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Costes, Anne. "La métamorphose Fonctions et investissements sémantiques au sein de cent et un contes européens et africains. Thèse, Université Toulouse le Mirail, juillet 1998 /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 2000. http://catalog.hathitrust.org/api/volumes/oclc/43984176.html.
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Bargouti, Husain Jameel. "The other voice : an introduction to the phenomenology of metamorphosis /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/6684.
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Gallagher, David. "The theme of metamorphosis in nineteenth- and twentieth century German-speaking literature." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497628.
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Marubbio, M. Elise 1963. "The edge of the abyss: Metamorphosis as reality in contemporary Native American literature." Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/291692.
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The edge of the abyss: Metamorphosis as reality in contemporary Native American literature, approaches the concept of metamorphosis from a metaphysical and philosophical perspective as a culturally defined reality. It focuses on the works of contemporary Native American writers: Leslie Silko, Scott Momaday, Gerald Vizenor, and Louise Erdrich, who address the metamorphic properties of Time and the metamorphic abilities of Man as a continuing link to the supernatural and natural worlds through stories which descend from a history of oral traditions. The Edge of the Abyss explores the use of language and stories as a cultural survival technique for the retention of tribal ideology and world view. It addresses the fine line which exists between Western and Native American concepts of reality in order to re-define metamorphosis within a cultural context. This thesis uses an interdisciplinary approach utilizing anthropological, sociological, shamanistic, literary, and cultural materials in a comparative analysis.
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Norris, Stephanie Latitia. "Flesh in flux: narrating metamorphosis in late medieval England." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/1372.
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My dissertation reevaluates medieval concepts of body and identity by analyzing literary depictions of metamorphosis in romance. Focusing on examples such as the hag-turned-damsel in the Wife of Bath's Tale, the lump-turned-boy in The King of Tars and the demon-saint of Sir Gowther, I take as my starting point the fact that while those texts pivot on instances of physical transformation, they refrain from representing such change. This pattern of undescribed physical metamorphosis has broad implications for recent work on evolving notions of change and identity beginning in the high Middle Ages. While Caroline Walker Bynum has read the medieval outpouring of tales about werewolves and hybrids as imaginative responses to social upheavals, I consider why such medieval writings ironically focused on shape-shifters but avoided metamorphosis itself. I argue that we can understand why Chaucer and other writers resisted imagining bodies in the process of transforming by examining the history of ideas regarding metamorphosis in the medieval west. While the foremost classical writer on transformation, Ovid, reveled in depictions of metamorphosis, by the late Middle Ages a new religious discourse on change enjoyed prominence, the doctrine of transubstantiation. In its effort to separate substance and accidents, Eucharistic theory strove to detach identity from physical change and exhibited a certain level of repugnance over images of physical transformation. I argue that medieval secular writings address that anxiety over bread-turned-God in moments such as the close of the Wife of Bath's Tale. In a scene that recalls the place of veiling in Eucharistic ritual, the hag uses the bed curtain first to cloak then reveal her newly young and beautiful physique. Ultimately, the corpus of medieval literature on change--a body of work that engages both Ovidian and Eucharistic writings--suggests that identity intertwines with physical metamorphosis in a productive, if problematically unstable, manner.
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James, Paula. "Unity in diversity a study of Apuleius' Metamorphoses : with particular reference to the narrator's art of transformation and the metamorphosis motif in the Tale of Cupid and Psyche /." Hildesheim ; New York : Olms-Weidmann, 1987. http://catalog.hathitrust.org/api/volumes/oclc/15604421.html.
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Chappell, Shelley Bess. "Werewolves, wings, and other weird transformations fantastic metamorphosis in children's and young adult fantasy literature /." Doctoral thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/226.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2007.Bibliography: p. 239-289.
Introduction -- Fantastic metamorphosis as childhood 'otherness' -- The metamorphic growth of wings : deviant development and adolescent hybridity -- Tenors of maturation: developing powers and changing identities -- Changing representations of werewolves: ideologies of racial and ethnic otherness -- The desire for transcendence: jouissance in selkie narratives -- Conclusion -- Bibliography -- Appendix: "The great Silkie of Sule Skerry": three versions.
My central thesis is that fantastic motifs work on a metaphorical level to encapsulate and express ideologies that have frequently been naturalised as 'truths'. I develop a theory of motif metaphors in order to examine the ideologies generated by the fantastic motif of metamorphosis in a range of contemporary children's and young adult fantasy texts. Although fantastic metamorphosis is an exceptionally prevalent and powerful motif in children's and young adult fantasy literature, symbolising important ideas about change and otherness in relation to childhood, adolescence, and maturation, and conveying important ideologies about the world in which we live, it has been little analysed in children's literature criticism. The detailed analyses of particular metamorphosis motif metaphors in this study expand and refine our academic understanding of the metamorphosis figure and consequently provide insight into the underlying principles and particular forms of a variety of significant ideologies.
By examining several principal metamorphosis motif metaphors I investigate how a number of specific cultural beliefs are constructed and represented in contemporary children's and young adult fantasy literature. I particularly focus upon metamorphosis as a metaphor for childhood otherness; adolescent hybridity and deviant development; maturation as a process of self-change and physical empowerment; racial and ethnic difference and otherness; and desire and jouissance. I apply a range of pertinent cultural theories to explore these motif metaphors fully, drawing on the interpretive frameworks most appropriate to the concepts under consideration. I thus employ general psychoanalytic theories of embodiment, development, language, subjectivity, projection, and abjection; poststructuralist, social constructionist, and sociological theories; and wide-ranging literary theories, philosophical theories, gender and feminist theories, race and ethnicity theories, developmental theories, and theories of fantasy and animality. The use of such theories allows for incisive explorations of the explicit and implicit ideologies metaphorically conveyed by the motif of metamorphosis in different fantasy texts.
In this study, I present a number of specific analyses that enhance our knowledge of the motif of fantastic metamorphosis and of significant cultural ideologies. In doing so, I provide a model for a new and precise approach to the analysis of fantasy literature.
Mode of access: World Wide Web.
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Mera, Ewerton de Oliveira. "Cíniras e Mirra : as figuras do incesto em Ovídio (Metamorfoses, X, 298-502) /." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141901.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta pesquisa apresenta a proposta de investigar a figuratividade poética no texto latino, valendo-se do instrumental teórico que nos fornecem a Poética e a Semiótica Literária, tendo como corpus o episódio de “Cíniras e Mirra”, que integra a obra Metamorfoses (livro X, 298-502) de autoria de Ovídio (43 a.C. - 17 d.C.), considerado um dos maiores poetas da Roma Antiga. As Metamorfoses são um longo poema em versos hexâmetros, composto de quinze livros, que trata do surgimento dos elementos que compõem o mundo e da transformação ocorrida com diversos seres mitológicos em uma narrativa contínua. No trecho selecionado para a análise, conta-se a transformação de uma bela jovem na árvore da mirra, após cometer incesto com o próprio pai, Cíniras, rei de Chipre. Em um trabalho desenvolvido como pesquisa de IC intitulado “Poética e Figuratividade: uma análise de ‘Io’ (Ovídio, Metamorfoses, I, 583-747)”, procurou-se concentrar na primeira etapa dos processos de figuratividade, isto é, na figuração do discurso, quando um tema é revestido por figuras semióticas. Tomando os efeitos de sentido captados pela percepção e apreendidos por meio da leitura como dados de base, pretende-se investigar no corpus o arranjo particular da linguagem. Como resultado dessa investigação produziu-se um discurso metalinguístico a fim de reconhecer os recursos da figuratividade poética determinantes da expressão. Ainda, como base para o desenvolvimento do trabalho, será produzida uma tradução de estudo (literal) acompanhada de notas de referência, com comentários concernentes a dados gerais de cultura (mitologia, história, geografia, filosofia, etc.).
