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Dissertations / Theses on the topic 'Mythopoeia'
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Morgan, Harry. "Formes et mythopoeia dans les littératures dessinées." Paris 7, 2008. http://www.theses.fr/2008PA070103.
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Cette thèse poursuit une recherche précédente menée hors du cadre universitaire (Harry Morgan, Principes des littératures dessinées, Editions de Tan 2,2003). Elle est une contribution à une théorie de la bande dessinée (une stripologie) moderne, résolument empiriste, qui situe les procédés formels qu'elle identifie dans le contexte général de la narration visuelle et relativement à des support qui sont le livre, l'estampe, le journal quotidien, le périodique, etc. L'étude est centrée sur l'interaction entre les contraintes physiques, sémiotiques et éditoriales pesant sur le médium et le contenu. Pénétrant outre les apparences du monde d la fiction, elle aborde les grandes lois de l'organisation de ce monde. On propose d'appeler fonction mythopoétique des littératures dessinées cette définition d'un univers par les caractéristiques formelles et les mécanismes spécifiques du médium. Le corpus comprend la planche dominicale Zig et Puce d'Alain Saint-Ogan, le newspaper stripLittle Orphan Annie de Harold Gray, le comic book The Fantastic Four de Jack Kirby et la totalité des récits en bande dessinée de Jean-Claude Forest<br>Our thesis elaborates upon a previous scholarly work (Harry Morgan, Principes des littératures dessinées, Editions de l'an 2, 2003). Our aim is to contribute to an empirical theory of comics (a stripology), which places the rhetorical devices found in comic book or comic strip stories in the wider context of visual narrative but also in the narrower context of the relevant editorial form, such as a book, a print, a daily newspaper, a periodical publication (such as a weekly), etc. The analysis is centered on the interaction between the physical, semiotical, and editorial constraints of the comic narrative and the contents of the stories. This leads not onty to an examination of the peculiarities of the fictional worlds of comics, but to a wider understanding of the laws that govern such worlds. It is suggested that such a definition of an imaginary world by the formal characteristics and the narrative mechanisms of the comic form is a function of a mythopoetic potentiality of comics. The Sunday page of Zig et Puce by Alain Saint-Ogan, the newspaper strip Little Orphan Annie by Harold Gray, thé comic book The Fantastic Four by Jack Kirby and the entire œuvre of Jean-Claude Forest are examined in detail
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Buchberger, Michelle Philips. "Metafiction, historiography, and mythopoeia in the novels of John Fowles." Thesis, Brunel University, 2009. http://bura.brunel.ac.uk/handle/2438/6558.
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This thesis concerns the novelist John Fowles and analyses his seven novels in the order in which they were written. The study reveals an emergent artistic trajectory, which has been variously categorized by literary critics as postmodern. However, I suggest that Fowles's work is more complex and significant than such a reductive and simplistic label would suggest. Specifically, this study argues that Fowles's work contributes to the reinvigoration of the novel form by a radical extension of the modernist project of the literary avant-garde, interrogating various conventions associated with both literary realism and the realism of the literary modernists while still managing to evade a subjective realism. Of particular interest to the study is Fowles's treatment of his female characters, which evolves over time, indicative of an emergent quasi-feminism. This study counters the claims of many contemporary literary critics that Fowles's work cannot be reconciled with any feminist ideology. Specifically, I highlight the increasing centrality of Fowles's female characters in his novels, accompanied by a growing focus on the mysterious and the uncanny. Fowles's work increasingly associates mystery with creativity, femininity, and the mythic, suggests that mystery is essential for growth and change, both in society and in the novel form itself, and implies that women, rather than men, are naturally predisposed to embrace it. Fowles's novels reflect a worldview that challenges an over-reliance on the empirical and rational to the exclusion of the mysterious and the intuitive. I suggest that Fowles's novels evince an increasingly mythopoeic realism, constantly testing the limits of what can be apprehended and articulated in language, striving towards a realism that is universal and transcendent.
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Louw, Juanita. "Toorlelies (Portfeulje) & Mythopoeia in Marina Tsvetaeva's after Russia (Essay)." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/6801.
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Abtract of essay: Mythopoeia in Marina Tsvetaeva's after Russia. This study examines the use of myth in Marina Tsvetaeva's last poetry collection, After Russia. The study will focus on the myth of Orpheus, the archetypal poet, as well as the metamorphoses of the Greek bard as presented by Tsvetaeva in her poetry. Tsvetaeva's appropriation of the mythic personae of Eurydice and the Cumaean Sibyl will also be explored in relation to the Orphic myth and the way these characters were used to express the comingVintoVbeing of the poet. A brief overview will be given of the mythical figures under discussion as they appear in literature. The study will then consider Tsvetaeva's use of these mythic characters to elucidate her poetic philosophy, the task of the poet and the essence of poetry. Finally, for background information, a short biographical sketch is included.
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Karadas, Firat. "Imagination, Metaphor And Mythopoeia In The Poetry Of Three Major English Romantic Poets." Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/3/12608579/index.pdf.
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This thesis studies metaphor, myth and their imaginative aspects in the poetry of William Wordsworth, Percy Bysshe Shelley and John Keats. The thesis argues that a comprehensive understanding of metaphor and myth cannot be done in the works of these poets without seeing them as faces of the same coin, and taking into consideration the role of the creating subject and its imagination in their production. Relying on Kantian, Romantic, and modern Neo-Kantian ideas of imagination, metaphor and myth, the study tries to indicate that imagination is an inherently metaphorizing and mythologizing faculty because the act of perception is an act of giving form to natural phenomena and seeing similitude in dissimilitude, which are basically metaphorical and mythological acts. In its form-giving activity the imagination of the speaking subjects of the poems studied in this thesis sees objects of nature as spiritual, animate or divine beings and thus transforms them into the alien territory of myth. This thesis analyzes myth and metaphor mainly in two regards: first, myth and metaphor are handled as inborn aspects of imagination and perception, and the interaction between nature and imagination are presented as the origin of all mythology<br>second, to show how myth is something that is re-created time and again by poetic imagination, Romantic mythography and re-creation of precursor mythologies are analyzed. In both regards, poetic imagination appears as a formative power that constructs, defamiliarizes and re-creates via mythologization and metaphorization.
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Burr, Gareth. "Eshawa! : vision voice and mythic narrative; an ethnographic presentation of Ese-eja mythopoeia." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339782.
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Rumbold, Matthew Ivan. ""Freelance mystic": individuation, mythopoeia and metafiction in the early fiction of Russell Hoban." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1004455.
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This thesis is an exploration of three interrelated modes - the psychological, the religious or mythopoeic, and the metafictional - in the early novels of Russell Hoban. It investigates the relationship between Hoban's religious vision and his literary style, through the lens of his 'fictional philosophy' as it is presented in his essay collection The Moment under the Moment. In Chapter One, Kleinzeit is analysed to illustrate Hoban's portrayal of a contemporary crisis of meaning. It includes an introduction to the pattern of individuation and an exposition of Hoban's unique notion of heroism as embodied in Kleinzeit's journey of self-discovery. Hoban's mythopoeic impulse is elucidated with particular reference to his use of the Orpheus and Eurydice myth. Finally, in an attempt to demonstrate Hoban's ideas on the relationship between language and reality, various metafictional techniques are examined, especially in relation to the theme of transcendence. In Chapter Two, the individuation theme in The Medusa Frequenry is considered as a work of mourning, portraying Herman Orfrs movement towards reconciliation and creative renewal. Following Paul Ricoeur, the Orpheus and Eurydice myth is seen as a myth of fault, embodying a primal transgression, and a source of the creative arts. The metafictional style is examined, especially the narrative mode, in order to show how Hoban dissolves the everyday world of reality into a fantastic realm of myth. Chapter Three focuses on the individuation pattern as initiation in Riddley Walker, charting the hero's growth into adulthood. Various myths in the text are analysed to show how they portray human development and the nuclear catastrophe as a mythic Fall. The chapter argues that through Riddley's quest Hoban evokes a redemptive and regenerative fertility myth. The unique literary style of the novel, including the characteristics of 'Riddleyspeak' and the complexity of the process of interpretation is studied. In Chapter Four, which deals with Pilgermann, the final phase of individuation - preparation for death - is discussed. Hoban's religious vision is dissected in relation to his mystical impulse as exemplified in the construction of the Hidden Lion pattern. Hoban's notion of God is investigated in relation to the philosophical problem of evil and suffering. Finally, Pilger mann is shown to be Hoban's mOSt experimental literary novel as it activates his recurring meta fictional techniques, investigations into narrative, and the relationship between language and the sacred. This thesis concludes that Hoban's fiction is best understood holistically with both his religious and literary concerns inextricably entwined. Throughout his novels Hoban explores the human condition in modernity affirming the paradoxical, dialectical and mysterious nature of being.<br>KMBT_363<br>Adobe Acrobat 9.54 Paper Capture Plug-in
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Kolesnyk, Olena. "Human and cosmic truth in William Shakespeare’s interpretation." Millenium, 2014. http://hdl.handle.net/10150/323559.
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The article is about the mythopoeic idea of unity and interrelation of the human being and the Cosmic life, and its interpretation given in the texts of W. Shakespeare’s works.
The human being, as represented in W. Shakespeare’s works, can be considered on three levels: personal, social and cosmic. As a person, a Shakespearean character is defined not only by his / her mind only, but also by the body. In the plays we see individuals of different gender, age, health and appearance. All these characteristics are relevant to the behavior of the individual and the response they get. Shakespeare skillfully shows different affects, and some states that can be explained with the help of the modern notion of hormones. All this was quite revolutionary for his epoch. Thus a human being is described as a creature with the complex psycho physiological constitution. One of the most important words in this context is "heart" that unites both physical and spiritual spheres. It brings to memory Ukrainian tradition of Cordocentrism, especially in P. Yurkevich’s interpretation.
The metaphor of "body" is sometimes used in the pays to describe a social unity. Shakespeare was not a revolutionary, or even a political radical. Sometimes he shows the common people as politically deluded and easily lead. But mostly the commoners are portrayed as persons possessing the common scene and the moral standards, that guarantee the return to norm after social and political upheavals. It is important to note, that Shakespeare shows the kings as persons with weaknesses and problems, who must work hard to keep themselves and their country in order. In many plays he makes his monarchs declare the principal equality of human beings, with all the social differences appearing as secondary and transitory characteristics. Moreover, the same can be said about all the differences, underneath which all the humans are basically the same creatures with the same wants. All of them can suffer and thus are worthy of sympathy. There are some hints that animals can also be seen in the same context. This thought foreshadows the contemporary notion of animal rights an human responsibility for the planet.
