way artificial intelligence, as a new form of media technology, seems to be ascribed gender, both in fiction and reality. These, by humans artificially developed beings, would not need to be gendered, but still are. Given these beings are human made and new phenomenas, an opportunity of preventing boundaries considering gender, class and etnicity to be reproduced would be possible and in favour. By analysing the Alex Garland 2015 film Ex Machina, the authors wish to discuss how and why the artificial intelligence becomes gendered, particularly feminised, and what this means from a wider perspective concerning the way we look at this new technlology not yet fully introduced in real life. By using post- and transhuman theory mixed with feminist theories such as Judith Butlers theory of perfomativity, Donna Haraways posthuman feminist theory and Laura Mulveys theory of The Male Gaze, this study results in a qualitative text analysis. The methodic tools used in this study contains elements from visual text methods and therefor also semiotics. The authors reach to the conclusion that the depiction of artificial intelligence in the film Ex Machina (2015) reproduces stereotypic feminine gender acts and even intensifies these. When these ways of presenting new and futuristic technology seems to appear in ficiton, an assumption can be made that they origin from existing and deep gender acts in the western society. Researchers, such as Donna Haraway, wishes for these strong boundaries in gender, class and etnicity to not be reproduced in new technology, but in the fictional case of the film Ex Machina (2015), this wish has unfortunately not been fullfilled. If society would be able to rethink the sharp boundaries between nature and technology and succeed with this ontological change in the way we look at humanity, it would hopefully be easier to approach the new technology with an open mind. Perhaps then the reproduction of gender stereotypes in this new technology would cease in fiction, but also in reality.
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Lattanzio, Michelle Dawn. "Enclosure, Transformation, Emergence: Space And The Construction Of Gender Roles In The Novels Of Charlotte Brontë." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1695.
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I am interested in the construction and meaning of space in Charlotte Brontë 's novels, and more specifically the idea of enclosure, in abstract and concrete terms. In a concrete sense, I wish to investigate the physical spaces the women in Charlotte Brontë 's novels inhabit: their homes, gardens, workplaces, clothing, and their bodies. In an abstract sense, I wish to investigate the cultural, psychic, gender, and linguistic spaces they inhabit: the cultural images and conventions women are enclosed within, the psychic space of the mind, and the narrative spaces they inhabit (and create).
Sandra Gilbert and Susan Gubar, in their seminal text The Madwoman in the Attic, focus on the patriarchal enclosure of female characters in Victorian texts. As many Feminist critics of nineteenth century literature have noted (Vicinus, Agress, Auerbach), these enclosures are largely controlled by the patriarchy. Indeed, the protagonists of Charlotte Brontë's novels reflect the entrapment of the feminine protagonists in a patriarchal world.
However, focus on this entrapment obscures the power that characters like Lucy Snowe, Jane Eyre, Shirley Keeldar, and Caroline Helstone generate from their enclosure experience. Each enclosure these three characters experiences fuels their education. Lucy, Jane, Shirley, and Caroline generate power and transformation of self from their time spent in these various enclosures. The education of these characters becomes the education for real women. In order to reclaim and reaffirm the value of enclosure for women, one may trace the positive notions of enclosure through the Jungian model of a three-stage gestation of women's rites of passage: enclosure, transformation, and emergence, as proposed by Bruce Lincoln. This gestational process results in psychological and spiritual transformation.
All four protagonists participate in many cycles of the gestational pattern on micro and macro levels. This process results in their eventual transformation and emergence as wise women. It is vital to re-interpret the psychic and physical enclosures within Villette, Shirley and Jane Eyre as spaces that shape the identity of Lucy Snowe, Caroline Helstone, Shirley Keeldar, and Jane Eyre.
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Zhang, Xiaohui. "Media, Construction and Deconstruction of Beauty Myth : – A Case Study of Dove’s Real Beauty Campaign." Thesis, Uppsala universitet, Institutionen för informatik och media, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-124645.