This research is a proposal to investigate the figurative poetics in the Latin text, drawing on the theoretical tools provided by Poetics and Literary Semiotics, with the corpus of the episode "Cinyras and Myrrha", integrating part of the Metamorphoses (Book X, 298-502), by Ovid (43 BC - 17 AD), regarded as one of the greatest poets of Ancient Rome. The Metamorphoses is a long poem in hexameter verses, separated into fifteen books. It depicts the creation of elements of the world and the transmutations of several mythological beings, with a narration that takes place in a continuous form. The selected passage for analysis recounts the transformation of a beautiful young woman into the myrrh tree, after committing incest with her own father, Cinyras, the king of Cyprus. In an already developed undergraduation research entitled “Poetics and Figurativity: an analysis of ‘Io’ (Ovid, Metamorphoses, I, 583-747), we have focused on the first step of the figuration process, that being the figuration of speech, when a subject is covered with semiotic figures. Considering the effects of meaning captured by perception and seized by careful reading as database, we intend to investigate in the corpus particular arrangements of language. The result of this research has produced a metalinguistic discourse to recognize the features of poetical figurativity that are determinants to the expression. Furthermore, as a basis for the development of this work, we will produce a literal study translation, accompanied by background notes, and comments concerning general data culture, such as mythology, history, geography, philosophy, etc.
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Fisher, Elizabeth A. "Planudes' Greek translation of Ovid's Metamorphoses." New York : Garland Pub, 1990. http://catalog.hathitrust.org/api/volumes/oclc/21077839.html.
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Pizano, Mariana Peixoto. "Expressividade poética nas Metamorfoses de Ovídio : o episódio de Níobe (Metamorfoses, vi. 146-312) /." Araraquara, 2016. http://hdl.handle.net/11449/139531.
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Orientador: João Batista Toledo PradoBanca: Elaine Cristina Prado dos Santos
Banca: Brunno Gonçalves Vieira
Resumo: Esta pesquisa apresenta três objetivos principais: 1) refletir criticamente sobre as diferentes opiniões de autores do século XX que se debruçaram sobre a produção literária de Ovídio, destacando dela os defeitos e o engenho; 2) oferecer uma tradução do relato mitológico de Níobe, narrado no sexto livro das Metamorfoses de Ovídio (v. 146-312), sem a preocupação de recriar a poeticidade do texto original latino, mas oferecendo equivalência lingüística bastante para a compreensão do texto - seguir-se-ão à tradução notas de cultura sempre que houver necessidade de esclarecer algum termo (mitológico, geográfico, histórico, etc); 3) realizar um estudo semiótico do episódio narrado nas Metamorfoses, que permita ao leitor compreender de que maneira a história (fabula) e sua expressão poética - o modo como o texto foi composto por meio do arranjo das palavras em verso, com todos os recursos permitidos pelo sistema linguístico do latim, reapropriado pelo(s) sistema(s) da poesia - unem-se a fim de construir sentidos que se valem (mas ao mesmo tempo ultrapassam) a mera gramaticalidade. O episódio mitológico de Níobe relata a audácia da esposa do lendário rei de Tebas, Anfião, ao ousar comparar-se à Latona, mãe dos gêmeos Febo (Apolo) e Febe (Diana). A mortal se julgava mais merecedora de receber os incensos e as preces ofertados pelas tebanas que aquela deusa, porque julga sua linhagem e sua numerosa prole (ao todo são quatorze filhos) superiores às da outra. Tamanha heresia rendeu-lhe... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research has three main goals: 1) to reflect critically on different opinion of twentieth century's authors who have studied Ovid's literature, highlighting its faults and cleverness; 2) to provide a translation of Niobe's mythological account, reported in the sixth book of Ovid's Metamorphoses (v. 146-312), without concerning to recreate the poeticity of the original Latin text, but offering linguistic equivalence enough to the text understanding - the translation will be followed by culture notes whenever it's necessary to elucidate any term (mythological, geographical, historical, etc.); 3) to perform a semiotic study of the episode reported on the Metamorphoses, which allows the reader to comprehend how the story (fabula) and its poetic expression - the way the text was composed by the arrangement of words in verse, with all resources allowed by the linguistic system of Latin language, reappropriated by the Poetic system - unite in order to create valid meanings, but at the same time go beyond the mere grammaticality. The mythological episode of Niobe reports the audacity of the wife of the Thebes' legendary king, Amphion, by daring to compare herself to Latona, mother of Phoebus (Apollo) and Phoebe (Diana) twins. The mortal was thought worthier of receiving incense and prayers offered by the Theban than the goddess since she judges her ancestry and her numerous offspring (together they are fourteen) higher than the other. Such heresy earned her a terrible punishment... (Complete abstract click electronic access below)
Mestre
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Bettini, Jessica Lynne. "The Rage of the Wolf: Metamorphosis and Identity in Medieval Werewolf Tales." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1302.
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The metamorphosis of man to beast has fascinated audiences for millennia. The werewolves of medieval literature were forced to conform to the Church's view of metamorphosis and, in so doing, transformed from bestial and savage to benevolent and rational. Analysis of Marie de France's Bisclavret, the anonymous Arthur and Gorlagon, the Irish tale The Crop-Eared Dog, and the French roman d'aventure Guillaume de Palerne reveals insight into medieval views of change, identity, and what it meant to exist in the medieval world. Each of these tales is told from the werewolf's point of view, and in each the wolf undergoes a fury or madness where he cannot seem to help turning savage and harming people. This 'rage of the wolf' lies at the root of the identities of these werewolves, reflecting the conflict between good and evil, the physical and the spiritual, and Church doctrine and a rapidly changing society.
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Janzen, Janet. "Modernity gazing on metamorphosis: representations of plants in German language film and literature at the beginning of the 20th century." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123104.