On the Cosmic level, the human beings are shown as the integral parts of the greater whole. In many plays there are statements reflecting the medieval model of the Universe, which goes back to the mythopoeia. The basic concept is the interrelation between the state of a person, of social group and of the world. Both the nation and its ruler were hold responsible for the cosmic state of affairs. The violation of the "Truth of the King" may have lead to turning the country into the Wasteland. This important mythologeme underlies all the plot of "King Lear". Taking this into consideration helps us to understand many obscure points. One of them is the behavior of the protagonist, that was traditionally explained only as the complete unreason of a madman who in the times of crisis asks irrelevant questions. In truth, Lear asks about the cause of the apocalyptical storm, which, on his opinion, was the direct result of some great sin. It is very close to the Greek belief, reflected in Sophocles’ "Oedipus", where the plague was sent by gods to punish the ruler’s crime. This belief also explains why in all Shakespearean plays – again, most noticeably in "King Lear" – there is an obligatory explanation in the finale. All the characters must tell their story and their confessions should be taken as forming the part of one general story. Shakespeare shows that the truth must be known and upheld, whatever the cost. Only thus the normal personal, social and cosmic life can continue. It doesn’t mean that all the plays are what was in the Soviet tradition called the "optimistical tragedies". Sometimes the losses are too great and the future is dubious. But it is the revealing of the human and cosmic truth that makes any future possible. In "King Lear" we also see the non-Aristotelian formula of catharsis, that sums up all the meaning of the suffering and losses: a person must learn compassion to restore or compensate what was destroyed in the blind egotistical strife.
All these deeper senses of the plays, revealed by means of applying the principles of culturological hermeneutics, reflect the vestiges of the ancient belief in the human responsibility for the general state of the world. Such ideas, discarded by the Modern European Rationalism, are re-actualized in our times of the global ecological crisis, that demands a new level of awareness and new struggle with the human selfishness on all the levels: personal, social and universal. Taking into consideration these hidden meaning allows us deeper understanding of the Shakespearean tragedy. It can have both theoretical and practical importance, the latter being connected with the outlook-forming role of art. In the post-soviet theatres there is a tendency to turn the tragedies into the absurdist plays. It is an easy way for a director. But now it is more important to show that something can be, and must be done.
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Psathas, Barbara Ann. "The quest for completion an evolving mythopoeia in the writing of Thomas Hardy, D.H. Lawrence, and John Fowles /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1999. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1999.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as, preliminary leaves [2-3]. Includes bibliographical references (leaves 109-112).
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Johnson, Matthew. "An Ethnography of the Bay Area Renaissance Festival: Performing Community and Reconfiguring Gender." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3509.
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This performance ethnography analyzes the means by which performers at Tampa, Florida‘s Bay Area Renaissance Festival constitute community and gender through performance. Renaissance Festivals are themed weekend events that ostensibly seek to allow visitors to experience life in an English Renaissance village. Beginning with the theoretical assumption that performance is constitutive of culture, community, and identity, and undergirded by David Boje‘s festivalism, Richard Schechner‘s restored behavior, Victor Turner‘s liminoid communitas and Judith Butler‘s performative agency, The Festival is explored as a celebratory community that engages in social change through personal transformation.
Employing reflexive ethnography and narrative as inquiry, Chapter Two catalogues and analyzes a broad range of festival performances, from stage acts and handcraft production, to participatory improvisation, dance, and song. Playful and liminoid, these performances invite participants to make performance commitments and mutually to produce community through participative performance, celebratory objects, and the surrender of personal space.
Chapter Three argues that performances of alternative masculinities at festival play out against the backdrop of R.W. Connell‘s heteronormative masculinities. These alternative performances break down social barriers, promote self-definition, and provide agency in the embodiment gendered experiences. Likewise, Chapter Four features Festival‘s feminine performances that reveal the community to be a ―wench‘s world‖ privileging Judith Butler‘s notion of performative agency in order to enable communities of difference. The Wench, the Queen, and the Pirate She- ing all embody feminine power and serve as archetypes of feminine narratives that privilege self-definition. This study demonstrates Festival to be a women-centered community that engages in a mythopoeia of feminist history.
Acknowledging Festival as a multi-vocal community of mythopoets, this ethnography significantly extends the work of previous research on Renaissance Festivals. Rather than focusing on Festival performances as attempts at historical ―authenticity,‖ this study reveals Festival‘s mythological stance and the means by which performers embody mythology and archetype to their own purposes. Moving away from an audience centered discussion of performance, this study demonstrates how individual performers, through personal transformation, become agents of change through performance.
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Gorelick, Adam D. "The Enchanter's Spell: J.R.R. Tolkien's Mythopoetic Response to Modernism." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/1022.
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J.R.R. Tolkien was not only an author of fantasy but also a philologist who theorized about myth. Theorists have employed various methods of analyzing myth, and this thesis integrates several analyses, including Tolkien’s. I address the roles of doctrine, ritual, cross-cultural patterns, mythic expressions in literature, the literary effect of myth, evolution of language and consciousness, and individual invention over inheritance and diffusion. Beyond Tolkien’s English and Catholic background, I argue for eclectic influence on Tolkien, including resonance with Buddhism.
Tolkien views mythopoeia, literary mythmaking, in terms of sub-creation, human invention in the image of God as creator. Key mythopoetic tools include eucatastrophe, the happy ending’s sudden turn to poignant joy, and enchantment, the realization of imagined wonder, which is epitomized by the character of Tom Bombadil and contrasted with modernist techno-magic seeking to alter and dominate the world. I conclude by interpreting Tolkien’s mythmaking as a form of mysticism.
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Buchanan, Travis Walker. "Truth incarnate : story as sacrament in the mythopoeic thought and fiction of C.S. Lewis and J.R.R. Tolkien." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7860.
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The thesis is organized as two sections of two chapters each: the first section establishes a theoretical framework of a broad and reinvigorated Christian sacramentality within which to situate the second—an investigation of the theories and practice of the mythopoeic art of C. S. Lewis and J. R. R. Tolkien in this sacramental light. The first chapter acknowledges the thoroughgoing disenchantment of modernity, an effect traced to the vanishing of a sacramental understanding of the world, and then explores the history of the sacramental concept that would seek to be reclaimed and reconceived as a possible means of the re-enchantment of Western culture such as in the recent work of David Brown. An appreciative critique of Brown's work is offered in chapter two before proposing an alternative understanding of a distinctly Christian and reinvigorated sacramentality anchored in the Incarnation and operating by Transposition. A notion of sacramental vision is developed from the perceptual basis in its classic definitions, and a sacramental understanding of story is considered from a theological perspective on the infinite generativity of meaning in texts, along with recent theories of affect and affordance. The second half of the thesis expounds the views of mythopoeia held by Lewis and Tolkien in order to show how they are not only compatible with but lead to a sacramental understanding of story as developed in part one, with mythopoeia affording the recovery of a potentially transformative vision of reality, awakening it into focus in distinctly Christian ways (chapter three). The final chapter demonstrates how their mythopoeic theories are exemplified in their art, examining specific ways Till We Have Faces and The Lord of the Rings afford the recovery of a potentially transformative vision of various themes central to them. In closing it is suggested that such a sacramental understanding of story may contribute to the re-enchantment of Western culture, not to mention the re-mythologization and re-envisaging of Christianity, whose significance in these regards has been hitherto mostly unrecognized.
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Hargrave, Rachel Irene. "Cartoon Saloon as Mythopoeic: Reimagining Irish Mythology through Animation." Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/104103.
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Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, explores themes of liminality, urbanization, and coming of age in its trio of Irish folklore-themed films. Secret of Kells, Song of the Sea, and Wolfwalkers each explore Irish identity, folklore, and community through different time periods and spaces to create truly Irish animated films. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. By communicating these themes in animated films, Cartoon Saloon centers indigenous animation work in a country that has lacked an indigenous industry and uses the flexibility of animation as an art form to address Ireland's history and mythology through the writing, music score, and animation style of the three films. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry.<br>Master of Arts<br>Cartoon Saloon, an Irish animation studio based in Co. Kilkenny, Ireland, has released a trio of films centered on Irish folklore. These films explore Irish history, mythology, and tradition through several time periods and explore themes of liminality and coming of age. Secret of Kells, the first film, explores the Abbey of Kells and the creation of the Book of Kells through the eyes of Brandon, a young monk learning to find his place in the Abbey. He encounters a fairy girl and learns that there is more to his world than the Abbot had taught him. The second film, Song of the Sea, is set in modern times and tells the story of Ben's adventure to save his sister, who is half-selkie. The final film, Wolfwalkers, explores Kilkenny during English occupation through the adventures of Robyn, a young English girl who is turned into a wolfwalker and learns about the magic present in the Irish countryside. Each film explores the tension between folklore and Christianity, urban and rural community, and the challenges of coming of age in various ways through the lens of Irish folklore. Cartoon Saloon stands at the forefront of a new revitalization of Irish culture reminiscent of the Gaelic and Celtic revivals of the nineteenth and twentieth centuries through their dedication to preserving and exploring Irish mythology, art, history, and language via an emergence of an indigenous Irish animation industry.
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De, La Lama Luis. "Creating a Mythopoeic Graphic Novel To Expand Self-Understanding." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5622.
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This is a study about how I produced a graphic novel to introduce a model of the self that is informed by complexity theory to an audience of comic book and graphic novel enthusiasts. Because this model of the self has the potential to preserve, extend, and/or reinforce character strengths that are operationalized as virtuous behavior, and that also function as inner resources in times of adversity, my study explores storytelling by sequential art as a communication method that some counselors and educators might use to counsel and educate large segments of popular culture. Also, more generally, I explore the possibility that productions combining entertainment and preventive information might have commercial value on their own and also improve wellbeing and increase embodied social capital without the need of traditional institutional funding.
Under the theoretical frameworks of Complexity Theory and Poetic Logic, I combined Active Imagination, Narrative, Writing, Poetic, and Arts-based methods of inquiry, to research the literary and artistic forms by which I could create a compelling mythopoeic story to indirectly educate about the potential of the self. The results of this investigation show that the production of an instrument aiming at these goals can be completed, however, future studies are needed to assess the effectiveness of this production as a prevention tool and as a commercially viable product in the entertainment marketplace. While the results of this investigation are not generalizable, they may inspire other counselors and educators to communicate with larger audiences their expert knowledge of human nature as a form of preventive public counseling.