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The paper examines the media portrayal of real women in Dove’s Real Beauty Campaign. Through the semiotic analysis and reception analysis of the ad “Evolution”, the author investigates how Dove attempts to challenge the myth in most beauty advertising and present the “real beauty” idea to the audiences. The study further discusses about the gender issues aroused from the campaign. The findings show that the untouchable images of women are created under the pressures of male-dominated culture. In terms of feminism, the definition of beauty needs to be diversified. The significance of the campaign lies in its business success and social meaning as well. In the end, the paper reviews the impacts of this five-year-old campaign and gives further suggestions on its future development.Keywords:Real Beauty, Denotation, Connotation, Myth, Self-esteem, Media, Feminism, Gender
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Soria, Séverine. "La place des femmes au cœur de la résurgence du mythe arthurien dans la seconde moitié du XXème siècle." Thesis, Besançon, 2011. http://www.theses.fr/2011BESA1045.
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Cette étude analyse la place que les femmes occupent au cœur du phénomène de résurgence que le mythe arthurien va connaître à partir de la seconde moitié du XXe siècle. A l'origine de cette résurgence, nous évoquons l'influence considérable du Seigneur des Anneaux de J.R.R. Tolkien et nous établissons un parallèle entre cet ouvrage et la légende arthurienne.Nous analysons ensuite des réécritures arthuriennes d'auteures féminines et contemporaines, d'origine française, anglaise ou américaine. D'une part, nous nous penchons sur les œuvres qui restent proches de la tradition arthurienne ; d'autre part sur celles qui sont en rupture avec cette tradition.Enfin, nous étudions les similitudes et les divergences entre les réécritures proposées par des femmes et celles de leurs homologues masculins. Nous abordons évidemment la question du féminisme et celle de la féminisation d'une matière essentiellement masculine à l'origine. Différents points liés à la question féminine seront alors abordés, comme la littérature de jeunesse, le recours aux sciences, le rôle des religions et la figure de la femme tentatrice développée par les auteurs masculins, en opposition à la valorisation du corps féminin dans les œuvres de femmes.Ce travail de comparaison entre des réécritures masculines et féminines du mythe d'Arthur a pour but de déterminer la place que les femmes ont su prendre dans la résurgence de cette légende, mais aussi de s'interroger sur la pertinence d'une sexuation systématique de l'écriture des mythesThis study analyses women's place in the resurgence phenomenon that the Arthurian myth has known from the second part of the twentieth century onwards. At the root of this resurgence, we mention the significant influence of The Lord of the Rings by J.R.R. Tolkien and we parallel this novel with the Arthurian legend.Then, we analyse Arthurian rewriting by female French, English or American contemporary authors. On the one hand, we look into works which stay close to the Arthurian tradition; on the other hand, into those which are at odds with this tradition.Finally, we study similarities and divergences between rewritings offered by women and the ones of their male counterparts. We obviously deal with the feminism issue and the one of the feminisation of an essentially and originally masculine topic.Different points related to the feminine question are then tackled, like youth literature, the resort to sciences, the role of religions, and the case of the temptress developed by male authors, in opposition to the valorisation of the feminine body in women's novels.This comparative work between masculine and feminine rewritings of the Arthurian myth aims at determining the place that women have managed to take in the resurgence of this legend and also to question the significance of the systematic sexuation in the myth writings
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Nascimento, Solange Pereira do. "O feminino Sateré-Mawé e suas manifestações simbólicas na Amazônia." Universidade Federal do Amazonas, 2016. http://tede.ufam.edu.br/handle/tede/5148.
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FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas
This study assumes the purpose of unveiling the senses and feminine meanings in Sateré-Mawé ethnicity, its importance and influence, seeking to understand it in the context of mythology, rituals and symbolic own manifestations of ethnicity. The study addresses a methodological and theoretical perspective of investigative nature based on the dialogic, suggested by Edgar Morin, which allowed us to weave a conversation network with other types of knowledge. The locus of the research was the Community Simon on indigenous land Andirá-Marau, Barreirinha / AM. We seek to know if there is really a feminine principle which gave rise to Sateré-Mawé people, its arqué under which laid the foundations of their material and immaterial culture. Investigate the rich and symbolic mythology of Mawé people meant diving in the ontogenesis of these people who have in the female its origin and the support column composed of the triad: sakpó, Tucandeira Ant and young girl. The main results revealed that the female ancestor is what founds the ethnicity and that women are central subjects in the life of their people, guardians of their culture and responsible for the continuity of ethnicity in historical time. We must conclude from the revealed fact that the sakpó, sacred drink of Sateré-Mawé people, derived from guaraná, is the head of Mawé people, one that illuminates the word and gives success in the political agreements and in the social relationships woven by these people. Finally, it should be considered that women are responsible for making the sakpó, which gives them primacy in the mythical conduction of the ethnicity.
