Academic literature on the topic 'Homo viator'

Abstract In Jože Hradil’s Faceless Pictures [Slike brez obrazov] the characters go astray or get into the attraction of adventures and set off for a journey. The spiritual and identity shifts can be interpreted along these eternal human desires as well. A patchwork of remembering and forgetting, the internal journeys of identity preservation, spontaneous or forced assimilation, tolerance and all kinds of politics-induced human deformations are depicted in the novel. The text traces the roles of the journey defined by Jean Chevalier and Alain Gheerbrant such as the search for justice, peace, immortality and finding the spiritual center. This study examines how the concrete physical journey changes into an internal road determining the evolution of personality.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura<br>Made available in DSpace on 2013-03-04T20:16:37Z (GMT). No. of bitstreams: 1 305083.pdf: 1497769 bytes, checksum: 7abc3c431906fa967cd307eea6fd65af (MD5)<br>Esta tese busca problematizar um estudo comparado entre a Divina commedia e o Grande sertão: veredas a partir da noção de "Homo viator". Para tanto, nossa análise se concentrou sobre a percepção do aprimoramento do viajante que é também o protagonista nas duas obras Este viajante ficcional é concebido segundo um feixe de relações que Dante-autor e Guimarães Rosa realizam ao compor suas obras, de maneira que nos primeiro e segundo capítulos nos detivemos em alguns destes elementos, a saber: a presença da noção de êxodo bíblico bem como do viajante náutico greco-latino na caracterização deste viajante, o recurso ao narrador-protagonista e a composição das obras como literatura de viagem. Para analisar estes elementos nos utilizamos dos postulados da literatura comparada, da teoria dos arquétipos e da metafísica platônica. Por fim, no terceiro capítulo, realizamos um confronto entre dois episódios das referidas obras: a viagem de Ulisses presente no canto XXVI do Inferno e a viagem ao Liso do Sussuarão presente no Grande sertão: veredas. Este estudo tem por finalidade apresentar o "Homo viator" como metáfora da incansável busca humana da verdade.<br>This dissertation performs a comparative study between the Divina Commedia and Grande Sertão: Veredas, having as a starting-point the notion of "Homo viator". Our analysis focuses on the path towards improvement undertaken by the "traveler", who is also the protagonist in both works. This fictional traveler is conceived of as a nexus of relationships that Dante-the-author and Guimarães Rosa construct in the making of each of their works, and it is to some of these relationships that we will pay attention in the first and second chapters, namely: the notion of the biblical exodus; the figure of the Roman-Greek nautical traveler in the characterization of the "homo viator"; the narratorprotagonist as a narrative device; and the caracterization of the works as travel literature. In order to perform an analysis of such elements, we draw our theoretical premises from the field of comparative literature, the theory of archetypes, and Platonic metaphysics. Lastly, in the third chapter, we compare and contrast two episodes from the referred works: the journey undertook by Ulysses in Canto XXVI of the Inferno, and the crossing of the "Liso do Sussuarão" in Grande Sertão: Veredas. The current work aims to present the "Homo viator"as a metaphor for the indefatigable human quest for truth.