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Perrier, Marie. "Mythopoétique chez Lord Dunsany et H.P. Lovecraft : transmission et traduction(s)." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H016/document.
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Cette thèse, au carrefour de la traductologie et des études littéraires, se présente sous la forme d’une étude de cas prenant pour point de départ les liens d’influence entre deux écrivains, l’Irlandais Lord Dunsany et l’Américain H. P. Lovecraft. Leurs œuvres se construisent autour de mondes fictionnels où se conjuguent panthéons originaux, visions oniriques et voyages fantastiques. Par une approche descriptive et contrastive, on se propose d’éclairer comment cette démarche mythopoétique fondatrice a également marqué les divers projets de traduction et retraduction qui se sont succédé sur un peu plus d’un siècle.Dans cette perspective, cette recherche se fonde sur une conception de la traduction au sens large comme réécriture et allie plusieurs points de vue (sociologique, culturelle, stylistique) afin d’analyser la manière dont ces œuvres et le mythe qu’elles véhiculent sont reçues et se transmettent. En effet, le mythe naît précisément de la répétition de récits sans cesse régénérés, laissant toujours place à la variation, et le plaisir du mythe vient en partie de ce que lecteur reconnaisse, dans l’histoire qu’on lui conte, un récit familier bien que renouvelé qui pourra faire naître en lui le désir de le transmettre à son tour en se l’appropriant.Il apparaît alors possible de distinguer la spécificité d’une traduction mythopoétique dans le cadre de ce pan particulier des littératures de l’imaginaire, et de mettre au jour une vision nouvelle du ludique en traduction : en faisant appel à la complicité de lecteurs-joueurs qui deviennent à leur tour agents de leur transmission et de leur réception dans le champ littéraire français, ces œuvres se font textes-mondes, s’ouvrent à la démultiplication, à la réécriture et au partage, et traduisent un désir d’enchantement participatif qui, jusqu’à aujourd’hui, n’a cessé d’aller croissant<br>This dissertation stands at the crossroads of translation and literary studies and focuses on the case of two fantasy authors, Lord Dunsany and H. P. Lovecraft. One having inspired the other, they are both creators of fictional worlds marked by made-up cosmogonies, dream visions and fantasy journeys. Through comparison and contrast, we propose to highlight how the mythopoeic approach which their stories stem from has also shaped the various translation and retranslation projects in France over the past century.From this perspective, this research elaborates on a broad conception of translation as rewriting and relies on sociological, cultural and stylistic approaches in order to analyse how these works and the myth they convey have been received and transmitted. Indeed, myth is born from the endless repetition and regeneration of stories and includes variation as a characteristic; the pleasure derived from myth comes from the readers recognizing a familiar story under a new garment, before passing it on in their turn.It then becomes possible to delineate the specificity of mythopoeic translation as regards to this particular facet of fantasy literature, and to establish a new vision of play within translation: these works, triggering both attachment and complicity in readers who become players of a game of transmission, ensure their reception in the French literary field and become text-worlds. Demultiplied, rewritten, shared, they translate an evergrowing desire for participative enchantment
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Phillips, Leah Beth. "Myth (un)making : the adolescent female body in mythopoeic YA fantasy." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87296/.
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Through a reading of the heroic, female bodies available in Tamora Pierce’s Tortall books (1983–2011) and Marissa Meyer’s Lunar Chronicles (2012–2015), this thesis demonstrates how mythopoeic YA fantasy contests the dominant, hegemonic narratives of female adolescence. Owing to the system of binary oppositions structuring this space, the adolescent girl is offered— through the heavily stylised and always-edited images of popular and media culture—a very narrow and limited means of becoming self, one insisting on a discourse of self-through-appearance at the expense of the body’s fleshiness. Demonstrating a creationary or world-building mind-set, this vein of speculative fiction offers a sub or counter-cultural space in which alternative frameworks of living and being an adolescent female body are possible. Through the sometimes-fantastical transformations of the body in Pierce and Meyer’s fantasy, this thesis engages liminality, focusing on the adolescent (between child/adult), the body (between self/other), and young adult literature (YAL) (between children’s/adult literature). Drawing from a variety of fields: YAL and feminist theory, studies of myth and folklore as well as popular culture and cultural anthropology, this thesis speaks to and from the places between oppositions, and does so in order to refuse the individuality and isolation required by hegemonic models, while also offering a re-mapping of the body’s curves and contours, one that takes “lumps,” “bumps,” and “scars” into account. To counter the dominant framework of adolescence, this thesis concludes by offering, through a metaphor of “the Pack,” a model of interdependency and relation. Formed by repetition and connection, this model frustrates the economy of opposition, while also taking into account the body’s raised and irregular surfaces and demonstrating how individuals may be “scored into uniqueness” through relationality.
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Tseng, Chen-chen. "Mythopoesis historicized : Qu Yuan's poetry and its legacy /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/6688.
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Olaveson, Tim Ian. "A symbolic anthropological analysis of the mythopoetic men's movement." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0010/MQ26936.pdf.
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Olaveson, Tim Ian (Tim Ian Joseph) 1971 Carleton University Dissertation Sociology and Anthropology. "A Symbolic anthropological analysis of the mythopoetic men's movement." Ottawa.:, 1997.
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Homsher, Robert S. "Mythological apocalypses eschatological mythopoeic speculation of the combat myth in biblical apocalyptic literature /." Theological Research Exchange Network (TREN), 2005. http://www.tren.com/search.cfm?p050-0135.
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Pace, Jérôme. "Mythopoeïa, ou l’art de forger les « mythes » dans l’« aire culturelle » syro-mésopotamienne, méditerranéenne et indo-européenne." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE5006/document.
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Analysant les « "mythes" de "royauté" », de combat », de jugement », d’"organisation" du "cosmos" » et/ou "fondation" du "royaume" » – nous entendons ces textes « littéraires » à thème « mythologique », centrés sur les activités de divinités appartenant à la typologie du « dieu de l’Orage » dans la perspective « historiographique » de « création » du « cosmos » –, dans l’« aire culturelle » syro-mésopotamienne, indo-européenne et méditerranéenne antique, le présent travail interroge l’existence possible d’une « aire culturelle » « mythologique » – « mythopoïétique » –, indo-méditerranéenne. La proximité reconnue, tant sur les plans « structurel », que « narratif », de ce type particulier de « mythes » pose en effet, que l’on considère, sur un plan « folklorique » et « généalogique », leur possible identité « génétique » – qu’elle soit « préhistorique » ou « horizontale » –, ou, sur un plan « mythopoïétique » et « analogique », leur intégration à une même perspective interprétative, la question de leur comparaison. Quand chacun véhicule un « modèle »/« système » « idéologique » spécifique, en ce qu’il apparaît, dans le cadre donné des « "mythes" de "royauté" », l’expression paradigmatique d’un système « symbolique » particulier, leurs différences précisément non seulement interrogent leur identité « épistémologique », mais invitent également à une contextualisation précise<br>Analysing « "myths" of "kingship" », conflict », judgement », cosmos "organisation" » and/or "kingdom" "foundation" » – meaning these « literary » texts with « mythological » themes, focused on the activities of deities belonging to the « Storm-god’s » typology in view of historiographical « "cosmos" "creation" » –, in the syro-mesopotamian, indo-european and ancient mediterranean cultural area, the present work questions the possible existence of a « mythological » – « mythopoieic » –, indo-mediterranean « cultural area ». The recognised proximity, both « structurally » and « narratively », of those particular types of « myths » raises, considering, on a « folkloric » and « genealogical » level, their potential « genetic » identity – whether it is « prehistoric » or « horizontal » –, or, on a « mythopoieic » and « analogical » level, their integration in a common interpretative perspective, the issue of their comparison. When each conveys a specific and « ideological » « model »/« system », as it appears, within the « "myths" of "kingship" », the paradigmatic expression of a particular « symbolic » system, their differences not only ask about their « epistemological » identity, but also beckon a precise contextualisation as well
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Khoyratty, Farhad. "Beneath the red dupatta: an exploration of the mythopoeic functions of the ‘Muslim’ courtesan (tawaif) in hindustani cinema." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/326464.
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Després d’haver estat un dels mites més habituals del cinema hindustànic gairebé de forma continuada des dels anys vint i, per tant, des de pràcticament els inicis de la producció de pel#lícules índies fins a les darreries de la dècada dels noranta, amb el seu punt més àlgid en els anys seixanta i vuitanta del segle passat, semblaria que el tema de la cortesana comença a recular al segle vint-i-u. No obstant això, la tawaif hi apareix de forma reiterada. De fet, la tawaif s’està mantenint en el cinema hindustànic en forma de mite inconscient i subjacent com si fos un avatar general on fa la funció d’una estructura que permet manifestar tant l’artista real, o item girl, com la vamp, o noia independent d’avui. Dit de manera més directa, la tradició històrica d’entreteniment que ve associada amb la tawaif contribueix a l’estructura narrativa del cinema hindustànic en tant que usa poesia urdú per a lletres de cançons, espectacles de dansa i coreografies clàssiques i modernes. El text cinemàtic hindustànic ha estat i és, per tant, en sí mateix i per sobre de tot, una performance viva de la tawaif que convida a l’observació, que es manifesta transformant la cultura i que, quan actua, ho fa amb l’economia al cap –com qualsevol altra indústria. Començo amb una explotació de la tawaif històrica i m’endinso en el context de la seva vida quotidiana, enmig de mons d’art i de subtilesa extrema, com també en el sòrdid univers de la prostitució. Tal com era de preveure, les recepcions envers la indecisió moral de la tawaif han estat tradicionalment hostils i la justícia de la gent ha fet estranyes parelles dins la varietat de contextos temporals i espacials on s’ha tocat el tema, des dels britànics a Mahatma Gandhi, passant per Nehru, l’extrema dreta hindú, els fonamentalistes islàmics i moltes feministes quan arribà el moment de cloure l’univers de la tawaif, dislocat en dos patrimonis divergents, el del cos i el de la ment. El rebuig de la majoria dels períodes històrics de l’Índia a associar la sexualitat amb el refinament, o a conjugar la sexualitat amb la puresa, o a explorar el paper de les dones que eren víctimes d’una estructura patriarcal en la què els homes se’n beneficiaven i quedaven exculpats han convertit la tawaif històrica en una subalterna, malgrat que ella gaudís sense complexos amb la reialesa. D’acord amb Judith Butler, jutjo la identitat de la tawaif no com algú que és, sinó com algú que s’esdevé i, principalment, com a locus per a la nostàlgia, la natalitat, la mort i, narrativament parlant, com a boc expiatori, com el boc que se sacrifica pel bé de la polis. La presència/absència de la cortesana destapa la dinàmica de l’espectacle pel què fa al text del cinema hindustànic, la seva funció en el text fílmic i, en gran mesura, en el context social. De fet, es podria argumentar que la cortesana està present en el cinema hindustànic a través de representacions de dones i d’estructures patriarcals tot i que, de forma més general, ho està en termes de relacions de poder. El cinema hindustànic porta dins seu el mite de la cortesana, encara que, d’una manera o altra, la realitat és que és la cortesana la que porta el cinema hindustànic dins seu. No en va, les posicions eticoideològiques del cinema hindustànic mostren també moltes correspondències amb el món de la cortesana i la seva funció d’entreteniment.<br>After acting as a staple myth of the Hindustani cinema text almost continuously from
the 1920s and nearly the start of Indian film-making to the late 1990s, with its heyday in
the 1960s - 1980s, the courtesan as motif starts ebbing away in the new century, but
keeps re-appearing, sometimes obliquely and sometimes directly as postmodern
revisiting, brief ‘cameo’ acts, nostalgic clin d’oeils, or as remakes. In fact, as an
underlying unconscious myth, the tawaif persists, but as a more general avatar, as a
structure that gives rise to a variety of manifestations: the ‘item girl’, the vamp, today’s
independent girl or more directly, the tradition of entertainment the historical tawaif
carries, informs the narrative structure of Hindustani cinema in terms of Urdu poetry in
song lyrics, and dance performance, classical or modern choreography. Above all, the
Hindustani cinematic text itself is and has been a tawaif-life performance, inviting the
gaze, acting – as any industry – with economics in mind and cultural transformation as
manifestation. As with the tawaif’s performance, the subversive is watered down with
concessions to bourgeois family values and economic priorities.