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This dissertation explores representations of plants in German-language film and literature at the beginning of the twentieth century. Five examples serve as case studies, demonstrating the widespread preoccupation with the motif of the "dynamic plant" at the turn of the century. I argue that the preoccupation with the motif of the "dynamic plant" demonstrates the interconnectedness of two broad cultural transformations that helped to change the public's perception of plants from one that viewed plants as nearly inanimate objects to a world view that that saw plants as living, dynamic life forms similar to animals and humans. The first transformation was intellectual, characterized by a reaction to materialist, positivist and mechanistic explanations of the natural world that helped revive aspects of Vitalism and Romanticism. The second, based in media technologies, directly transformed the representation of plants through time-lapse photography, speeding up their movements to the pace of animals. These transformations helped to challenge the hierarchy of humans, animals and plants, introducing instability and fluidity into categories of being. The changing perception of plants was met with a variety of reactions that ran along a spectrum from acknowledgement and anxiety in Gustav Meyrink's short story "Die Pflanzen des Doktor Cinderella" (1905) and in the films, Nosferatu (1921) and Alraune (1928), to celebrating this new dynamism and fluidity in Paul Scheerbart's "Flora story, "Mohr: eine Glasblumen-Novelle" (1909) and the Kulturfilm, Das Blumenwunder (1926).The close readings of the films and short stories are supported by other examples of the dynamic plant motif from archival sources, in addition to the work of such naturalists as Raoul Heinrich Francé from the turn of the century and scientists and philosophers from the mid nineteenth century such as Gustav Fechner. This specific historical topic, the motif of the dynamic plant, shows the relevance of questions regarding life and ecology for a rereading of German modernism, in addition to the relevance of a grounding in German language and literature for a historical understanding of how thinking about life changed in relation to media. In this sense, the dissertation contributes to growing interests in media and ecology, as well as the growing field of Ecocriticism in German studies and all literary studies.Cette thèse explore la représentation des plantes dans la littérature et le cinéma de langue allemande au début du XXe siècle. Par le biais de cinq études de cas, ce projet s'intéresse au motif de la "plante dynamique" dans la modernité allemande, une préoccupation bien répandue à cette époque. Mon projet soutient que ce regain d'intérêt pour le mouvement de la plante dans les domaines de la littérature et du cinéma est étroitement lié à deux grandes transformations culturelles interdépendantes qui ont contribué à changer la perception populaire de la nature, à savoir la transition qui a permis de passer d'une perception basée sur la taxonomie et les hiérarchies rigides, à une nouvelle se rapprochant désormais au domaine de la vie et dans laquelle les forces dynamiques rattachées aux plantes, aux animaux et aux humains y trouvent leur juste valeur. La première transformation, d'ordre intellectuel, était caractérisée par un mouvement réactionnaire s'opposant au matérialisme, au positivisme et aux explications mécanistes de la nature qui ont su alimenter un regain d'intérêt pour la philosophie romantique de la nature et le vitalisme. La seconde, étroitement liée à l'émergence des nouveaux médias, transforma la façon d'observer les plantes. Grâce à la chronophotographie, une technique photographique novatrice, il était désormais possible d'observer la croissance et le mouvement des plantes de façon accélérée, voire au même rythme que celui des animaux. Ces transformations ont eu pour effet de relancer le débat portant sur la hiérarchie divisant les êtres humains, les animaux et les plantes, tout en introduisant la perception d'instabilité et de fluidité au sein des catégories de l'être. Ce changement de perception des plantes a été accueilli de manière mitigée, entraînant avec lui une variété de réactions. Passant de la reconnaissance à l'anxiété dans l'histoire courte de Gustav Meyrink "Die Pflanzen des Doktor Cinderella" (1905), dans les films Nosferatu (1921) et Alraune (1928), c'est avec grand enthousiasme que l'on s'intéressa à ce nouveau dynamisme et à la fluidité dans l'histoire courte "Flora Mohr : eine Glasblume - Novelle" (1909), par Paul Scheerbart et dans le « Kulturfilm », Das Blumenwunder (1926). Une analyse approfondie de ces films et de ces histoires courtes est appuyée par d'autres sources d'archives dans lesquelles on retrouve le motif dynamique des plantes, de même que dans les ouvrages scientifiques d'écrivains tels que Gustav Fechner, Maurice Maeterlinck et Raoul Heinrich Francé. Ce sujet historique spécifique, le motif de la plante dynamique, démontre la pertinence des questions reliées à la vie et à l'écologie dans le contexte d'une relecture du modernisme allemand. Par ailleurs, de même que l'importance de reconnaître le rôle historique qu'ont joué les médias dans la perception de la vie, autant dans la langue que dans la littérature allemande. En ce sens, la thèse a pour objectif de contribuer aux intérêts grandissants pour l'histoire de la pensée écologique et des médias, ainsi que le champs croissant de l'écocritique, autant en études allemandes que dans les autres les études littéraires.
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Estes, Darrell Wayne. "Physical and Ontological Transformation: Metamorphosis and Transfiguration in Old French and Occitan Texts (11th –15th Centuries)." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500553664939406.
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Merçon, Francisco Elias Simão. "Uma leitura analítica da novela \"A Metamorfose\", de Franz Kafka." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-19042007-211258/.
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Este trabalho é uma análise da novela A Metamorfose, do escritor tcheco Franz Kafka, sob a perspectiva da teoria semiótica francesa, tal qual construída desde os estudos de Algirdas J. Greimas até estudos recentes, mais conhecidos como semiótica tensiva. A análise se dedica sobretudo a elementos decorrentes da metamorfose de Gregor, em especial às transformações que estão em torno do drama familiar vivido pelos Samsa, resultantes da metamorfose do personagem Gregor em um inseto, pois que parece residir aí toda a problemática da novela. É a partir dessa perspectiva que foi dada atenção a relações contratuais, a transformações actanciais e modais, a elementos tensivos que subjazem à noção de \"metamorfose\" e que interferem na relação entre os actantes, condicionando os diferentes modos de presença de Gregor no espaço, bem como a outros elementos secundários, porém imprescindíveis para a boa condução da análise. Desse modo, esperamos acrescentar uma contribuição tanto para os estudos semióticos, na medida em que a análise repousa sobre uma obra bem diversa da origem proppiana da semiótica de Greimas, como para os estudos sobre a obra de Kafka (mais especificamente, A Metamorfose), que, ao que parece, ainda não foi objeto de uma análise estritamente semiótica.This master dissertation is an analysis of Franz Kafka short story \"The Metamorphosis\", based on the scope of French semiotics, as it was built since Algirdas J. Greimas studies until the recent ones, most called as tensive semiotics. The analyses focuses especially some elements proceeded from Gregory\'s metamorphosis, basically transformations involving Samsa\'s familiar drama because of Gregory\'s transformations to an insect. This seems to be real matter involving Kafka\'s short story. In according to our standpoint, this work concentrates in: contractual transformations, actantial relations and modal arrangements, tensive elements that concern the metamorphosis concept, the actantial bonds that determine some ways of Gregory\'s condition in the family, and finally, others secondary but indispensable elements for the analysis. Thus, we expect to contribute to semiotics studies, insofar as Kafka\'s work \"The Metamorphosis\" is quite different from the most ones that have their origin in the Proppean branch of Greimas semiotics. Furthermore, we expect to contribute also to Kafka\'s studies that, as far as we know, do not have yet a semiotic approach.
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Hess, Erika E. "Cross-dressers, werewolves, serpent-women, and wild men : physical and narrative indeterminacy in French narrative, medieval and modern /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 245-255). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.
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Kanekar, Aarati. "The geometry of love and the topography of fear : on translation and metamorphosis from poem to building." Diss., Georgia Institute of Technology, 2000. http://hdl.handle.net/1853/23286.
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Bohnet, Christine. "Der metafiktionale Roman Untersuchungen zur Prosa Konstantin Vaginovs /." München : O. Sagner, 1998. http://books.google.com/books?id=6FRgAAAAMAAJ.
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Pagotto, Sara Cristina. "ANIMALIDADE E METAMORFOSES NOS CANTOS DE MALDOROR: A LITERATURA TRANSGRESSIVA DE LAUTRÉAMONT." Pontifícia Universidade Católica de Goiás, 2017. http://tede2.pucgoias.edu.br:8080/handle/tede/3658.
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This dissertation aims to analyze the animality and the metamorphoses in the work the corners of Maldoror of Lautréamont, which manifests itself through a surreal and bestiary also present transgressive literature as language event, which runs through violently in the six corners of this poetry incandescent. To conduct this research, the theoretical basis will be Gaston Bachelard, that, in his book Lautréamont (2013), indicates the energy complex and vital, the time devourer and the poetry of aggression present in the corners, foundations that sediment and illuminate the inquiries of animalism, metamorphosis and primitive. On principles, inherent to the status of life and language, fundamental concepts to dialogue with the work lautreamontiana, support us in As palavras e as coisas and Ditos e escritos III (Prefácio à Transgressão) of Michel Foucault (2007, 2015). In addition, you will need the theoretical foundations of the work O Corpo Impossível (2012) of Eliane Robert Moraes, to correlate the construct of desanthropomorphism in the surreal bestiary of Maldoror.