Este estudo assume o propósito de desvelar os sentidos e significados do feminino na etnia Sateré-Mawé, sua importância e influência, buscando compreendê-la no âmbito da mitologia, dos rituais e das manifestações simbólicas próprias da etnia. O estudo atende a uma perspectiva metodológica e teórica de cunho investigativo tendo por base a dialógica, sugerida por Edgar Morin, que nos permitiu tecer uma rede de conversa com outros saberes. O locus da pesquisa foi a Comunidade Simão na Terra Indígena Andirá-Marau, Barreirinha/AM. Buscamos saber se há realmente um princípio feminino que deu origem ao povo Sateré-Mawé, sua arqué sob a qual se assentou as bases de sua cultura material e imaterial. Investigar a rica e simbólica mitologia do povo Mawé significou mergulhar na ontogênese de um povo que tem no feminino sua origem e a coluna de sustentação composta pela tríade: sakpó, tucandeira e moça nova. Os principais resultados revelaram que o feminino ancestral é o que funda a etnia e que as mulheres são sujeitos centrais na vida de seu povo, guardiãs de sua cultura e responsáveis pela continuidade da etnia no tempo histórico. Deve-se concluir, a partir da realidade revelada, que o sakpó, bebida sagrada dos Sateré-Mawé, derivada do guaraná, é o chefe dos Mawé, aquele que ilumina a palavra e confere êxito nos acordos políticos e nas relações sociais tecidas por esse povo. Deve-se considerar, por fim, que são as mulheres as responsáveis pela feitura do sakpó, o que dá a elas primazia na condução mítica da etnia.
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Cardoso, Anna Carolyna Ribeiro. "A iniciação feminina em orgulho e preconceito." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7120.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Jane Austen’s most famous novel, Pride and Prejudice, was published in 1813. It portraits the lives of the daughters from the Bennet family, who need to get married in order to maintain themselves. It is a novel about women: it was written by a woman, its narrator has a feminine perspective and focuses on another woman, Elizabeth Bennet. The book also discusses typical female problems in the XIX century England. The persistent retelling of Pride and Prejudice in movies, series, novels indicates how the Austenian work keeps enchanting the public because it discusses topics such as love and people’s ability to judge a character. These are humaninity’s most relevant archetypical preoccupations and, before Austen, they appeared in myths and fairytales such as Cupid and Psyche and Beauty and the Beast. This dissertation aims to analyze Pride and Prejudice comparing it to the Greek myth and French fairytale, focusing on the female initiation processes experienced by Elizabeth, Psyche and Beauty. This dissertation has a qualitative, bibliographical and comparative approach. The most important theoretical texts used to discuss it were Rites and Symbols of Initiation: the mysteries of birth and rebirth (1975) by Mircea Eliade, Jane Eyre’s sisters: how women live and write the heroine’s story (2015) by Jody Bower, The annotated Pride and Prejudice (2012) by Jane Austen with notes by David Shapard, Caminho para a iniciação feminina (1985) by Sylvia Perera and O poder do mito (1990) de Joseph Campbell. As a result, it is possible to conclude that the female initiation has a prominent role in this Austenian novel and makes it possible to be constantly reread.