I start with an exploration of the historical tawaif, especially of Lucknow, in 19th
century India. I delve into the context of her everyday life, astride worlds of extreme
subtlety (tehzeeb) and art, and the sordid world of prostitution. Receptions to the moral
undecidability of her world have been predictably hostile. A common self-righteousness
made, within a variety of spatial and temporal contexts, strange bedfellows of the
British, of Mahatma Gandhi, of Nehru, of the Hindu extreme-right and the Muslim
fundamentalist, of many feminists when it came to closing down the world of the tawaif
and its dislocation into a body versus mind heritage. The refusal of most periods to
envisage sexuality and refinement, or to conjugate sexuality and purity, or to explore
women as victims of a patriarchal structure whereas the men who benefit from it are
excused, have made of the historical tawaif a subaltern despite her cavorting with
royalty. In line with Judith Butler, we assess her identity not as being but as becoming,
mostly as a locus of nostalgia, a temporal relationship of natality/morbidity, and,
narratively, as scapegoat, the ‘goat’ offered to sacrifice for the good of the polis.
As with any manifestation of the unconscious, the mythological cannot be retrieved
directly, but metaphorically, metonymically and retrospectively. The courtesan’s
presence/absence uncovers the dynamics of her performance by the Hindustani cinema
text, her function in the filmic text and more generally in the social context. In fact, one
can argue, the courtesan is present through representations of women and patriarchal
structures in Hindustani cinema but more generally, in terms of relations of power.
Hindustani cinema carries the myth of the courtesan, but in many ways it is the
courtesan who carries Hindustani cinema. The historical courtesan pre-dates Hindustani
cinema, but somehow the tradition of entertainment she carries informs the narrative
structure of Hindustani cinema. Hindustani cinema’s ethico-ideological stances also
show many mise-en-abyme correspondences with the world of the courtesan as
entertainers.
I use Cultural Studies in my investigation as complemented by feminist film theory,
especially when concerned with spectatorship and identity-construction.and other
critical theories.
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Lauro, Reno E. "Beyond the colonization of human imagining and everyday life : crafting mythopoeic lifeworlds as a theological response to hyperreality." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3207.
Full textAbstract:
This work takes up urban historian Lewis Mumford's concern for the phenomena of planned and imposed ordering of human life and societies. Mumford (and others) suggests the problem consists in the use of external plans, technologies (and media) to manipulate, dominate, and even coerce forms of life. It is seen at its worst in war, and even forced systems like Nazism and Stalinism. But these phenomena also take more attractive and seemingly enriching forms. We will focus (along with Daniel Boorstin and Umberto Eco in their own way) on forms which have massively developed in 20th and 21st century society: market and consumer saturation, shaped by dominating mass electronic media. This situation is developed imaginatively, and inventively, yet problematically, in Jean Baudrillard's theory of Hyperreality –a critique of the Western hyper-consumer and media saturated world. But his methods and pictures are not followed here. We take up a very different approach and diagnosis; This approach has become increasingly multidisciplinary: phenomenological, praxeological, anthropological, and philological. We build it up in a reading of human lifeworlds in philosophers Martin Heidegger and Ludwig Wittgenstein, and anthropologist Tim Ingold. This work does not go in for a picture of language (and cinema) as a system of signification, but as Ludwig Wittgenstein describes it, as tools always already involved in forms of life. We also offer a unique characterization of corporeal imagining and the imaginative creation of lifeworlds, paving the way for what is described as philological resistance: this resistance is seen in the development of a certain praxeological philology and fully realized in the 20th century author J. R. R. Tolkien's mythopoeic concerns. We focus particularly on what we call the double- transfer: the cyclic structure between human artistry and life-world building, each shaped by the other. We endeavor, along with Mumford and others, to counter colonization and find various less manipulated and un-coerced forms of life, and their informal organizing structures. We examine in detail Tolkien's literary and philological project; and the 20th and 21st century's first art form –cinema. Through the philosophical exploration of cinematic craft in Gilles Deleuze, and in the craft of Terrence Malick we see, and are taken up in, the inextricable relationship between how we make, what we make and how we live everyday life.
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Langwith, Mark J. "'A far green country' : an anlaysis of the presentation of nature in works of early mythopoeic fantasy fiction /." St Andrews, 2007. http://hdl.handle.net/10023/313.
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Langwith, Mark J. "'A far green country' : an analysis of the presentation of nature in works of early mythopoeic fantasy fiction." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/313.
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This study undertakes an examination of the representation of nature in works of literature that it regards as early British ‘mythopoeic fantasy’. By this term the thesis understands that fantasy fiction which is fundamentally concerned with myth or myth-making. It is the contention of the study that the connection of these works with myth or the idea of myth is integral to their presentation of nature. Specifically, this study identifies a connection between the idea of nature presented in these novels and the thought of the late-Victorian era regarding nature, primitivism, myth and the impulse behind mythopoesis. It is argued that this conceptual background is responsible for the notion of nature as a virtuous force of spiritual redemption in opposition to modernity and in particular to the dominant modern ideological model of scientific materialism. The thesis begins by examining late-Victorian sensibilities regarding myth and nature, before exposing correlative ideas in selected case studies of authors whose work it posits to be primarily mythopoeic in intent. The first of these studies considers the work of Henry Rider Haggard, the second examines Scottish writer David Lindsay, and the third looks at the mythopoeic endeavours of J. R. R. Tolkien, the latter standing alone among the authors considered in these central case studies in producing fiction under a fully developed theory of mythopoesis. The perspective is then widened in the final chapter, allowing consideration of authors such as William Morris and H. G. Wells. The study attempts to demonstrate the prevalence of an identifiable conceptual model of nature in the period it considers to constitute the age of early mythopoeic fantasy fiction, which it conceives to date from the late-Victorian era to the apotheosis of Tolkien’s work.
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Bittarello, Maria Beatrice. "The re-creation of ancient classical religions on the World Wide Web : Neopaganism as contemporary mythopoesis." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/226.
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The thesis argues that Neopaganism on the Web is an example of mythopoesis and aims at showing both the novelty and the limits of such mythopoesis. I use the term "mythopoesis" in its original Greek meaning, i.e. "the creation (the making/crafting) of a myth or myths", thus stressing the dynamic way in which the process of creation (of myths, rituals, divinities, identities—all implicitly or explicitly played out, connected, and organised as "stories", which can be told, written or performed, as well as represented as images) unfolds in Neopaganism. Neopagan mythopoesis on the Web is new, original, and structurally different from other previous and contemporary examples of mythopoesis, either religious or not, since it does not refuse, put aside, or implicitly contradict, the rational framework elaborated by Western culture. The research involves exploring the contemporary cultural and historical context that allows for mythopoesis to take place and the technology that allows for it to develop. It analyses the key features of Neopaganism on the Web as they emerge from the mythopoeic recreation of two ancient goddesses (Gaia, and Artemis/Diana) and an ancient ritual (the Eleusinian mysteries). In covering several different fields (from ancient religions, to the Internet, to myth and ritual theory), and in examining a range of heterogeneous materials (from ancient texts, Neopagan hymns and art, to hypertexts), the analysis adopts an interdisciplinary approach.
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Ashurst, Gail. "In the footsteps of 'The Wicker Man' : personal mythopoesis and the processes of cult film fandom." Thesis, Manchester Metropolitan University, 2009. http://e-space.mmu.ac.uk/556462/.