Esta dissertação tem como objetivos, analisar a animalidade, as metamorfoses e a construção da poesia ardente, na obra Os Cantos de Maldoror de Lautréamont, que se manifesta através de um bestiário surreal. Também é imprescindível apresentar a literatura transgressiva enquanto acontecimento da linguagem, que percorre violentamente os seis cantos desta poesia incandescente. Para conduzir esta investigação, a base teórica será Gaston Bachelard, que em seu livro Lautréamont (2013) indica o complexo energético e vital, o tempo devorador e a poesia de agressão presente nos Cantos, alicerces que sedimentam e iluminam as indagações da animalidade, metamorfose e primitividade. Sobre princípios inerentes ao estatuto da vida e da linguagem, conceitos fundamentais para dialogar com a obra lautreamontiana, nos apoiaremos no livro As palavras e as coisas e Ditos e escritos III (Prefácio à Transgressão) de Michel Foucault (2007, 2015). Serão também necessários os fundamentos teóricos da obra O Corpo Impossível (2012) de Eliane Robert Moraes, para correlacionar ao construto da desantropormofização do bestiário surreal de Maldoror.
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Casagrande, Gilmara Maria Rodrigues. "O povo Xacriab?: luta, hist?ria, mito e literatura." UFVJM, 2016. http://acervo.ufvjm.edu.br/jspui/handle/1/1432.
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O presente trabalho tem por objetivo contextualizar a hist?ria de lutas e conquistas dos povos ind?genas no Brasil e, em especial, dos Xacriab?. O interesse em compreender os povos Xacriab?, situados em S?o Jo?o das Miss?es ? Norte de Minas Gerais ? Brasil, ? pertinente, visto que, ao tecermos considera??es da esfera macro (ind?genas no Brasil) para a micro (ind?genas em Minas Gerais), conseguimos compreender os desafios pelos quais eles passaram. Desse modo, tendo em vista que os Xacriab? possuem uma rica literatura materializada na escrita, cujas obras de autoria coletiva permitem entrever os embates hist?ricos e a produ??o de mitos, pode-se perceber como estes sujeitos lidaram com o processo escolar. Nesse sentido, busca-se, tamb?m, atrav?s da an?lise de duas obras liter?rias escritas em l?ngua portuguesa: O tempo passa e a hist?ria fica (1997) e Com os mais velhos (2005), i) identificar como os Xacriab? incorporam o discurso m?tico dentro da aldeia e fora dela; ii) entender como esses ?ndios se apresentam socialmente por meio da obra liter?ria e do mito; e iii) compreender o mito estudado sob as classifica??es metam?rficas, uma vez que se detectou, na constitui??o das narrativas, o processo de metamorfose. Com base nisso, ao final, torna-se poss?vel analisar o mito da On?a Iai? Cabocla, considerada o principal ser m?tico pelos Xacriab?.
Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Ci?ncias Humanas, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2016.
This study aims to contextualize the story of struggles and achievements of indigenous peoples in Brazil, in particular the Xacriab? people's story. The interest in understanding the Xacriab? people, located in S?o Jo?o das Miss?es ? North of Minas Gerais ? Brazil, is relevant because we can understand the challenges by which they have been through, when we make considerations which go from the macro sphere (indigenous in Brazil) to the micro (indigenous in Minas Gerais). Thus, given that the Xacriab? people have a rich literature materialized in writing, whose works of collective authorship allow a glimpse of the historical conflits and the production of myths, it is possible to see how these people dealt with the school process. In this sense, through the analysis of two literary works written in Portuguese, O tempo passa e a hist?ria fica (1997) and Com os mais velhos (2005), the aim is also i) identify how the Xacriab? people embody the mythic discourse within the village and beyond; ii) understand how these Indians present themselves socially through the literary works and through the myth; and iii) understand the myth which was studied under the metamorphic classifications, once it was detected, in the constitution of the narratives, the process of metamorphosis. Based on that, at the end, it becomes possible to analyze the myth of On?a Iai? Cabocla, considered the main mythical being by the Xacriab? people.
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Schmitzer, Ulrich. "Zeitgeschichte in Ovids "Metamorphosen" Mythologische Dichtung unter politischem Anspruch /." Stuttgart : B. G. Teubner, 1990. http://catalogue.bnf.fr/ark:/12148/cb35488106p.
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Apanomeritaki, Eirini. "Transforming narratives : subjectivity and metamorphosis in Franz Kafka, Vladimir Nabokov, Alejo Carpentier, Vassilis Vassilikos, Virginia Woolf, and Marie Darrieussecq." Thesis, University of Essex, 2018. http://repository.essex.ac.uk/23243/.
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This doctoral project explores the narrative representations of transforming subjectivity in modernist and post-modernist texts that deploy the trope of metamorphosis. Subjectivity is explored within a psychoanalytic framework and from a comparative lens, through the juxtaposition of selected short stories and novels of metamorphosis from different literatures, produced in different languages and under different geocultural and historico-political conditions from 1915 to 1996. Chapter One explores subjectivity as sacrificial and in conflict with a symbolic father-authority, through a close reading of insect metamorphosis in Franz Kafka’s “The Metamorphosis” (1915) and Vladimir Nabokov’s “The Aurelian” (1931). Chapter Two addresses the postcolonial dimension of subjectivity and its collective construction in terms of the loss of home in Alejo Carpentier’s The Kingdom of This World (1949) and Vassilis Vassilikos’s ... and dreams are dreams (1988). Chapter Three pairs two feminist writers and their stories of metamorphoses, Virginia Woolf’s Orlando: A Biography (1928) and Darrieussecq’s Pig Tales: A Novel of Lust and Transformation (1996), to explore subjectivity as hybrid: androgynous and human-animal like. Metamorphosis, as this project suggests, allows us to explore an array of subjectivities, both individual and collective: it points to the issues of death, rebirth, sacrifice, the subject’s position within a nation and the processes of nation-formation, and creative writing as negotiating loss, while it also challenges the established boundaries of gender and animal representation. This thesis argues that the twentieth-century stories of metamorphosis which are being examined here articulate a certain metamorphosis in our very conception of subjectivity, namely, the reconceptualization of subjectivity as hybrid, metamorphic, and bound to individual and collective transformations.
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Hellman, James. ""As Mind to the Body": Prudence and Artificial Memory in the Illustrations and Commentary of George Sandys' Ovid's Metamorphosis Englished (1632)." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/506.
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This thesis is an analysis of an English verse translation of Ovid's Metamorphoses, published in 1632 by the Englishman George Sandys. This book included a full English commentary and was illustrated by several full-plate engravings. This study examines the edition's elaborate utilization of the rhetorical practices of artificial memory and related concepts of rhetorical invention. It demonstrates that these rhetorical practices were chosen and implemented for their inherent structural appropriateness for the cultivation of prudence, or practical wisdom. It reveals that the lessons in practical wisdom encoded in the work through the techniques of artificial memory were particularly aimed at political issues and the concerns of rulers. From the work's preoccupation with prudence as appropriate for a ruler, and from the dedication and prefatory texts, it becomes clear that it was intended to provide a means of counsel, or advice, to the King Charles I in an elaborate poetic format.
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Tronchet, Gilles. "La métamorphose à l'oeuvre recherches sur la poétique d'Ovide dans les "Métamorphoses /." Louvain ; Paris : Peeters, 1998. http://catalogue.bnf.fr/ark:/12148/cb36709145t.