Partindo do princípio de que a temática da viagem, da travessia, é considerada pela crítica como um fio condutor que perpassa toda a produção literária de João Guimarães Rosa, esta tese tem por objetivo demonstrar que a temática do retorno configura-se, também, peça de fundamental relevância para a decifração das veredas trilhadas pelo autor, particularmente, em Tutaméia (Terceiras Estórias) (1967), sua derradeira obra publicada em vida. Ao participar de um concurso de contos, em 1937, Guimarães Rosa utiliza o pseudônimo de Viator, antecipando um dos pontos centrais de sua produção poética, a condição do homo viator, do homem que está sempre a caminho. Se o processo da viagem é composto por três etapas, sendo elas, a partida, a travessia e o retorno, encontramos nesta última uma ação dotada de vasta simbologia, tão merecedora de atenção quanto às outras duas, pois, a nosso ver, se as personagens de Guimarães Rosa tornam-se particulares por refletirem o homo viator, da mesma forma, suas ações encontram-se totalmente plasmadas pela condição do homo regressus, ou seja, do homem que retorna. A tese defendida baseia-se na premissa de que o ato de retornar, em Tutaméia (Terceiras Estórias), adentra as esferas do mítico e concretiza uma (mito)poética do retorno, perceptível pelo trabalho que Rosa realiza com a linguagem e pela presença de uma matriz mítica, na grande maioria dos contos, quase que de A a Z, uma vez que esses se encontram dispostos em ordem alfabética. Nessa perspectiva, o trabalho estrutura-se em três capítulos, sendo que, no primeiro, tecemos algumas considerações sobre a inserção de Tutaméia (Terceiras Estórias) em uma dimensão mítica, revelando seu caráter enigmático; no segundo capítulo, destacamos a abrangência da temática do retorno, presente desde os primórdios da humanidade e a estreita relação que possui com a narrativa ficcional, considerada uma arte de retorno aos mitos e aos ritos da Antiguidade, como apresentam os críticos Northrop Frye, E. M. Meletínski e Sérgio Vicente Motta. No terceiro capítulo, selecionamos para a análise os contos &#x2033;Arroio-das-Antas&#x2033;, &#x2033;Sinhá Secada&#x2033; &#x2033;Barra da Vaca&#x2033;, &#x2033;Droenha&#x2033;, &#x2033;Curtamão&#x2033; &#x2033;Presepe&#x2033;, &#x2033;Desenredo&#x2033;, &#x2033;Reminisção&#x2033;, &#x2033;Estoriinha&#x2033;, &#x2033;Estória nº 3&#x2033;, &#x2033;Grande Gedeão&#x2033;, &#x2033;No prosseguir&#x2033;, &#x2033;Rebimba, o bom&#x2033;, &#x2033;Antiperipléia&#x2033; e &#x2033;Zingarêsca&#x2033;, por acreditarmos que, neles, a possibilidade de retorno, ou não, tende a ocasionar consequências bastante profundas no desenrolar dos fatos e na vida das personagens.<br>Assuming that the theme of the journey, the crossing, is considered by critics as a thread that runs through all the literary production of João Guimarães Rosa, this thesis aims to demonstrate that the thematic of the return configures also a piece of fundamental relevance to the deciphering of the paths threshed by the author, particularly in Tutaméia (Terceiras Estórias) (1967), his last work published in his lifetime. By participating in a contest of short stories in 1937, Guimarães Rosa uses the pseudonym Viator, anticipating one of the central points of his poetic production, the condition of homo viator, the man who is always on the way. If the process of the journey consists of three steps, as follows, the departure, the crossing and the return, we find in the latter a highly symbolic action as worthy of attention as the other two, because, in our view, if the Guimarães Rosa characters become individuals by reflecting the homo viator, similarly their actions are totally shaped by the homo regressus condition, that is the man who returns. The thesis defended is based on the premise that the act of returning in Tutaméia (Terceiras Estórias) enters the mythical spheres, with the completion of one (myth)poetics of the return, noticeable by the work that Rosa performs with the language and the presence of a mythical matrix in most tales almost from A to Z, since these are arranged in alphabetical order. From this perspective, the work is structured in three chapters, and in the first we weave some considerations about the insertion of Tutaméia (Terceiras Estórias) on a mythical dimension, revealing his enigmatic character; in the second chapter we highlight the comprehensiveness of the theme return, present since the dawn of humanity and the close relationship it has with the fictional narrative, considered an art of return to the myths and rites of antiquity, as criticals Northrop Frye, E. M. Meletínski and Sérgio Vicente Motta present. In the third chapter we selected for analysis the tales &#x2033;Arroio-das-Antas&#x2033;, &#x2033;Sinhá Secada&#x2033; &#x2033;Barra da Vaca&#x2033;, &#x2033;Droenha&#x2033;, &#x2033;Curtamão&#x2033; &#x2033;Presepe&#x2033;, &#x2033;Desenredo&#x2033;, &#x2033;Reminisção&#x2033;, &#x2033;Estoriinha&#x2033;, &#x2033;Estória nº 3&#x2033;, &#x2033;Grande Gedeão&#x2033;, &#x2033;No prosseguir&#x2033;, &#x2033;Rebimba, o bom&#x2033;, &#x2033;Antiperipléia&#x2033; and &#x2033;Zingarêsca&#x2033; since we believe that the possibility of returning in the tales tends to cause quite profound consequences for the course of events and the lives of the characters.