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In contemporary cult film scholarship, the experiences of cult fans are too often subject to scholarly speculation rather than empirical observation, and tend to be limited to certain kinds of audience responses - deviant, rebellious, subversive. Even in instances where actual cult fans have been considered at all, scholars have largely produced synchronic snapshots rather than insights derived from sustained programmes of audience research. This study focuses on a faction of the increasingly visible cult following which has emerged in recent years around the British film The Wicker Man. Drawing on the personal testimonies of eight enduring fans of the film, I explicate and explore the range of experiences and complex processes involved in becoming and remaining a fan of The Wicker Man. I develop an approach to cult film fandom which aims to provide an account of the origins and evolution of a specific cult film formation. Combining textual analysis with a rich body of ethnographic research I collected over eight years, I tease out the complexities of the film's initial import for these fans and proceed to examine how their relationships with the film develop over time. In the meantime, I engage with a number of under-explored and uncharted concepts of cult which include issues relating to personal resonance, aesthetic experiences, affects, as well as the quasireligious dimension. The main argument of the study is that the cult film experience can be perceived as a form of personal mythopoesis -a process which engages the individual in modes of personal and collective mythmaking, and within which the integrity and coherence of the self is at stake. Drawing on theories in cognitive psychology and concepts originating from within personal mythology, I develop an original model of cult fan subjectivity which foregrounds the self's preconscious and experiential dimensions. Demonstrating the significance of generational factors and cultural location, I propose to show how the respondents in my study share a preconscious disposition to The Wicker Man. My study explicates and explores the relationship between cult film fandom and the mythmaking process by focusing on three specific trajectories through which the fan-text relationships analysed here develop. The first explores the formative experiences of these fans, emphasising early cultural investments which share aesthetic and thematic links with The Wicker Man and which predispose them to the film in a number of complex and fascinating ways. The second trajectory centres on the fans' initial encounters with the film, paying close attention to the aesthetic experiences they undergo and proceeding to observe the trace manifestations of these experiences in subsequent fan practices beyond the viewing context. The final trajectory examines the ways in which the fans continue to interact with the film over time, and discusses elements of their identities and experiences which uniquely position them in relation to The Wicker Man's dialectical treatment of myth. The conclusion draws together the main findings of the study and considers the relationship between personal mythopoesis, cult fandom and the processes of individuation to argue for ways of understanding cult mythopocsis in terms of a religious process.
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Rothgiesser, Stuart Leon. "Men's issues, men's solutions : the effects of a South African mythopoetic men's group's activities on gender equality: 2004-2005." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10938.
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Includes abstract.<br>Includes bibliographical references (leaves 83-87).<br>Mythopoetic organisations are popular among largely middle-class (elite) men in well-resourced countries. These organisations have sprung up in the last twenty years to create a space where men come together to address issues of masculinity. Many pro-feminist writers have questioned the capacity of mythopoetic men’s groups to promote gender equality. They see them as more likely to provide support for, rather than undermine, patriarchy.
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Levin, Christoffer. "The Hero’s Journey in J.R.R. Tolkien’s The Hobbit, or, There and Back Again : Using Joseph Campbell’s Narrative Structure for an Analysis of Mythopoeic Fiction." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-21253.
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This essay investigates the applicability of Joseph Campbell’s notion of the Hero’s Journey from his theoretical work The Hero with a Thousand Faces on J.R.R. Tolkien’s The Hobbit, or, There and Back Again. This has been done by outlining the essential aspects of Campbell’s theory and then performing a reading and analysis of Tolkien’s work. Furthermore, this essay focuses on the narrative structure proposed by Campbell, but also the heroic character’s development—in this instance, Bilbo Baggins’ development. As such, a brief examination of Campbell’s attitude and use of Freudian psychoanalysis has been performed as well as a presentation of Bilbo Baggins’ character and dual nature before the adventure. As a possible line of argument Tolkien’s knowledge of myth is also briefly expounded on. This essay does not research or make any definitive statements on the universal applicability of Campbell’s theory, but merely finds that Tolkien’s The Hobbit, or, There and Back Again appears to conform well to Campbell’s proposed narrative structure and that the development of Bilbo’s heroic character, or his character arc, is in concurrence with this as well.
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Jeffrey, Johnson Kirstin Elizabeth. "Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1887.
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Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.
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Klautau, Diego Genu. "Paideia Mitopoética: a educação em Tolkien." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/1873.
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Previous issue date: 2012-10-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This thesis is a systematic exposition of the theory of the education existent in the production of J.R.R Tolkien, that we call of Mythopoetic Paideia. From a phenomenological hermeneutics of its works of philological medieval poem analysis, of its theoretical assay on literature, its mythopoetics novels and its personal letters, we systemize a theory of the composed education of clear concepts of subject, object and method. In this theory, there is an anthropology that dialogues with the philosophical tradition Greek, the patristic and the scholastic, and that it is harmonic with the phenomenology of century XX; in the same way, the basic object is the sacred, understood as category of sciences of the religion, in historical and noetic key, that if express through the sacred narratives, either in the forms of the alive myth, either in the forms of the mythical reminiscences of the epic poetry or the modern romances of fancy. The method is the myth manufacture as form of meditation of the reading of texts of religious traditions, as well as the dialogic sharing with a group, that culminates in the publication of the manufactured workmanship. Thus, the subject that is open to the experience of the totality of the Being through the hierofania through poetical or literary narrative, through a method that integrates tradition, communion, creativity and work, makes acquaintance with the founding object of the conscience and the culture: the sacred<br>Esta tese é uma exposição sistemática da teoria da educação presente na produção de J.R.R. Tolkien, que denominamos de Paideia Mitopoética. A partir de uma hermenêutica fenomenológica de seus trabalhos de análise filológica de poemas medievais, de seu ensaio teórico sobre literatura, de seus romances mitopoéticos e de suas cartas pessoais, sistematizamos uma teoria da educação composta de conceitos claros de sujeito, objeto e método. Nessa teoria, existe uma antropologia que dialoga com a tradição filosófica grega, com a patrística e com a escolástica, e que é harmônica com a fenomenologia do século XX; da mesma forma, o objeto fundamental é o sagrado, entendido como categoria das ciências da religião, em chave histórica e noética, que se expressa através das narrativas sagradas, seja nas formas do mito vivo, seja nas formas das reminiscências míticas da poesia épica ou dos romances de fantasia modernos. O método é a fabricação de mitos como forma de meditação da leitura de textos de tradições religiosas, assim como o compartilhamento dialógico com um grupo, que culmina na publicação da obra fabricada. Assim, o sujeito aberto à experiência da totalidade do Ser através da hierofania via narrativa poética ou literária, através de um método que integra tradição, comunhão, criatividade e trabalho, se relaciona com o objeto fundador da consciência e da cultura: o sagrado
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Araújo, Miguel Almir Lima de. "Feixes de arco-íris: uma compreensão ontológico-policrômica da sensibilidade e sua fruição no fenômeno do educar." reponame:Repositório Institucional da UFBA, 2006. http://www.repositorio.ufba.br/ri/handle/ri/11069.
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Previous issue date: 2006<br>As meditações que descortino na tese emergem das in-tensidades de minhas inquietudes e espantamentos diante dos fenômenos do existir e da ação de educar; apresentam ?Uma compreensão ontológico-policrômica da Sensibilidade e sua fruição no fenômeno do educar? numa mirada Filantropoética. Mirada que busca entrelaçar o elã do filosófico-antropológico e a cromaticidade do poético vislumbrando a polifonia e a policromia dos Sentidos pregnantes e anímicos da temática. Dessa forma, apresento a Sensibilidade (Sensus) como estado de dis-posição, de abertura vasta de nossos sensos perceptivos (afeccionais e noéticos), em que corpo e espírito coexistem, de modo co-implicado, para uma compreensão e uma vivenciação policrômicas dos Sentidos do existir e do co-existir humanos; como estado de despojamento do espírito inventivo e altaneiro, do pathos criante e co-movente, para a vivência do sentimento do mundo, do ser-sendo-com-os-outros, das in-tensidades da complexidade e das ambigüidades da condição humana. Nesse horizonte compreensivo, a Sensibilidade se constitui desde os fulcros magmáticos da Corporeidade, da Intuição, da Afetividade, do Mitopoético e da Razão-Sentido. Fulcros estruturantes que se enredam de modo recursivo e entrelaçado. Em seguida, apresento meditações que compreendem o fenômeno do educar como ação teóricovivencial que implica na fruição da Sensibilidade. Para tanto, me inspiro, tanto nas ressonâncias das vozes de diversos estudantes que emergem de escutas sobre o vivido/vivente, como no estofo das incursões teóricas. Assim, apresento meditações acerca do educar compreendendo-o como um rito vivo de iniciação que se traduz em processos in-tensivos de con-dução aos saberes e sentires que constituem o dinamismo do ethos; no cuidado com a inteireza androgínica do ser-sendo-com no advento dos valores humanos primordiais, dos Sentidos anímicos, do cuidado com a Sensibilidade. Por fim, como ?Arremates inconcludentes?, propugno que, ao primar pela fruição da Sensibilidade, a ação de educar se desdobra numa Pedagogia do encantamento como se-ducere que implica no jorrar do pathos criante, do admirante, do elã vital, do espírito altaneiro e audaz; que envida apaixonamento e entusiasmo, laços de simpatia e de empatia; que conduz a fruição dos Sentidos pregnantes e anímicos no desbordar dos feixes do arco-íris que alumbram e revelam as policromias da poeticidade do existir, do co-existir.<br>Salvador
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David, William M. "The Mythic Conquest of Time in Faulkner's Fiction." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1420.
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William Faulkner is famous for stating he agrees with Henri Bergson's optimistic philosophy of time, a philosophy that emphasizes human freedom and action precisely as they relate to time. However, many of Faulkner's characters are defined by their stagnant and lethargic personalities which cannot change; these characters are held immobile by an over – identification with the rich history of their mythic, southern past. This paper, through in depth explorations of Faulkner's masterpieces, Absalom, Absalom! and The Sound and The Fury seeks to consider human mythmaking as the key to understanding Faulkner's difficult works. This critical approach allows us to better understand these works as conflicts between diachronic (linear or "normal") time and synchronic time (mythological or circular) time or more simply conflicts between the brute, inexorable world of fact and the human, meaning making world that is often a specious undermining of reality and change.
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Goldie, David. "Les adaptations cinématographiques des romans de J. R. R. Tolkien, C. S. Lewis et J. K. Rowling." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3113.