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Grivel, Ian. "Psyché, le mythe et l’idéal : ou les métamorphoses d'une figure antique dans les littératures de langue anglaise." Thesis, Perpignan, 2016. http://www.theses.fr/2016PERP0039.
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Comment une figure antique comme celle de Psyché a-t-elle su trouver une place dans les littératures de langue anglaise? La réponse est multiple car les auteurs anglophones ont multiplié les approches, mais souvent en rapport avec la notion d'idéal. En effet, au fil des siècles, le mythe de Psyché s’est peu à peu inscrit dans une tradition idéaliste faisant de cette déesse une figure à la fois idéalisée, et à laquelle on a fait correspondre différents idéaux. Mais à l’inverse, Psyché a aussi vu son image être ternie. De nombreux auteurs ont voulu rompre avec la tradition idéaliste en cherchant à détourner l’histoire. Cette lecture nouvelle est souvent fondée sur une décomposition physique et morale du personnage. Cette dégradation lui permet alors de s’extraire du carcan que lui imposaient ses formes trop idéalisées, et d’investir de nouveaux champs littéraires plus modernes, dans des versions anti-idéalisées de ses aventures et de son mariage avec CupidonHow did an antique character such as Psyche, with a Mediterranean background, find a place within English-language literatures? English-writing authors have in fact multiplied the ways in which they have approached and ceaselessly reinvented the myth, generally around the notion of ideal. Indeed, throughout the centuries, the myth gradually brought about an idealistic tradition whereby this goddess became a figure both idealised and which was made to fit into various ideals.But conversely, Psyche also had this perfect image tarnished. Many writers decided to part with this idealistic tradition, looking for ways in which to distort the story. This rewriting is often based on a physical and moral decomposition of the character. This degradation thus releases her from her previous idealised and constraining forms, and enables her to enter new literary and modern fields, with anti-idealised versions of both her adventures and her marriage to Cupid
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Gunutzmann, Pricila. "A identidade do poeta contemporâneo à luz do sintagma identidade-metamorfose-emancipação." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/16989.
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Previous issue date: 2012-10-22Conselho Nacional de Desenvolvimento Científico e Tecnológico
This dissertation investigates the metamorphosis of the poet's contemporary identity and the meaning they attribute to their art as well as the perceived political positions in his role. For this, we start from the social psychology, with the main category of identity, seen from the syntagma identity-metamorphosisemancipation, to understand the phenomenon not only in its instrumental aspect, but the whole context in which the contemporary poet is inserted. Through the analysis of the life story of two poets of today, it was possible to understand the processes of transformation and emancipation of human identity in contemporary societies, which occurs in contexts permeated by the dialectic regulation/emancipation. This study examined the poet as a contemporary subject, able to interpolate opening times and disruptions so their reader can fill it in with their own experiences, providing metamorphoses. We went through the construction of the role of the poet in our society and their different historical characters: artist, politician and guardian of metamorphoses, verifying its relations with the present. Thus, this study sought to weave reflections about the different possibilities of emancipation in contemporaneity as well as provide insight to discuss the meanings of metamorphosis and post-conventional identities
Esta dissertação busca investigar as metamorfoses da identidade do poeta contemporâneo e o sentido que estes atribuem a sua arte bem como os posicionamentos políticos percebidos em seu papel. Para isto, partimos da Psicologia Social, tendo como categoria central a identidade, vista a partir do sintagma identidade-metamorfose-emancipação, propondo entender o fenômeno não apenas no seu aspecto instrumental, mas em todo o contexto no qual o poeta contemporâneo está inserido. Por meio da análise da história de vida de dois poetas da atualidade, foi possível compreender os processos de transformação e emancipação da identidade humana nas sociedades contemporâneas, que se dá em contextos permeados pela dialética regulação/emancipação. O estudo em questão analisou o poeta enquanto sujeito contemporâneo, capaz de interpolar tempos e abrir rupturas para que seu leitor as preencha com as próprias vivências, proporcionando metamorfoses. Percorremos a construção do papel do poeta em nossa sociedade e suas diferentes personagens históricas: artista, político e guardião de metamorfoses, verificando suas relações com a atualidade. Deste modo, este trabalho buscou tecer reflexões acerca das diferentes possibilidades de emancipação na contemporaneidade bem como oferecer subsídios para discutir os sentidos da metamorfose e as identidades pós-convencionais
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Green, Amanda Lynn. "Milton's Eve and Ovid's metamorphoses." Thesis, Durham University, 1985. http://etheses.dur.ac.uk/7482/.
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Milton's early partiality for Ovid once noted, it is customary to assume that his formal apprenticeship to the Latin poet concluded with Eleqia Septima, after which, it is argued, he left the service of his first master to follow the more congenial example of Virgil. That this is an over-simplified account of the development of Milton's literary tastes is confirmed by the number of Ovidian reminscences in the text of Paradise Lost, and also by evidence of a different kind. We have the testimony of Milton's daughter, Deborah, that Ovid's epic, the Metamorphoses, retained its hold on Milton's imagination and remained one of the three favourite works she was most often called upon to read to her father. So enigmatic and protean a character as Milton's Satan has understandably diverted a great deal of critical attention away from his portrayal of Adam and Eve. However, Milton's characterization of Eve, particularly, repays the closest critical attention. In my thesis, I have concentrated upon the presentation of Eve, where lines that breathe forth an unmistakably Ovidian redolence tend to gather. When painting his portrait of Eve, Milton employs a special technique. She is not presented to us directly, but obliquely, through the medium of a controlled and inspired evocation of figures from the Metamorphoses. These associative links do not simply provide imaginative colouring, they become in addition the means whereby we apprehend her nature and role in the epic. They become expanding images of surprising potency, relating pointedly to the present and future parts she is to play. Indeed, this strategy of deliberate allusion to Ovidian mythology performs several, different functions simultaneously. By associating Eve with the bright, vernal beauty of Ovid's mythical settings, Milton establishes his unfallen Eve as belonging to a remote yet familiar world. She is glimpsed as Proserpina, Narcissus and Daphne in quick succession, and then as Ovid's Mater Flora in a pattern of unfolding significance, which provides the means whereby Milton can articulate and expand the Biblical account of Eve's pre-lapsarian experience. Previous critics have tended to concentrate on the way in which Milton uses certain kinds of imagery to prepare for the Fall. Searching out potential flaws and latent weaknesses, they alert the reader with a knowing wink when a simile or incident warns us of the inexorable sequel. It is admittedly tempting to seize upon one or two memorable strands of mythological identification - whether of Eve as Narcissus or Circe - to the exclusion of others, and to find in them the formative motifs for her portrayal. However, this approach does not do justice to the complexity of Milton's usage; these figurative links define the positive, as well as hint at the negative, aspects of Eve, and seem often to be used with calculated ambiguity by the poet. Again, some of the most subtle and interesting examples of this narrative technique are those where Milton provides only the first link in a chain of associated ideas, where the relationship is merely suggested or hinted, rather than explicitly stated. Eve is then presented in such a way that the reader enjoys the pleasure of making previously unapprehended connections and exploring for himself the implications of such a correspondence. In these cases, the reminiscence is sufficiently distinct to alert the informed reader while preserving something of the quality of things left unsaid which characterizes Milton's greatest poetic effects. Keenly aware of the imaginative value of pagan myth, Milton could tap and exploit its poetic power, whilst at the same time establishing Eve as the summa of all other partial embodiments that appear in fractured versions of the true and complete account to which he had access in the Scriptures. Shining through her local manifestations as Narcissus, Daphne, Pomona, Venus and Flora, Eve subsumes and thus transcends her mythical ectypes, which become reflections or 'shadowy types' of Eve herself.