A obra mais famosa de Jane Austen, Orgulho e Preconceito, foi publicada em 1813. Seu enredo retrata o cotidiano da família Bennet, especialmente a situação das filhas da família, as quais precisam se casar para poder se manter. É um romance sobre mulheres, escrito por uma mulher. Sob a perspectiva de uma narradora, conta a história de Elizabeth Bennet, além de discutir problemas tipicamente femininos do século XIX inglês. A recorrência da atualização ou da releitura de Orgulho e Preconceito em livros, filmes e outras mídias demostra que a obra mantém o encantamento do público leitor por tratar de temas essencialmente humanos, como o amor ou o pré-julgamento, reacendendo preocupações arquetípicas do ser humano, em seu ser e estar no mundo. Esses mesmos temas foram representados, muito antes de Austen, em mitos e contos de fadas, como Cupido e Psiquê ou a Bela e a Fera. O objetivo desta dissertação é a análise de Orgulho e Preconceito de Jane Austen como releitura do mito e do conto de fadas. O trabalho desenvolvido tem caráter bibliográfico, qualitativo e comparativo. No decorrer da análise, foram levantados os mitemas recorrentes que se apresentam nas três narrativas, e enfocado o percurso iniciático feminino vivenciado tanto por Elizabeth Bennet quanto por Psiquê e Bela. Os referenciais teóricos mais relevantes para a pesquisa foram Rites and Symbols of Initiation: the mysteries of birth and rebirth (1975) de Mircea Eliade, Jane Eyre’s sisters: how women live and write the heroine’s story (2015) de Jody Bower, The annotated Pride and Prejudice (2012) de Jane Austen com anotações de David Shapard, Caminho para a iniciação feminina (1985) de Sylvia Perera e O poder do mito (1990) de Joseph Campbell, entre outros. Concluiu-se que o desenvolvimento feminino no romance austeniano tem aspecto fundamental para a construção da obra e sua consequente atualização.
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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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Svalastog, Anna Lydia. "Det var ikke meningen... : Om konstruksjon av kjønn ved abortinngrep, et feministteoretisk bidrag." Doctoral thesis, Uppsala universitet, Centrum för studier av religion och samhälle (CRS), 1998. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-125511.
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Stobierska, Agnieszka. "Généalogie féminine et réécriture des mythes dans les littératures française et polonaise contemporaines." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2020.
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Notre travail se penche sur la réécriture de quelques mythes du point de vue féminin afin de proposer une (re)construction de la généalogie des femmes. Quelles sont les figures représentatives du couple mère/fille, et comment se construisent-elles ? Dans quels mouvements s’inscrivent les reprises des mythes classiques ? Faut-il détourner les mythes créés par les hommes afin de parvenir à une nouvelle généalogie féminine ? Ce travail relève d’une double approche comparatiste, il propose tout d’abord l’analyse des figures archétypales mères-filles dans une perspective mythocritique, puis sur un plan culturel et linguistique, rapprochant des textes de la littérature française et polonaise. Ainsi, les figures bibliques d’Ève et Marie s’unissent aux représentations des mythologies païennes, telles Déméter et Perséphone, Iphigénie et Clytemnestre, ou enfin Médée. Ces figures anciennes de la maternité reviennent en force, revisitées par des écrivaines françaises et polonaises contemporaines, et ce pour redéfinir la perception du couple mère/fille. Les œuvres analysées sont nombreuses, d’Hélène Cixous à Christine Angot pour le corpus français. Quant aux textes polonais, c’est pour le lecteur français toute une littérature à découvrir qui est présentée, explorée et analysée. Nous nous intéressons à des auteures polonaises qui ont contribué à la naissance d’une écriture féminine plus intime après 1989. Nous attribuons une place considérable à la traduction des extraits des textes étudiés, ceci dans l’optique d’une traduction complète ultérieurement. Malgré les contextes socio-culturels différents dans lesquels évoluent les deux littératures, un véritable dialogue s’établit au niveau des paradigmes mythiques exploités. Ce rapprochement permet d’envisager une certaine universalité inscrite dans les mythes anciens évoquant les figures de la maternité. Il s’agit in fine d’une quête commune des femmes à la recherche d’une histoire pour la refondation d’une nouvelle généalogieThis dissertation examines the rewriting of some myths from the female point of view in order to propose a (re)construction of women's genealogy. What are the representative figures of