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L’adaptation existe depuis les débuts du cinéma. Dès lors, le nombre de versions filmiques d’œuvres littéraires ne cesse de croître et l’adaptation reste au cœur de la production cinématographique partout dans. Toutefois nous constatons que l’adaptation se trouve dans une situation quelque peu paradoxale. Ce qui motive sa conception est également à l’origine de la majeure partie des critiques. D’une part, le bénéfice économique est évident. La notoriété d’un roman à succès garantit un public nombreux. D’autre part, le contexte créatif se révèle difficile car, du point de vue ontologique, l’adaptation préserve la comparaison traditionnelle en s’appuyant sur un paradigme oppositionnel des arts où le film se doit de se justifier face au texte source. Se situant à la croisée des arts, l’adaptation focalise un débat sur une hiérarchie notionnelle des arts où la narration à travers des images serait toujours perçue comme inférieure aux autres formes. Dans cette thèse, nous étudions ce phénomène dans le contexte de la résurgence de la fantasy lors des années 2000. Ce fait culturel du monde anglophone atteindra un niveau inattendu au cinéma avec le succès des adaptations des romans de J. R. R. Tolkien et de J. K. Rowling tandis que la réception des versions filmiques des œuvres de C. S. Lewis peut paraître mitigée. À partir de ces constats, nous nous interrogeons parallèlement sur le processus et le produit de l’adaptation en plaçant notre corpus au centre du débat à travers une approche descendante de comparaison. Nous espérons ainsi pouvoir apporter quelques éléments de réflexion sur l’engouement du public pour ces histoires et sur l’adaptation comme domaine d’étude<br>Adaptation has been a part of cinema since its very beginning. Since then, the number of film versions of literary works which appear on screen has never ceases to increase and adaptation is still at the heart of cinematic production around the world. Adaptation actually exists in a rather paradoxical situation. What motivates its conception is also the source of the majority of criticism against it. On one hand, the economic advantage is clear. The fame of a popular novel guarantees a large audience. On the other hand, its creative context can prove to be difficult since ontologically adaptation serves to preserve the traditional comparison based on an oppositional paradigm of the arts where the film has to justify itself in front of the source text. Standing at a crossroads between the arts, adaptation is the focus of a debate on a notional hierarchy within the arts where narration through images could still be perceived as inferior compared to other forms.We wanted to study this phenomenon within the context of the resurgence of fantasy witnessed in the 2000’s in this thesis. In the English-speaking world this cultural event reached an unexpected level with the success of the adaptations of J. R. R. Tolkien and J. K. Rowling’s novels while the film versions of C. S. Lewis’ works were less well received. With these points in mind, we consider the process and the product of adaptation in order to situate our corpus in the debate through a top down approach of comparison. We thus hope to bring some elements of reflections on the craze for these stories and the domain of adaptation studies
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Wanzeler, Egle Betânia Portela. "O pensamento sensível nos entre-lugares da ciência: a experiência de formação de professores indígenas em São Gabriel da Cachoeira/AM." Pontifícia Universidade Católica de São Paulo, 2012. http://tede2.pucsp.br/handle/handle/2355.
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Previous issue date: 2012-10-04<br>Fundação de Amparo à Pesquisa do Estado do Amazonas<br>This work refers to a reflexive analysis over an indigenous teacher‟s education experience, in which it was established an educational praxis inspired in the complexity and transdisciplinarity operators. It consists of the construction process of a matrix towards an epistemological and methodological exploration implied in these operators. Methodologically, this work was developed through ethnographic research. The research tried to establish pertinent dialogues between two cognitive operators: sensible thought and scientific thought, inherent to the educational context. The empiric field of this research was the educational experience itself that was developed in the Estágio Supervisionado (Supervised Internship) and Prática da Pesquisa Pedagógica (Pedagogic Research) disciplines. Furthermore, this work tried to institute bounds between the mythical and cosmological universe of the individuals in the research and insert them in the experience as constituents of education and learning. At last, it comprises a research inspired by the experience on what has been sensed and lived, nurtured by sensibilities, imaginaries, intuitions, wisdoms, ethics and aesthetics<br>Este trabalho refere-se a uma análise reflexiva acerca de uma experiência de formação de professores indígenas, por meio da qual se procurou estabelecer uma prática de formação inspirada nos operadores da complexidade e da transdisciplinaridade. Trata-se do processo de construção de uma matriz de exploração epistemológica e metodológica implicada nesses operadores. Metodologicamente, este trabalho foi desenvolvido por meio da pesquisa etnográfica. A pesquisa buscou estabelecer diálogos pertinentes entre dois operadores cognitivos: pensamento sensível e pensamento científico, inerentes ao contexto da formação. O campo empírico da pesquisa foi a própria experiência de formação que se desenvolveu nas disciplinas Estágio Supervisionado e Prática da Pesquisa Pedagógica. Além disso, o trabalho procurou estabelecer vínculos entre o universo mítico e cosmológico dos sujeitos da pesquisa e inseri-los na experiência como conteúdos de ensino e de aprendizagem. Enfim, trata-se de uma pesquisa inspirada pela experiência do sentido e do vivido, a qual se procurou nutrir de sensibilidades, imaginários, intuições, sabedorias, ética e estética
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Coyer, Gilbert. "Messager sans message : traité de psychothérapie interculturelle." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20063.
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Cette recherche est issue d’une observation longitudinale de quatorze enfants suivis en psychothérapie ; reçus en consultations familiales avec des interprètes ou médiateurs ; soutenus dans leur environnement social et scolaire ; et pour certains, accueillis en hôpital de jour. Il s’agit essentiellement d’enfants d’origine africaine, simultanément engagés par leur famille dans des traitements traditionnels. Le caractère bifocal – individuel et environnemental – de ces suivis, ouvre à un questionnement épistémologique dans ces deux champs respectifs – psychologique et social – et dans celui de leur articulation. Il engage, pour éviter l’écueil du relativisme ou des confusions sémantiques, à un approfondissement des notions de complémentarisme et d’acculturation antagoniste telles qu’elles ont été formalisées par Devereux, et prolongées, pour cette dernière, par certains sociologues comme Bourdieu et Sayad, ou du point de vue des paradoxes qu’elle soulève, par les travaux de Winnicott, de Roussillon, de Bateson, ou de certains cognitivistes. Ces observations conjointes et longues, sur trois à dix ans, soulignent les nombreuses interfaces entre les problématiques des enfants suivis et le champ familial et social auquel ouvrent les traitements culturels de leur malaise. En cela, la réflexion sur ces psychothérapies interculturelles soutient celle déjà engagée par d’autres cliniciens sur l’articulation de l’intrasubjectivité et de l’intersubjectivité, et sur les médiations thérapeutiques. Elle amène à approfondir dans ce domaine le sens des notions de symbolisation, de traduction, et de transitionnalité, dans la suite des travaux de Roussillon, de Berman, et de Winnicott<br>This work is based on the longitudinal observation of 14 children treated with psychotherapy, seen in family consultations with interpreters or mediators, supported in their social and school environment and in some cases, admitted to day hospitals. Most children are of African origin, with families that simultaneously looked for traditional treatments. The bifocal character of these follow-ups – individual and environmental – allows for epistemological questioning in both of the respective fields – psychological and social – and in their articulation. It involves, in order to avoid the pitfalls of relativism or semantic confusions, a more profound analysis of the notions of complementarism and antagonistic acculturation as they have been formalized by Devereux, and developed in the case of acculturation, by certain sociologists such as Bourdieu and Sayad, or from the perspective of paradoxes that result, of the work of Winnicott, Roussillon, Bateson and certain cognitivists. These conjoined and long clinical follow-ups lasting from three to ten years underline the numerous interfaces between the problematics of the treated children and the family and social fields implicit in the cultural treatment of their illness. As such, the reflection about these intercultural psychotherapies supports work already engaged by other clinicians on the articulation between intra- and inter-subjectivity and on therapeutic mediations. It allows for a more profound examination of meaning of the notions of symbolization, translation and transitional space, following the work of Roussillon, Berman and Winnicott
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Sweydan, Francois. "Recherches sur le système de représentations symboliques de l’art néolithique aux textes des pyramides- Origines et formation des éléments de la religion solaire de l’Egypte antique." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20009.
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Dès les premières dynasties, le pictogramme fut dans l’écriture le prolongement des représentations figuratives naturalistes, logogrammes dans les palettes funéraires décorées protodynastiques. Ce constat nous porte à les mettre en correspondance avec l’art pariétal du néolithique nubien, le prédynastique égyptien, et celui des aires culturelles périphériques. La reconsidération des pétroglyphes en tant que symboles et idéogrammes, c’est-à-dire des mythogrammes autant que des logogrammes-phonogrammes polysémiques permet de dégager un système structurel de représentations symboliques universel dans la vallée du Nil. Essentiellement funéraire, il est organisé autour d’une nouvelle lecture en relation aux mythes fondateurs de l’Œil d’Horus/solaire, s’exprime dans des rites primitifs de revivification, de renaissance, néolithiques et prédynastiques, explicités ensuite durant les premières dynasties sur des tablettes, des sceaux-cylindres votifs, et l’onction du mort avec les sept huiles canoniques et, enfin, dans les Textes des Pyramides. Contrairement à l’idée commune d’opposition des notions de Nature-Culture, il est question de les conjuguer, de réconcilier la dualité non binaire et de voir, par exemple, les fonctions héliotrope et/ou héliophore des animaux du bestiaire soudanien, avec Sokar le faucon funéraire, les garants bienveillants des métamorphoses et de renaissance du soleil/des défunts, par ailleurs, félidés, canidés, antilopes…, investis du numineux des divinités tutélaires. À la lueur d’une nouvelle lecture du mythe “osirien” primitif de métamorphose, nous reconsidérons les conceptions sur le sacrifice animal sur des bases d’anthropologie religieuse. Loin d’une maîtrise et soumission de la nature, et d’un diffusionnisme, l’interculturalité de la pensée mythique archaïque première dans la vallée nubiano-égyptienne et des régions périphériques multiethniques implique, vis-à-vis du monde naturel et des forces spirituelles numineuses, la transculturalité des conceptions solaires et le partage pluriculturel, transhistorique des croyances résurrectionnelles polycycliques. Ainsi, les pétroglyphes d’animaux, les scènes de chasse animale, les représentations de barques, de sandales, etc., sont de nature funéraire votive, apotropaïque<br>Since the beginning of the first dynasties, the pictogram in writing was the extension of naturalistic figurative representations, logograms in the decorated funerary protodynastic palettes. This statement carry us to link them with the parietal art of Neolithic Nubia, the egyptian Predynastic, and peripheral cultural areas. We have reconsidered the petroglyphs as polysemic symbols and ideograms, i.e. mythograms as well polysemic logograms-phonograms, allowing us to draw up a structural system of symbolic representations, universal in the Nile valley. Basically funerary, the system is organised around a new reading in connection with the founding of the ‘Eye of Horus’/solar myths, and express itself in primitive Neolithic and Predynastic rites of revivification, rebirth, more explicit afterwards during the first dynasties on labels, votive cylinder-seals, and anointing the deads with the seven holy canonical oils, finally in the Pyramid Texts. Contrary to the common idea which opposite the Nature-Culture notions, there is some question to combine them, to reconcile the non-binary duality and to see, for example, the heliotrope functions and/or heliophore animals of the sub-Saharan bestiary, with Sokar the funerary hawk, the benevolent guarantors for the rebirth and metamorphosis of the sun/deads; otherwise felids, canids, antelopes…, invested by the numinous of the protecting divinities. In consequence of a new reading of the primitive ‘osirian’ myth of metamorphosis, we have reconsidered the conceptions about animal sacrifice on the basis of religious anthropology. Far from bringing under control and submission of nature, and diffusionnism, the intercultural (cross-cultural) of the first archaic mythic thought in the multi-ethnic nubian-egyptian valley and associated neighbouring areas involves, towards the natural world and the numinous spiritual strengths, the cross-cultural of solar conceptions and multicultural, trans-historic sharing of the polycyclic resurrectional believes. Thus, the animal petroglyphs, cynegetic scenes, boats and sandals representations, etc., are of funerary votive, apotropaic nature
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Su, Hung-Chi, and 蘇弘麒. "Tolkien and Myth: Probing from Mythology into Tolkien's Mythopoeia." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/84635771302320783179.