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Lannom, Sarah Case. "Pindaric Aspects of Ovid's Metamorphoses." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493558.
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This dissertation analyzes Ovid’s Metamorphoses through the lens of praise and blame poetry and focuses on Pindar and possible allusions to epinician poetry. In particular, I look at the Apollo and Daphne episode (Met. 1.452–567), Lycaon’s transformation (Met. 1.163–252), the armorum iudicium (Met. 12.620–13.398), and Ovid’s praise (or not) of Julius and Augustus Caesar during the end of Metamorphoses 15 (Met. 15.745–879). In Chapter 1, I discuss how reading the Apollo and Daphne episode in the context of Pythian 9 and the founding of Cyrene illuminates darker aspects of Roman Ktisissagen by altering the epinician paradigm. Chapter 2 concerns the Lycaon episode and the way in which Jupiter takes on the role of an iambic poet. Chapter 3 consists of an analysis of Ulysses’ speech and structural correspondences with praise poetry in Ovid’s account of the armorum iudicium. In my conclusion, I consider Ovid’s use of epinician topoi during the end of the Metamorphoses. When read through a Pindaric lens, these episodes illuminate Ovid’s use of praise and blame poetry and his relationship with Augustus at this point in his career.Classics
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Sukle-Zanone, Therese. "La métamorphose dans l'oeuvre de Steven Millhauser." Thesis, Grenoble, 2013. http://www.theses.fr/2013GRENL016/document.
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La fiction de Steven Millhauser est caractérisée par le mouvement perpétuel : un mouvement générique du réalisme au fantastique, avec des intrigues qui résistent aux dénouements et des personnages, des lieux et des objets en transformation constante. Son œuvre nous présente exploration de la métamorphose littéraire, qui se manifeste à la fois comme style d'écriture et comme motif. Enracinée dans une conception typiquement américaine de la métamorphose, née de la philosophie Ralph Waldo Emerson, la métamorphose millhauserienne attire l'attention du lecteur sur le pouvoir transformateur de l'art et plus spécifiquement de la littérature. Utilisant la relation entre l'art et l'identité culturelle comme point de départ, notre thèse montre que la fiction de Millhauser développe la nature métamorphique de l'expérience esthétique. Au cœur de la dynamique de la métamorphose littéraire se trouve la relation entre lecteur, texte et auteur, relation transformatrice que Millhauser met en scène à plusieurs reprises, afin d'explorer les possibilités et les limites du language. Si sa fiction illustre le potentiel destructeur de la métamorphose linguistique, et manifeste aussi une certaine angoisse concernant les limites du langage, son œuvre est néanmoins dominée par un sentiment d'émerveillement et d'espoir dans la valeur régénératrice de la fiction, et son pouvoir de faire resurgir la beauté d'un monde devenu ordinaireSteven Millhauser's fiction is characterized by perpetual movement: a transition from realism to the fantastic, with plots which resist denouement and characters, places and objects in constant transformation. Millhauser's work offers the reader a literary metamorphosis which is both stylistic and thematic. The millhauserien metamorphosis is typically American, the offspring of Emersonian philosophy, and it highlights the transformative power of art and, specifically, of literature. Using the mutually transformative relationship between art and cultural identity as a starting point, this thesis demonstrates the ways in which Millhauser's fiction develops the metamorphic nature of the esthetic experience. The relationship between the reader, the text and the author is at the heart of literary metamorphosis, and this transformative relationship, which often appears in Millhauser's work, sets the stage for an exploration of the possibilities and limits of language. If Millhauser's fiction illustrates the destructive potential of linguistic metamorphosis, and articulates a certain anxiety concerning the limits of language, his work is nonetheless dominated by the sentiment of wonder and hope in the regenerative value of fiction and its power to reveal the unusual beauty of a world which has become ordinary
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Baumeister, Anna-Lisa, and Anna-Lisa Baumeister. "Abjektion und Metamorphose - Metamorphose und Abjektion: Verekelungbilder des Weiblichen in zeitgenössicher österreichischer Literatur." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12457.
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In this thesis, I examine the figure of the “disgusting woman” in contemporary Austrian literature. I begin by developing a theoretical orientation to disgust and the disgusting woman, drawing from works by Winfried Menninghaus, Julia Kristeva, Judith Butler, and Theodor Adorno. Next, I use this theoretical framework to interpret three prominent texts of contemporary Austrian literature: Barbara Frischmuth’s “Otter,” Christoph Ransmayr’s Die letzte Welt, and Elfriede Jelinek’s Die Klavierspielerin. Ultimately, my analysis yields three compelling insights. First, through literary interpretation, disgust can be shown to operate at a cultural level to exclude and oppress women. Second, literary texts can describe and reveal, in a way purely theoretical works cannot, the visceral, embodied effects of disgust on human subjects—and on women in particular. Finally, and more optimistically, many of those cultural practices which exclude and oppress women might be transformed through critical engagement with the phenomenon of disgust.10000-01-01
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Frangoulidis, Stavros Antonios. "Epic imitation in the Metamorphoses of Apuleius /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu148767844425807.
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Thompson, Julian Adam Sheard. "Ovid's Orpheus : studies in Metamorphoses 10-11." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308169.
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Nussbaumer, Julia. "Métamorphoses du conte, métamorphoses dans le conte : modèles et avatars formels du merveilleux, des origines à nos jours." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100109.
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Ce travail porte sur les origines et les évolutions du conte merveilleux et de sapoétique, à travers l’étude privilégiée de la métamorphose. Le genre, issu de lalittérature orale, se caractérise en effet par une histoire littéraire tout particulièrement faite de transformations, de récritures et d’appropriations diverses, au gré du changement des mentalités, d’un élargissement des modes de diffusion et d’une ouverture aux littératures étrangères. En outre, les transpositions du conte à d’autres domaines que celui de l’écrit, tels que l’image et la scène, participent de l’évolution d’une poétique merveilleuse qui se définit en premier lieu comme poétique démonstration. Dans cette perspective, un deuxième versant de notre travail s’intéresse à la manière dont le cinéma – en prise de vues réelles et, surtout, d’animation (graphique) – a pu s’emparer du conte dès le tournant du XXe siècle, et met en lumière un certain nombre d’apports figuratifs (relevant principalement de la métamorphose et d’un jeu sur le voir et le non voir) à la poétique d’un genre dont il perpétue par ailleurs la structure narrative forteThis work retraces origins and developments of fairy tales and its poetic, focusing on the metamorphosis. The history of this literary genre, born trough oral tradition, is especially composed of numerous changes, re-writings and various appropriations,according to mentalities, development of mass dissemination methods and study of foreign literatures. In parallel, fairy tales transpositions to others non-written domains,like theatre and pictures, confirms that the fairy tales poetic is primarily pictureoriented.In this perspective, the second part of our work focuses on how cinema(through live-action images and, especially, graphically animated images) has been inspired from fairy tales since early 20th century, and highlights a couple of figurative contributions (mostly based on metamorphosis and a game between visible and non visible) to the poetic of this genre, while it also perpetuates its strong narrative structure
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Bishop, Anne Washington. "The battle scenes in Ovid's Metamorphoses /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008277.
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Martin, Bernhard R. "Nibelungen-Metamorphosen : die Geschichte eines Mythos." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39280.