Aquesta tesi doctoral es tracta d’un estudi pedagògic sobre l’acte de caminar a partir de sis experiències pedestres ben significatives que van succeir durant la modernitat dels segles XVIII i XIX, quan es va desplaçar la figura de Crist, com a referència total, a favor de l’ésser humà i a favor de la raó o de la naturalesa. La primera part d’aquesta tesi es centra en la fenomenologia (Husserl) per tal de suspendre tots els judicis que deriven dels diccionaris que redueixen el fet d’anar a peu a un simple moviment utilitari que ens serveix per dirigir-nos a un lloc determinat i les diferents contribucions científiques que el presenten en un sentit biològic (antropologia física i psicologia del desenvolupament) i biomèdic (ciències de la salut) i, d’aquesta manera, determinar quines són les característiques invariables que donen forma a l’essència de caminar. Seguint la tradició cosmovisional (Spranger), el subjecte antropològic d’aquesta tesi doctoral és la figura de l’Homo viator, el qual té una llarga tradició en el món occidental (les figures arquetípiques (Abram, Ulisses i Enees), els peripatètics, els pelegrins cristians i d’altres religions, Petrarca, Kant, Hölderlin, Thoreau i altres) tal com deixar constància George Steiner en el seu llibre La idea d’Europa. En el segon apartat, aquest estudi dona notícia de la perspectiva hermenèutica (Dilthey, Heidegger, Bollnow, Gadamer). El cercle hermenèutic que estableix aquest treball està afaiçonat pels següents elements: preguntes d’obertura; la tria de sis autors de la modernitat del segle XVIII i XIX (Rousseau, Goethe, Humboldt, Baudelaire, Nietzsche i Rimbaud); el diàleg amb les obres dels autors escollits i les principals biografies i, per últim, lectura pedagògica d’aquestes sis maneres d’estar-en-moviment (els passeigs de Rousseau, el viatge cultural de Goethe, les expedicions científiques de Humboldt, els vagareigs de Baudelaire, les caminades de Nietzsche i l’errància de Rimbaud) amb la finalitat de plantejar una pedagogia, de base fenomenològico-hermenèutica, que vinculi el desplaçament a peu i la formació posant, en el centre de la gravetat, la qüestió del neonomadisme pedagògic plantejada per Juan Tusquets i, també, els assumptes de l’heteroeducació i l’autoeducació.<br>This doctoral thesis is a pedagogical study about the act of walking told from six different and important pedestrian experiences that occurred in the modern ages of the eighteenth and nineteenth centuries, when the figure of Christ was displaced as a complete and total reference in favor of human beings, and in favor of nature and reason. The first part of this thesis focuses on phenomenology (Husserl) in order to suspend all judgments that are derived from dictionaries that reduce the action of going by foot to a simple and utilitarian movement that serves to direct us to a determined place and the different scientific contributions that are presented in a biological sense (physical anthropology and developmental psychology) and a biomedical sense (health science) and, in this manner, it will be determined what the invariant characteristics are that give shape to the essence of walking. Following the Cosmo-visional tradition (Spranger), the anthropological subject of this thesis is the figure of the Homo viator, who has a long tradition in the Western world (the archetypal figures [Abraham, Ulysses and Aeneas], the peripatetics, the Christian pilgrims and those of other religions, Petrarch, Kant, Hölderlin, Thoreau and others) as recorded by George Steiner in his book “The Idea of Europe”. In the second section, this study sheds light on the hermeneutic perspective (Dilthey, Heidegger, Bollnow, Gadamer). The hermeneutics circle is established and shaped in this work by the following elements: opening questions; the choice of six modern authors from the eighteenth and nineteenth centuries (Rousseau, Goethe, Humboldt, Baudelaire, Nietzsche and Rimbaud), dialogues of the works of the chosen authors and their major biographies and, lastly, a pedagogical reading of these six manners of being in movement (the passages of Rousseau, the cultural journey of Goethe, the scientific expeditions of Humboldt, the wanderings of Baudelaire, Nietzsche’s walks and Rimbaud’s errant drifting) in order to raise a pedagogy, with a phenomenological-hermeneutic base, that links the movement of the foot and education, placing in the center of the gravity, the question of pedagogical neonomadism raised by Juan Tusquets, as well as the issues of heteroeducation and self-education.