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碩士<br>國立東華大學<br>創作與英語文學研究所<br>95<br>Abstract
The thesis examines Tolkien’s mythic creation and its intertextuality with Christian elements and Norse mythology. Tolkien is unique among many fantasy writers by his narrative artistry that fully develops the dimensions of mythic time and space, known as the Secondary World. Being a philologist, he creates his legendarium with invented languages. His Catholic background infuses religious spirit into his creation. For example, his major works, Silmarillion and The Lord of the Rings, reveal his religious passion and literary innovation. Besides these religious elements, the Norse mythology is a major source for the mythmaker. Like Wagner, the fascination with and immersion in the Norse myths and legends also enrich Tolkien’s magnum opus. Instead of retelling ancient stories in modern language, Tolkien’s legendarium restores to the English the epic tradition with their own mythology. His originality manifests the semantic unity, the essence of poetic diction according to Owen Barfield,. Tolkien’s mythic creation lets readers experience the “eucatastrophe” so as to gain reading pleasure. The missing link between language and its primal meanings is restored and revived through his narrative art.
The thesis is divided into four chapters. Chapter one deals with the discussion on the dimensions of myth based on Richard L. Purtill’s categorization. Locating Tolkien’s works within the catalogues help further explore his writings in terms of myth. Chapter two and three tackle the issues of the intertextuality with Christian and Norse mythic elements. Biblical and Norse mythic themes are obvious in Tolkien’s works, especially in The Silmarillion. The resonance of pagan bravery with moderate Christian values seems contradictory, but Tolkien integrates them into a secondary harmony through his original mythopoeia. The last chapter brings to light Tolkien’s literary originality and importance through an investigation of his artistic invention in relation to the historical background.
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Levin, Yisrael. ""O sun that we see to be God": Swinburne's Apollonian Mythopoeia." Thesis, 2008. http://hdl.handle.net/1828/1284.
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This dissertation examines the place of Hellenism in nineteenth-century literature as a background to my discussion of Algernon Charles Swinburne’s poetic treatment of Apollo, the Greek god of poetry and of the sun. My point of departure is the common view that sees the Victorians’ fascination with Hellenism as representing a collective sense of dissatisfaction with Christian culture, its politics, and morality. Raised High Anglican, Swinburne was an avid and devoted believer throughout his early life. However, a spiritual crisis which he experienced during his years in Oxford in the late 1850s caused him to grow extremely critical of Christianity and eventually forsake his faith by his mid-twenties. Yet Swinburne’s rejection of Christianity did not result in his rejection of spirituality. And indeed, throughout his poetic career, Swinburne searches for alternative deities that would replace the Christian God. One such deity is Apollo, who becomes a pivotal figure in Swinburne poetry starting with the 1878 publication of Poems and Ballads and in the collections that follow. Focusing on seven major poems written during a period of almost three decades, I show how Apollo serves as the main deity in an emerging Swinburnean mythology. Swinburne’s Apollonian myth, I show, consists of three stages: the invocation and conceptualization of Apollo as a new god by manipulating Biblical and Classical notions of divinity; the formation of a unique Apollonian theology; and the shift toward a nihilistic agnostic vision of spirituality. Each stage, I argue, presents the development of Swinburne’s thought, as well as his deep engagement with nineteenth-century debates about religion, mythography, and the reformative function of poetry. As such, my dissertation has two main purposes: first, expanding the scope of Swinburne scholarship by providing a new thematic context for his later poetry; and second, reclaiming Swinburne’s place in nineteenth-century intellectual history by showing his contribution and involvement in discussions about some of the period’s most central issues.
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Hartley, William, University of Western Sydney, and College of Arts. "Boundaries of the soul : the mythic imagination, place and shamanic consciousness in literary form." 2008. http://handle.uws.edu.au:8081/1959.7/42224.
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In the Western cultural tradition there is a particular aspect of consciousness discernable in certain fictive literature; mythopoeic literary consciousness (MLC), the evolution of which may be traced back to its earliest manifestation in the cave paintings of the Upper Palaeolithic period in Europe. Researchers agree that those cave paintings are indicative of shamanic activity, which suggests an interesting relationship between shamanic consciousness and MLC. This research investigates contemporary experiences of this relationship in the context of place and the Imaginal Realm using a combination of empirical and textual methods. The evolution of the narrative psyche is described; beginning with recent interpretations of the aetiology and meaning of the European Upper Palaeolithic cave paintings. Shamanism is then examined and linkages are made with subsequent esoteric traditions such as Gnosticism, Hermeticism, the Imaginal Realm of the Sufi mystics, and the Romantic Movement in European literature. The Imaginal Realm, as a metaphysical construct, is posited in relationship to de Chardin’s Noosphere, Sheldrake’s Morphic Resonance, the Celtic Web of Wyrd and Jung’s Collective Unconscious. Empirical research is presented on contemporary expressions of this tradition. Three internationally recognised Australian authors, David Malouf, Thomas Keneally and Colleen McCullough, were either interviewed or completed a questionnaire on their backgrounds, the role of place relationships, states of consciousness when writing and reading, the role of literature and related questions. Five dedicated readers and two professionally credentialed practicing shamans completed similar questionnaires on their experiences and views on literature, the act of reading, and shamanic and creative consciousness. The responses are accompanied by textual analysis of the work of the three authors, drawing out themes of importance. Further discussion of the empirical and textual material in the context of broader literature establishes the epistemological dimensions of both mythopoeic literary consciousness and shamanic consciousness. The nature and relationship of consciousness and soul are examined from a perspective that unites them with the anima mundi and posits them in relationship with place and elsewhere-place. The concluding section revisits core themes to posit the mythopoeic writer and MLC within the heritage of a metaphysical tradition that delineates the existential boundaries of the psyche. It is argued that MLC is a manifestation of the narrative imperative of the psyche or soul to orientate itself along a place-elsewhere-place continuum, a continuum that parallels states of consciousness from the participation mystique to the de-centred self.<br>Doctor of Philosophy (PhD)
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Hartley, William. "Boundaries of the soul : the mythic imagination, place and shamanic consciousness in literary form." Thesis, 2008. http://handle.uws.edu.au:8081/1959.7/42224.
Full textAbstract:
In the Western cultural tradition there is a particular aspect of consciousness discernable in certain fictive literature; mythopoeic literary consciousness (MLC), the evolution of which may be traced back to its earliest manifestation in the cave paintings of the Upper Palaeolithic period in Europe. Researchers agree that those cave paintings are indicative of shamanic activity, which suggests an interesting relationship between shamanic consciousness and MLC. This research investigates contemporary experiences of this relationship in the context of place and the Imaginal Realm using a combination of empirical and textual methods. The evolution of the narrative psyche is described; beginning with recent interpretations of the aetiology and meaning of the European Upper Palaeolithic cave paintings. Shamanism is then examined and linkages are made with subsequent esoteric traditions such as Gnosticism, Hermeticism, the Imaginal Realm of the Sufi mystics, and the Romantic Movement in European literature. The Imaginal Realm, as a metaphysical construct, is posited in relationship to de Chardin’s Noosphere, Sheldrake’s Morphic Resonance, the Celtic Web of Wyrd and Jung’s Collective Unconscious. Empirical research is presented on contemporary expressions of this tradition. Three internationally recognised Australian authors, David Malouf, Thomas Keneally and Colleen McCullough, were either interviewed or completed a questionnaire on their backgrounds, the role of place relationships, states of consciousness when writing and reading, the role of literature and related questions. Five dedicated readers and two professionally credentialed practicing shamans completed similar questionnaires on their experiences and views on literature, the act of reading, and shamanic and creative consciousness. The responses are accompanied by textual analysis of the work of the three authors, drawing out themes of importance. Further discussion of the empirical and textual material in the context of broader literature establishes the epistemological dimensions of both mythopoeic literary consciousness and shamanic consciousness. The nature and relationship of consciousness and soul are examined from a perspective that unites them with the anima mundi and posits them in relationship with place and elsewhere-place. The concluding section revisits core themes to posit the mythopoeic writer and MLC within the heritage of a metaphysical tradition that delineates the existential boundaries of the psyche. It is argued that MLC is a manifestation of the narrative imperative of the psyche or soul to orientate itself along a place-elsewhere-place continuum, a continuum that parallels states of consciousness from the participation mystique to the de-centred self.
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Wu, Cheng-Ing, and 吳政穎. "The Hybrid Poetics and Mythopoeia of Hayao Miyazaki’s Anime: Spirited Away, Howl’s Moving Castle, and Ponyo." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2tzvqu.
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碩士<br>國立東華大學<br>英美語文學系<br>104<br>This thesis analyzes Hayao Miyazaki’s authorial artistry by three case studies: Spirited Away (2001), Howl’s Moving Castle (2004), and Ponyo (2008). Regarding the narrative rendering and emplotment of the selected films, the thesis thematically revolves around hybrid poetics and mythopoeia. The first chapter examines how Miyazaki narrates Chihiro’s archetypal quest with elements of Shinto animism and a material imagination of water. The second chapter studies the interior of Howl’s castle as a means of representing the human mind; it examines the microcosmic function of the poetic space and its subsequent narrative persuasion with the macrocosmic context of war. The third chapter investigates Miyazaki’s reformulation of the ningyo archetype in Ponyo. The thesis analyzes the narrative whole of the selected films to describe Miyazaki’s persuasive artistry. With the mediation of hybrid poetics, Miyazaki’s idiosyncratic mythopoeia harnesses poetic concordance, which infuses the spectator with a cathartic energy during the spectating activity.