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It has frequently been stated over the past 20 years that, in the 19th and early 20th centuries, the Nibelungenlied served to communicate and justify nationalist ideals in Germany. This criticism focused on the alienation of the epos from its original (medieval) context and on the reinterpretation of some of its key elements in order to suit that nationalist purpose. It accurately underlined that it was necessary to become aware of the historical distance between the Nibelungenlied and its modern interpreters, thereby ensuring an adequate understanding of its meaning.Although this view is justified in light of intellectual history, it does not fully explain the "nationalist" abuse of the epos. The goal of this thesis is to remedy this deficiency by using a theory of myth as a basis for the interpretation of the nationalist modifications introduced in the Nibelungen-epos. The analysis that is made within a myth-oriented framework reveals that the nationalist reception of the Nibelungenlied was not exclusively a reflex of germanophilic enthusiasm, but rather represented a subsequent adjustment of the epos to a new fundamental myth. During its period of reception, the epos underwent several modifications, each being the result of changes in the fundamental myths during the different historical periods. From a contemporary perspective, the historical parameters of this process are established by the medieval epos itself on the one hand, and J. Lodemann's 1986 adaptation of the Nibelungenlied, entitled Siegfried, on the other. Seen within the concept of "work on myth", the nationalist reception can be explained as just another element in a whole series of adjustments brought about in order to guarantee the continuing relevance of the Nibelungenlied.
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Nicklas, Pascal. "Die Beständigkeit des Wandels : Metamorphosen in Literatur und Wissenschaft /." Hildesheim ; Zürich ; New York : G. Olms, 2002. http://catalogue.bnf.fr/ark:/12148/cb39925606h.
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Paschalis, Sergios. "Tragic palimpsests: The reception of Euripides in Ovid's Metamorphoses." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467245.
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The subject of this dissertation is the reception of Euripidean tragedy in Ovid’s Metamorphoses.
In Chapter 1 I offer a general survey of the afterlife of Euripidean drama in the major mediating
intertexts between Euripides and Ovid, namely Hellenistic poetry, Roman Republican tragedy,
and Virgil’s Aeneid, as well as a review of the pervasive presence of the Greek tragedian in the
Ovidian corpus. Chapter 2 focuses on the reception of Euripides’ Bacchae in the
Metamorphoses. The starting point of my analysis is Ovid’s epic rewriting of the Euripidean play
in the Pentheus episode. Next, I argue that Ovid makes use of the allusive technique of
“fragmentation”, in the sense that he grafts elements of the Bacchae in the narratives of the
Minyads and Orpheus. The final section examines Ovid’s portrayal of Procne, Medea, and
Byblis as maenads and their evocation of the Virgilian Bacchants Dido and Amata. In Chapter 3
I begin by investigating Ovid’s intertextual engagement with Euripides’ Medea in the Medea
narrative of Book 7, which is read as an epicized “mega-tragedy” encompassing the Colchian’s
entire mythical career. In the second part of the chapter I discuss the Roman poet’s reworking of
the Euripidean tragedy in other episodes of the Metamorphoses and argue that Procne, Althaea,
and Deianira constitute “refractions” of Euripides’ Medea. Chapter 4 examines Ovid’s epic
refashioning of Euripides’ Hecuba, which he merges with Virgil’s alternative variant of the
Polydorus myth in Aeneid 3. The Roman poet reshapes the main plot components of the Greek
play, but also makes subtle allusions to the Virgilian version of the story. Chapter 5 is devoted to
the episode of Virbius in Metamorphoses 15. Ovid produces a novel version of the myth by
melding together his Euripidean model with Virgilian and Sophoclean intertexts. The Roman
poet adapts Virgil’s Virbius story in Aeneid 7 by altering its context from a catalogue of Latin
warriors into an exchange between Virbius and the nymph Egeria. Moreover, the Ovidian
narrative draws on Euripides’ two Hippolytus plays, the extant Hippolytos Stephanephoros and
the fragmentary Hippolytos Kalyptomenos, as well as on Sophocles’ Phaedra.Classics
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Favicchia, Lisa. "Daughter Of." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491306364942036.
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May, Regine. "A comic novel? : Roman and new comedy in Apuleius' Metamorphoses." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270113.
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Chace, Tara. "In case of emergency, break glass : ontological metamorphoses in Norwegian and Finnish postmodern literature /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6578.
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Lani, Soraya. "L'hybridité dans l'oeuvre de l'écrivain brésilien Moacyr Scliar (1937-2011) : judéité, imaginaire et représentations." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30053/document.
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L’œuvre de l’écrivain Moacyr Scliar témoigne de la transposition de son héritage culturel juif à sa création littéraire, créant un « entre-lieu » propice à la formation de représentations hybrides issues de sa double inscription identitaire : juive et brésilienne. Le présent travail se propose d’étudier les mécanismes de son univers hybride, comprenant autant la forme (hybridité générique) que le fond (hybridité culturelle) de dix-sept récits de fiction publiés entre 1968 et 2008. La première partie de cette étude s’attache à analyser la formation d’un espace judaïco-brésilien en mouvement constant et aussi la spécificité de ses représentations métamorphiques animales. La seconde partie, réservée au genre hybride des métafictions historiographiques, est consacrée à l’analyse des stratégies de traduction culturelle concernant le rapport entre personnages juifs et personnages historiques mythiques. Dans le troisième volet, nous proposons une réflexion sur l’évolution des pratiques intertextuelles bibliques, allant de l’ « impli-citation » à la parodie postmoderneThe work of author Moacyr Scliar is a living testimony to the transposition of his Jewish cultural legacy to his literary creation, which gave life to a “place in between” favourable to the inception of hybrid representations coming from his twofold identity, Jewish and Brazilian. The present work intends to study the mechanisms of his hybrid world including both the form – generic hybridism – and the content – cultural hybridism – of seventeen fictional narratives published between 1968 and 2008. The first part of this study will analyse the formation of a Judeo-Brazilian space which is in constant motion but also the specificity of its animal metamorphic representations. The second chapter is devoted to the hybrid type of historiographic metafictions and to the scrutiny of the strategies dealing with cultural translation in the case of mythical Jewish and historical characters and their relations. The third part proposes to reflect on the evolution of biblical intertextual practices, ranging from implicitation to postmodern parody
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Soto, Fernando Jorge. "Sources, symbols, identities, and metamorphoses in Carroll’s ‘Nonsense’ and Macdonald’s Fantasy." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2295/.
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Lewis Carroll, and George MacDonald are responsible for some of the most popular yet obscure texts in the English Canon. Because Carroll and MacDonald are often credited with pioneering much of their genres — Nonsense Literature and Fantasy Literature — it seems that often they are labeled as originators, and not as active contributing members of a much larger literary tradition. Carroll and MacDonald were close friends and literary confidants, using each other’s works, as well as employing that of other writers. This is a study of the sources Carroll and MacDonald used in an attempt to better understand the underlying meanings and symbols in some of their works. For example, I study the analogous symbols they utilized, along with the words used to express them, to convey their ideas about identity and metamorphosis. I show that they rely on ancient, complex symbols, and the traditional language and meanings associated with them, to communicate deeply embedded messages to their readers. They employ the symbols of the worm, the chrysalis, and the butterfly, in several different guises, in their complex works. It is these symbols that allowed them to elucidate the concepts of the individual’s initial materialist state, followed by the midway period of dreaming/reflecting, and the subsequent spiritual awakening. The analysis of the literary sources they used helps to uncover symbols and themes of interest for Carroll and MacDonald, which in turn help to expose other of their sources, such as the Bestiaries, biblical stories, and the works of Isaac Watts, and William Blake. I attempt to explain how some of these symbols and themes function in the portrayal of coherent, yet creative, meanings in Carroll’s ‘Nonsense’ and MacDonald’s Fantasy.