the mother/daughter relationship, and how are they constructed? In which movements do the rewritings of classical myths fit? Should the myths created by men be diverted in order to achieve a new female genealogy? This work is based on a double comparative approach ; first, it proposes an analysis of archetypal mother-daughter figures in a mythocritical perspective ; second, it brings together texts from French and Polish literature on cultural and linguistic levels. Thus, the biblical figures of Eve and Mary are compared with representations of pagan mythologies, such as Demeter and Persephone, Iphigenia and Clytemnestra, or finally Medea. These ancient figures of maternity return in force, revisited by contemporary French and Polish writers, to redefine the perception of the mother/daughter relationship. The works analyzed are numerous; for the French corpus, they range from Hélène Cixous to Christine Angot, and for the Polish texts, this dissertation focuses on women’s literature after 1989, when a more intimate literature emerged. These texts will be presented and analyzed so that the French reader can usefully discover them in tandem with the French texts. Considerable importance is given to the translation of extracts from these texts, in view of a complete translation later on. Despite the different socio-cultural contexts in which the two literatures have evolved, a real dialogue is established at the level of mythical paradigms. This rapprochement makes possible to imagine a universality inscribed in the ancient myths evoking the figures of motherhood. It is ultimately a common quest of women searching for a history in order to find foundations for a new genealogy
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Rutledge, Mary E. (Mary Elizabeth). "The Monomythic Journey of the Feminine Hero in the Novels of Anita Brookner." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278679/.
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Joseph Campbell, in The Hero with a Thousand Faces, establishes a pattern for the hero to answer the call to adventure, ask the question of the goddess and receive her boon, and return to his homeland. Campbell does not, however, make any suggestions about a myth whose protagonist is female. Erich Neumann, in The Origins and History of Consciousness, hints that the woman may, indeed, be her own goddess, that she must give herself the boon she already carries. The novels of Anita Brookner illustrate the dual nature of the feminine protagonist: the seeker and the boon giver. The feminine hero (even when Brookner's protagonist is masculine, he exhibits feminine qualities) hears the call to adventure, receives the teachings of the goddess and/or her representative, receives help fromother beings (in myth these would be supernatural beings), realizes that she carries the answer to the cosmic question of selfhood within her, and, following an apotheosis, makes a return to society. Much of the present work is spent delving into both the monomythic and feminist structures of Brookner's novels. Although Brookner characterizes herself as a "reluctant feminist," examination of her novels reveals a subtle adherence to feminist principles which can be ascertained by viewing each novel in terms of the monomyth schema.
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Silva, Ricardo Nonato Almeida de Abreu. "Nas tramas do existir: o mítico e o feminino na poesia de Myriam Fraga." Programa de Pós-Graduação em Letras e Linguística da UFBA, 2009. http://www.repositorio.ufba.br/ri/handle/ri/11405.
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No presente estudo, traça-se um percurso biográfico-literário da escritora baiana Myriam Fraga, mapeando as principais temáticas de sua poesia em diálogo com as entrevistas e os depoimentos da escritora e com a recepção crítica de sua obra poética. O ponto central deste trabalho consiste na abordagem do mito na poesia da autora, enfocando as personagens míticas femininas. Considera-se o modo como a poeta compreende o mito, sua importância e sua ressignificação a partir de um projeto poético estabelecido ao longo da sua produção. Analisam-se as personagens femininas em sua poesia, evidenciando as estratégias utilizadas pela escritora para tecer um contradiscurso frente ao discurso hegemônico. Dentre as personagens femininas estudadas, confere-se destaque a Penélope, evidenciando o deslocamento que a autora faz dessa figura da literatura ocidental. Penélope, na poesia de Myriam Fraga, faz uma viagem interior a partir do ato de tecer e destecer, entendido como metáfora para a reflexão que a personagem faz sobre si mesma. Desse modo, a poeta baiana desestabiliza o discurso patriarcalista que configurou como um modelo de esposa fiel e subserviente.