Cette étude se propose de dégager les liens étroits qui unissent la production picturale des anciens Pays-Bas des XVe et XVIe siècles avec la mystique de Ruysbroeck l’Admirable et la pensée de la Dévotion moderne (devotio moderna). À partir d’un corpus comprenant des oeuvres de Jan van Eyck, Rogier van der Weyden, Petrus Christus, Hans Memling, Hugo van der Goes, le Maître à la vue de Sainte-Gudule, le Maître de 1499, le Maître d’Alkmaar, Jérôme Bosch ou encore Gérard David et Jan Mostaert, l’analyse fait apparaître que peinture et écrits se répondent et se subliment mutuellement. Dans une première partie, nous observerons la façon dont les peintres ont décliné la progression dynamique des différentes visions (active, intérieure et contemplative) et traité le phénomène de désimagination. Puis, dans un deuxième temps, notre étude mettra en lumière que l’image soutient grâce à différents procédés (mnémotechnique, participatif, etc.) les pratiques spirituelles et méditatives des fidèles. Enfin dans la dernière phase de notre analyse, nous nous intéresserons aux mises en images d’une idée clé définie par Ruysbroeck l’Admirable, et adaptée par les auteurs de la Dévotion moderne : dat ghemeine leven (la vie commune)<br>This study intends to investigate and clarify the links between the Early Netherlandish pictorial tradition (15th and 16th centuries) and mystical literature as exemplified by Ruysbroeck the Admirable and the authors associated with the Modern Devotion (devotio moderna). Focusing on a corpus of works by Jan van Eyck, Rogier van der Weyden, Petrus Christus, Hans Memling, Hugo van der Goes, the Master of the View of St Gudule, the Master of 1499, the Master of Alkmaar, Hieronymus Bosch, Gerard David and Jan Mostaert, this analysis brings to light that painting and writing enrich each other’s meaning. In the first part, we shall observe the ways in which the painters captured the dynamic progression of the various types of vision (active, internal and contemplative) as well as the ways in which they addressed the phenomenon of disimagination. The second part of this study will highlight the fact that the image supports the spiritual and meditative practices of the faithful through various processes and techniques (mnemonic, participative etc.). The third part of the analysis will focus on the visual treatment of a key idea defined by Ruysbroeck the Admirable, and adapted by the authors of the Modern Devotion: dat ghemeine leven (the common life)

The Haarlemmermeer Polder resembles the Sleeping Beauty awaiting the Prince's kiss: it is a void filled with opportunity in the dispersed metropolitan landscape of Randstad, Holland. Like Houston, it is densely urban, yet its urbanity is for the most part placeless. This dual personality is an exciting constant in a model of transformation into an 'empty' metropolitan area in which urbanity is exploited to its extreme: the density of the void. Two aspects will be significant to its future. The first is Homo Viator who has constructed a new domain linked together by motion. Second, there is the landscape of the open city. Exciting opportunities abound in stretching the contrast between the human and natural orders to an uncomfortable extreme by Dutch measures. The resulting landscape through colonization will be a new chapter in the Dutch tradition of treating the landscape as a work of art, continuously reinterpreted and rewritten.