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Gouard, Cecile Agnes. "Metamorphoses des roles et des statuts par les ecritures feminines." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3303.
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I analyze how fiction and non-fiction by women challenge the legal status and social roles imposed on French and Francophone female citizens by juridical institutions and practices from the eighteenth through the late twentieth century. Through close readings, I focus on women's determination to seek equality of civil rights by denouncing the effects of the Napoleonic code which had reduced them legally to the status of minors. I argue how women novelists, in particular, have denounced social and familial inequalities in order to provide all women with access to higher education and fulfilling careers. In so doing, these writers have defied models of education that had long privileged patriarchal orders. These women also struggled against outmoded laws that made contraception and abortion illegal. I show how these writers have tried to undo the bourgeois myth of the nuclear couple by calling for consensual alliances that rehabilitate women to full equality. I conclude by noting how these texts calling for an end to patriarchal prejudice fashion alternative models of womanhood to existing laws and statutes.
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Noacco, Cristina. "La métamorphose dans la littérature française des XIIe et XIIIe siècles /." Rennes : Presses Univ. de Rennes, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016391147&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA.
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Carver, Robert H. F. "The protean ass : the metamorphoses of Apuleius from antiquity to the English renaissance." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385430.
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Behmenburg, Lena. "Philomela : Metamorphosen eines Mythos in der deutschen und französischen Literatur des Mittelalters." Paris 3, 2007. http://www.theses.fr/2007PA030047.
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La thèse comporte trois parties : la première se consacre à des questions théoriques concernant mythe et littérature et présente la démarche méthodologique de l’ouvrage. Un excursus analyse la métaphore du tissu pour désigner le rapport entre mythe et littérature, et une présentation du lai du Laüstic de Marie de France s’interroge sur les mythèmes du rossignol, du langage et du silence et de la communication tissée qui évoquent le mythe de Philomèle. La deuxième partie est composée de quatre chapitres différents qui se penchent chacun sur des réécritures individuelles du mythe de Philomèle afin de dégager leur manière unique de travailler le mythe. Les textes étudiés se situent entre la deuxième moitié du 12e siècle (Marie de France, Chrétien de Troyes, Albrecht von Halberstadt) et 1545 (Georg Wickram) et comprennent des textes allemands et français afin que la métamorphose du mythe puisse être retracée au niveau littéraire, temporel et culturel. La troisième partie de la thèse essaie de filtrer, sur la base des analyses précédentes, les mythèmes qui persistent malgré les changements du mythe de Philomèle pour discerner ainsi ses ‘noyaux narratifs’. Bien que les textes en créent des variantes hétérogènes, nous pouvons constater que quatre motifs différents forment des points fixes dans la construction du mythe et ils seront ainsi présentés et analysés dans des chapitres individuelsThe thesis is composed of three parts: the first one reflects theoretical questions concerning the connection between myth and literature. It also exposes the methodological concept of the thesis. An excursus analyses the metaphor of the tissue and reads it as a metaphor for the connection between myth and literature. This part also shows the parallels between the lai of the Laüstic and some of the mythic patterns of the myth of Philomel like the role of the nightingale, the topic of language and silence, or the woven communication. The second part is composed of four subchapters, which point out different texts who are all retelling the myth of Philomel in their own different way. The French and German text versions were written between the second half of the 12th century (by authors like Marie de France, Chrétien de Troyes, Albrecht von Halberstadt) and 1545 (by Georg Wickram). The third part of the thesis tries to show that four different mythic patterns are used by all authors, nevertheless of the many variations their texts show
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Behmenburg, Lena. "Philomela Metamorphosen eines Mythos in der deutschen und französischen Literatur des Mittelalters." Berlin New York, NY de Gruyter, 2007. http://d-nb.info/991725123/04.
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Behmenburg, Lena. "Philomela : Metamorphosen eines Mythos in der deutschen und französischen Literatur des Mittelalters /." Berlin : De Gruyter, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783110204643.
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Carvalho, Alex Sandra de. "RELAÇÕES INTERSEMIÓTICAS ENTRE LITERATURA E ARTES PLÁSTICAS." Pontifícia Universidade Católica de Goiás, 2018. http://tede2.pucgoias.edu.br:8080/handle/tede/3914.
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This research approaches the intersemiotic relations between literature and the plastic arts, which the main goal is the process of metamorphosis (or dereferentiation) in art work, as well as the sense-generating power resulting of such a process. Thus, this work aims to articulate structural homological relations between distinct semiotic systems (literary and plastic) in order to generate mutual enlightenment between them. It seeks to present ways of understanding the work of art through the explanation of conjunctions of roots by establishing structural homologies to the creation process. In fact, the work aims to penetrate the particularities of languages (verbal and visual) in order to reveal them in their constructive and meaningful procedures. So, this work was based on intense bibliographical research and analysis of the works analyzed. Among them, two pairs of works were prioritized in order to establish a dialogue between literature and painting: the novel The Metamorphosis, by Franz Kafka, and the painting The Anthropomorphic Cabinet, by Salvador Dalí; the novel El mundo de Vasabarros, by José J. Veiga, and the plastic work The Trench, by Otto Dix. In addition, the literary and artistic works of art, especially of modernity, are more closely related to the process of creation, or rather to the process of Metamorphosis (dereferentiation) in art work, responsible for creating new and more senses. Thus, pieces of signs connect to generate a new form, metamorphosed into a complex sign, which foundations are based on the procedures of derealization, deautomation, singularization and estrangement, very common to the dereferred arts of modernity.
Esta pesquisa aborda relações intersemióticas entre literatura e artes plásticas, cujo fio condutor é o processo de metamorfose (ou desreferencialização) no trabalho de arte, bem como a potência geradora de sentidos resultante de tal processo. Assim, este trabalho objetiva articular relações homológicas estruturais entre sistemas semióticos distintos (literários e plásticos) de modo a gerar a mútua iluminação entre eles. Busca apresentar caminhos de compreensão da obra de arte por meio da explicitação de conjunções de raízes ao estabelecer homologias estruturais quanto ao processo de criação. Em síntese, o trabalho objetiva penetrar nas minudências das linguagens (verbal e visual) a fim de revelá-las nos seus procedimentos construtivos e significativos. Para isso, este trabalho fundamentou-se em intensa pesquisa bibliográfica e perscrutação das obras analisadas. Dentre elas, priorizaram-se dois pares de obras a fim de estabelecer um diálogo entre literatura e pintura: a novela A Metamorfose, de Franz Kafka, e o quadro O Antropomórfico Gabinete, de Salvador Dalí; o romance Aquele mundo de Vasabarros, de José J. Veiga, e a obra plástica A Trincheira, de Otto Dix. Disso, infere-se, portanto, que as obras de arte literárias e plásticas, sobretudo da modernidade, assemelham-se, mais intensamente, quanto ao processo de criação, ou melhor dizendo, quanto ao processo de Metamorfose (desreferencialização) no trabalho de arte, responsável por criar novos e mais sentidos. Portanto, estilhaços de signos unem-se para gerar uma forma nova, metamorfoseada em signo complexo, cujos fundamentos assentam-se nos procedimentos de desrealização, desautomatização, singularização e estranhamento, muito comuns às artes desreferencializadas da modernidade.
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Adams, Ethan T. "Gods and humans in Ovid's "Metamorphoses" : constructions of identity and the politics of status /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11479.
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Thomas, Rachel E. "Sic Itur Ad Astra: Divinity and Dynasty in Ovid's Metamorphoses." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1399402859.
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