Salvador
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Bonetti, Maria Cristina de Freitas. "O SAGRADO FEMININO E A SERPENTE: PERFORMANCE MÍTICA NA SIMBOLOGIA DAS DANÇAS CIRCULARES SAGRADAS." Pontifícia Universidade Católica de Goiás, 2013. http://localhost:8080/tede/handle/tede/757.
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Previous issue date: 2013-08-14This thesis investigates the survival and the camouflage of the Myth of the Serpent and the Cult to the Great Mother in mythic and ritualistic performances of the Sacred Circle Dances nowadays. For this, it remakes the myth trajectory since ancient times, exploring the imagery of creation and its various expressions in archaic cultures in the Western World. The main objective of the research is to demonstrate the survival the symbolism of the Mother Goddess and the Serpent Myth in different cultural expressions in dialogue with the Sacred Circle Dances. It also takes into to identify the hidden message that externalizes through body movements that generate archetypical expressions codified in the ritualistic dances and performances, and explores in the same way, the domains of the Great Mother and the Serpent; its symbolic polysemy and the way they are organized in artistic and spacial terms. The main issue of this thesis is that whether the symbolism of the serpent can be considered as a mythical theme survival in the contemporary Sacred Circle Dance. Taking as methodological inspiration the hermeneutic conception of analysis, in this thesis the purpose is to connect the Myth of the Serpent with the most relevant works regarding the Sacred Feminine, history, anthropology and the ritualistic performances. The literature will be reviewed in its thematic axles and in particular the authors and the known experts in the Sciences of Religion. Amid the conceptual interpretations this research produces surveys of recent works on the subject of study to discuss the meanings and the ramifications inspired by ancient traditions and with deep power refresher mythical; and in this discussion, focuses on the aspect of the dances that revive the serpent symbolism and ritually reframe the archaic myths. Traditional and Folk Dances, realized as artistic performances, or even spontaneously, come upon the space created by the traditional parties, replace and vivify myths and prehistoric rituals nowadays. It is considered, therefore, that the Serpent symbology is a mythical theme of the Mother Goddess who survived the performed and ritualistic acts in the contemporary Sacred Circle Dances.
Esta tese investiga as sobrevivências e a camuflagem do Mito da Serpente e do culto à Grande Mãe nas performances mítica e ritualística das Danças Circulares Sagradas na contemporaneidade. Para isso, refaz a trajetória do mito desde a antiguidade, explorando o imaginário da criação e suas diversas expressões em culturas arcaicas no mundo ocidental. O principal objetivo da pesquisa é demonstrar a sobrevivência da simbologia da Deusa Mãe e do Mito da Serpente nas diferentes expressões culturais em diálogo com as Danças Circulares Sagradas. Busca, ainda, identificar a mensagem oculta que se externaliza mediante os movimentos corporais que geram expressões arquetípicas codificadas nas danças e performances ritualísticas; e explora, do mesmo modo, os domínios da Grande Mãe e da Serpente, sua polissemia simbólica e a maneira como se organizam em termos artísticos e espaciais. A principal questão da tese é se a simbologia da serpente pode ser considerada como temática mítica sobrevivente na Dança Circular Sagrada na contemporaneidade. Tendo como inspiração metodológica a concepção hermenêutica de análise, nesta tese busca-se conectar o Mito da Serpente às obras mais relevantes no que tange ao Sagrado Feminino, à história, à antropologia e às performances ritualísticas. A literatura será revista em seus eixos temáticos e, em especial, nos autores e estudiosos reconhecidos nas Ciências da Religião. Em meio às interpretações conceituais, a pesquisa realiza levantamentos das produções recentes sobre a temática de estudo para discutir as acepções e os desdobramentos inspirados em tradições ancestrais e com intenso poder de reatualização mítica; e, nesta discussão, aborda-se o aspecto das danças que revivem o simbolismo da serpente e ressignificam ritualisticamente os mitos arcaicos. As Danças Tradicionais e Folclóricas, realizadas como performances artísticas, ou mesmo espontaneamente, sobrevêm ao espaço criado pelas festas tradicionais, reatualizam e vivificam mitos e rituais pré-históricos na contemporaneidade. Considera-se, portanto, que a simbologia da Serpente é uma temática mítica da Deusa Mãe que sobreviveu nos atos performatizados e ritualísticos das Danças Circulares Sagradas contemporâneas.
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Carter, Issac Martel. "The discourse of the divine| Radical traditions of Black feminism, musicking, and myth within the Black public sphere (Civil Rights to the present)." Thesis, Florida Atlantic University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3730733.
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The Discourse of the Divine: Radical Traditions of Black Feminism, Musicking, and Myth within the Black Public Sphere (Civil Rights to the Present) is an exploration of the historical precursors and the contemporary developments of Black feminism in America, via Black female musical production and West and Central African cosmology. Historical continuity and consciousness of African spirituality within the development of Black feminism are analyzed alongside the musical practices of two Black female musicians, Nina Simone and Me’shell Ndegéocello. Simone and Ndegéocello, The High Priestess of Soul and the Mother of Neo-Soul, respectively, distend the commodified confines of Black music and identity by challenging the established norms of music and knowledge production. These artists’ lyrics, politics, and representations substantiate the “Signifyin(g)” elements of West and Central African feminist mythologies and musicmaking traditions.
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Pinto, Polyanna Ervedosa. "O Feminino e a Fragmentação em Noite na Taverna." http://www.teses.ufc.br, 2009. http://www.repositorio.ufc.br/handle/riufc/3261.
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PINTO, Polyanna Ervedosa. O feminino e a fragmentação em Noite na Taverna. 2009. 133 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2009.Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-07-06T12:28:53Z No. of bitstreams: 1 2009_DIS_PEPINTO.pdf: 773130 bytes, checksum: 3970d2b8b1827d48aef518002ae43c16 (MD5)
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The analysis of the line of research on affective imaginary in the novel by Álvares de Azevedo, Night at the Tavern, part of the statement of understanding of emotional memory and female romantic. Will pay-the understanding of disruptive conflicts that develop in the work, investigating the emotions of the characters and their way of story telling in this particular book. Interested teased the plans of Taverna Night, showing that the female is always the main impetus of writing because of the connection between women, nature and mythical, promoted by the Romantic Movement. Then it will analyze the reflection of the relationship disharmonize the fragmentation of the discourse in order to study the environment and its connection with infernal Macário to ultimately understand the relationship of life and death on each count. The narratives, though linked by Taverna, have its merits in the quest for oblivion because of the disappointments of frustrated love and the passions as an object, either through the sympathetic imagination, of symbolism, history or other possible readings that can provide grants to this dissertation. The primary purpose is to see Night at the Tavern in the sphere of human, yet assuring it literary value and evil atmosphere that encourages the natural extravagance azevediana, proving the existence of a female rescued from primitive times. It is expected to give room for a new look at the criticism on the work azevediana, not forgetting the many previous studies, but guaranteeing their continuity
A análise da linha de pesquisa sobre o imaginário afetivo, no romance de Álvares de Azevedo, Noite na Taverna, parte do entendimento da enunciação da memória sentimental e do feminino romântico. Dedicar-nos-emos ao entendimento dos conflitos perturbadores que se desenvolvem na obra, investigando as emoções das personagens e seu modo de contar histórias neste livro específico. Interessa esmiuçar os planos de Noite da Taverna, mostrando que o feminino é sempre o impulso principal da escrita devido à ligação entre a mulher, a natureza e o mítico, promovido pelo Movimento Romântico. Em seguida, analisaremos o reflexo das relações desarmonizadas na fragmentação do discurso, a fim de estudar o ambiente infernal e sua conexão com Macário para, finalmente, compreendermos a relação de vida e morte em cada conto. As narrativas, embora ligadas pela Taverna, possuem suas particularidades na busca do esquecimento em virtude das decepções de amores frustrados e das paixões como objeto, seja através do imaginário dos afetos, da simbologia, da História ou de outras possíveis leituras que possam dar subsídios a esta dissertação. O intuito principal é ver Noite na Taverna dentro da esfera do humano, mas ainda assim garantindo-lhe valor literário e atmosfera diabólica que favorece a natural extravagância azevediana, atestando a existência de um feminino resgatado de tempos primitivos. Esperamos dar margem a um novo olhar da crítica sobre a obra azevediana, não esquecendo os diversos estudos anteriores, mas garantindo-lhes continuidade
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Redondo, Altamiro José. "A face do feminino na poética de Guilherme de Almeida." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14892.
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Previous issue date: 2009-04-29The object of this thesis is the Guilherme de Almeida`s love poetry, which shows universal elements whose basis is archetypical and mythological. It still has the intention of contributing to the poet`s critical fortune, which has been contemplated insufficiently until now. In his poems, the woman is not represented physically, but is changed into a constant fleeting image, which is confounded with the own concept of love or feminine principle. It is chosen to exalt the love from the past or from the future, and the woman from the present is sung in her abstraction. By meeting these images, the androgyny myth shows a welcoming answer. This myth, unlike the imaginary distant idea that it has about, is very modern and involves a psychological reality behind the whole love search, apart from meaning a cosmic fullness condition metaphor in which the opposites are confounded. Other myths based on the androgyny figure are also contemplated. The relationship between the poetic corpus and the androgyny myth is made by the comparison and the similarity of their images, apart from analyses and deductions. For that relationship, especially Mircea Eliade contributes, among others, to his ideas about the reproduction of images, according to Images and Symbols (1991). The search for the love fullness, to which the myth refers to, occurs, therefore, in the poetic textual body, in which the woman is sublimated and represents the own lost self for good. As a consequence, the search for this fullness experience also has an initiatory and spiritual nature. It seeks to identify the concept of love in its poetry through the comparison with other similar concepts, such as the passion love, the sublime love, and the erotic love. It still develops an introductory study of Guilherme de Almeida`s work in general focusing on its literary characteristics and its qualities according to the criticism, highlighting the question of the engagement with the sublime universal aspect, as well as pointing out especially the symbolist tones of his poetry that, returned to ethereal fleeting spiritual images, keep an intimate relationship to his love poems and to the subject of his thesis
O objeto dessa dissertação é a poesia de temática amorosa de Guilherme de Almeida, que apresenta elementos universais de fundo arquetípico-mitológico. Tem, ainda, intenção de contribuir para a fortuna crítica do poeta, contemplada de modo insuficiente até o momento. Em seus poemas, a mulher não é representada fisicamente, mas transformada em imagem sempre fugidia, na qual se confunde com o próprio conceito de amor ou princípio feminino. Prefere-se enaltecer o amor do passado ou do futuro, e a mulher do presente é cantada em sua abstração. Ao encontro dessas imagens, o mito do andrógino se apresenta como resposta acolhedora. Esse mito, ao contrário da idéia fantasiosa e distante que se tem a respeito, é atualíssimo, e implica uma realidade psicológica por trás de toda busca amorosa, além de significar uma metáfora da condição de plenitude cósmica, onde os opostos se confundem. Outros mitos de fundo andrógino também são contemplados. A relação do corpus poético com o mito do andrógino se faz pela comparação e semelhança de suas imagens, além de análises e deduções. Para tal relação, contribui, sobretudo, Mircea Eliade, entre outros, com suas idéias sobre reprodução de imagens, conforme o livro Imagens e símbolos (1991). A busca da plenitude amorosa, a que alude o mito, ocorre, portanto, no corpo textual poético, onde a mulher é sublimada e representa o próprio eu perdido para sempre. Como desdobramento, essa experiência da busca de plenitude também tem caráter iniciático e espiritual. Procura-se identificar o conceito de amor em sua poética, a partir da comparação com outros conceitos semelhantes, como o amor-paixão, o amor sublime e o amor erótico. Faz-se, ainda, um estudo introdutório da obra em geral de Guilherme de Almeida, com ênfase em suas características literárias e suas qualidades conforme a crítica, ressaltando-se a questão do engajamento com o aspecto sublime e universal, além de se destacar, especialmente, os tons simbolistas de sua poesia, que, voltados para imagens etéreas, fugidias e espirituais, guardam estreita relação com seus poemas de temática amorosa e com o tema da dissertação