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Roksandic, Ivan. "The Ouroboros seizes its tale : strategies of mythopoeia in narrative fiction from the mid-fifties to the mid-seventies : six examples." Thesis, 2002. http://hdl.handle.net/2429/15013.
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The research presented here examines complex interrelations between myth and literature, focusing specifically on mythopoeia in some narrative fictions in the period from the mid-fifties to the mid-seventies. After giving an overview of different theories of myth developed in the Western tradition since ancient Greek times, the thesis examines both their usefulness and the value of the concept of myth itself, and proposes a new way of defining it by delimiting its semantic field through four separate sets of features: in terms of its structure, content, function and social role. It then analyses six largely modernist novels representative of literary mythopoeia, namely Yacine Kateb's "Nedjma" (1956), Wilson Harris' "Palace of the Peacock" (1960), Wole Soyinka's "The Interpreters" (1965), Chingiz Aitmatov's "Белый пароход" [The White Steamship] (1970), Michel Tournier's "Le Roi des aulnes" (1970), and Darcy Ribeiro's "Maira" (1976). They were all written during the decades when the 'mythic method' spread worldwide, and when differences between various national literatures diminished as they got closer, influencing each other to a larger extent than ever before. The novels, which come from six different cultural backgrounds on four continents, reflect various mythopoeic stances, using myth not to rediscover some pristine immediacy, but as a tool for exploring and contesting both the socio-historic world and larger questions of human existence. Although widely dissimilar in regard to their narrative strategies, their novelistic form and content, they have a number of common characteristics: eclectic use of myth, the merging of mythic and realistic planes, interplay of space and time, preference for totemism, animism and shamanism to monotheistic religions, consideration of problems of roots, identity and hybridity, concern for nature, ambiguous ends. More importantly, they all have cyclical time as the main structural device, because uncertainty about the future and loss of belief in eternal progress are primary preoccupations of their authors. As the examined novels show, mythopoeia in narrative fiction is very much present and productive in the second half of the twentieth century, making up an important part of contemporary world literature, for the human propensity to create mythic stories is perennial.
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Geeraert, Dustin. "Medievalism and the shocks of modernity: rewriting northern legend from Darwin to World War II." 2016. http://hdl.handle.net/1993/31705.
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Literary medievalism has always been critically controversial; it has often been dismissed as reactionary or escapist. This survey of major medievalist writers from America, England, Ireland and Iceland aims to demonstrate instead that medievalism is one of the characteristic literatures of modernity. Whereas realist fiction focuses on typical, plausible or common experiences of modernity, medievalist literature is anything but reactionary, for it focuses on the intellectual circumstances of modernity. Events such as the Enlightenment, the Industrial Revolution, many political revolutions, the world wars, and the scientific discoveries of Isaac Newton (1643-1727) and above all those of Charles Darwin (1809-1882), each sent out cultural shockwaves that changed western beliefs about the nature of humanity and the world. Thus, intellectual anachronisms pervade medievalist literature, as some of the greatest writers of modern times offer new perspectives on old legends. The first chapter of this study focuses on the impact of Darwin’s ideas on Victorian epic poems, particularly accounts of natural evolution and supernatural creation. The second chapter describes how late Victorian medievalists, abandoning primitivism and claims to historicity, pushed beyond the form of the retelling by simulating medieval literary genres. The third chapter crosses into the twentieth century and examines the relationship between the skepticism of a new generation of medievalist writers and their exploration of radical new possibilities in artificial mythology. The fourth chapter examines the gender dynamics of medievalist works, discussing how medievalist writers reinterpreted stock character types through metafiction. The final chapter’s focus is on war, propaganda, and human nature; it documents the iconoclastic trend in postwar medievalism, as writers examine the role of literature in encouraging nationalism and organized violence. Tying together the major threads of medievalism from the previous chapters, this final chapter chases the greatest shockwave of the twentieth century through inverted medieval landscapes where the author may be the greatest villain of all. Rejecting the critical Balkanization of medievalism, this study instead offers a unified view of nineteenth- and twentieth-century responses to northern legend, one which shows medievalism closely tracking the shocks of modernity.<br>October 2016
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Chen, Ying-jie, and 陳英傑. "John Keats’s Mythopoesis: Temporality, Melancholy, Allegory." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/9j7qbs.
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碩士<br>國立臺灣大學<br>外國語文學研究所<br>106<br>This thesis examines the wishes and longings in John Keats’s narrative poems that are informed by their socio-historical situation, and argues that Keats’s literary aspirations belong to the second-generation British Romantics’ attempt to resuscitate energies that fuelled progressive politics in a period when the high hopes of revolution were dashed by post-Napoleonic despair. Keats’s mythological poetry is grasped concretely as a literary endeavor in the face of socio-historical adversity. And this thesis calls Keats’s process of writing mythological narratives his “mythopoesis.” Such a creative process reveals the subtle ways in which an imagination of the otherworldly in fact embodies a struggling, civilizing spirit. This thesis suggests a parallel with the myth of Prometheus.
Chapter One investigates Endymion. While Keats concedes that this mythological romance suffers from inexperience and naivety, this vulnerability of the poem suggests a scarcely concealed utopian impulse, most notably at work in the fragile temporality of the eponymous hero’s quest. Endymion’s desperate embrace of his goddess, along with the unconvincing final resolution of the poem, gives rise to the feeling that Endymion cannot escape from the present; here, one finds an echo of Keats’s sensitivity to human suffering. Only through this tragic conception of life in time can a truly utopian hope be projected. In Chapter Two, this concern is further explored in Hyperion, where the melancholy of the gods expresses the poet’s misgivings about the liberal ideology of progress. Doubt leaves the epic attempt fragmented, and Keats goes on to compose The Fall of Hyperion, in which the visionary speaker’s fall into a melancholy awareness of mortality reveals a deepening of Keats’s utopian fantasy about a collective history. Chapter Three discusses Lamia, a sensational drama about a serpent-woman’s love affair that demonstrates a remarkable degree of libidinal and linguistic energy, which characterizes what Keats refers to as allegory in his letters. The serpentine movement of this romance demarcates the limitations of circumstances, in order to to gesture a potential way out of the historical impasse.
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Brawley, Christopher S. Burkes Shannon. "The sacramental vision mythopoeic imagination and ecology in Coleridge, MacDonald, Lewis, and Tolkien /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-11142003-012607.
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Thesis (Ph. D.)--Florida State University, 2003.<br>Advisor: Dr. Shannon Burkes, Florida State University, College of Arts and Sciences, Dept.of Religion. Title and description from dissertation home page (viewed Feb. 25, 2004). Includes bibliographical references.
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Verità, Massimiliano. "The sun is a girl mythopoesis in Mīrāl Al Tahāwī's Al Khibā' /." 2007. http://catalog.hathitrust.org/api/volumes/oclc/150566258.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 2007<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 90-94).
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Kirkland, Kevin Harvey. "A grim fairy tale : a mythopoetic discorse on taboo, trauma and anti-oppressive pedagogy." Thesis, 2004. http://hdl.handle.net/2429/15866.
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This dissertation is a critical, performative exploration and analysis of mother-son incest as a site for
educational inquiry. Particular attention is given to the sexual abuse of gay males. The text challenges
and re-enacts personal and social perceptions of taboos as spaces of silence, trauma, and
transformation, drawing on discourses of anti-oppressive pedagogy and narratives of healing. My views
of anti-oppressive pedagogy, influenced by Freire, Kumashiro, and others, trouble taboos as personal,
political, and cultural narratives.
This inter/play of texts serves to acknowledge painful histories associated with incest and, on a
conceptual level, to explore secrets, silences and shame around sexual abuse inbedded in cultural
curriculum. Curriculum stems from currere meaning "to run," as in a course, and narrative stems from
narrare meaning to make known. When both terms are juxtaposed they suggest a running from
knowing. What if traumatic sexual abuse histories were placed at the center of pedagogical inquiry?
Presented as a work of fiction, my dissertation is informed by an extensive literature review of motherson
incest. The image of a mother as a perpetrator of sexual abuse is antithetical to mythohistoric
constructions of motherhood. Literature on incest reveals that men are less often viewed as abuse
victims, that gay men experience much higher histories of abuse than heterosexuals, that
homosexuality and early childhood sexual abuse may be correlated, and that both homosexuality and
sexual abuse remain acutely silenced topics in education. All of this generates a lifelong sequelae of
problems for male survivors.
Trauma necessitates a critical and creative reconsideration of educational research as a site of narrative
inquiry and healing. The methodology I employed is mythopoetics presented in the form of a fairy tale
within a play. Drawing on the fairy tale genre's tradition as a vehicle for imparting moral and ethical
messages, the encompassing play creates a forum for dialogue and disruption of the tale. Music, art,
and photographs are integrated into the text to augment the mythopoetic presentation. Mythopoetics
becomes an avenue of make believe and a framework for anti-oppressive pedagogy. If education is
about learning new ways of being and becoming in the world, we need to re/collect difficult subjects in
order to transform lived experiences of learners.<br>Education, Faculty of<br>Graduate
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Lu, Tze-chiang, and 魯自強. "William Faulkner's Mythopoesis: Mythic Patterns in The Sound and the Fury and As I Lay Dying." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/37391678615412249752.
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碩士<br>國立臺灣大學<br>外國語文學系研究所<br>89<br>This thesis is an attempt to examine two of Faulkner’s representative works, The Sound and the Fury and As I Lay Dying, in the light of mythopoesis. That means, I elicit Faulkner’s extensive use of mythologies recorded in classical writings — Greco-Roman or Biblical — and the way he reconstructed the distinct myths symbolically into unified artistic works.
The first introductory part of the thesis lays out Faulkner’s own mythic design of Yoknapatawpha County, by means of which he defined the nature of myth — that is to say, human life patterns — as well as the essence of the tragic. The revelation is based upon the belief that Faulkner reproduced the once-prosperous mythic kingdom, where the archetypal quest for the heroic stands still for the sweat and pain of human hearts in conflict.
The second part is devoted to an analysis of Faulkner’s most controversial work, The Sound and the Fury in the mythological approach. I contend that the story is a romanticized version of the Edenic myth in the Hebraic-Christian culture. By establishing The Sound and the Fury as a chivalric romance of Man’s Fall, Faulkner attached importance to the moral battle of good and evil, representative of the Sartoris and the Snopes code of values at work in the Compson family. In this novel, finally, the struggle is made clear in the form of contending voices given to the unobtainable cause of ultimate salvation.
The third part treats of As I Lay Dying as a medieval pilgrimage toward spiritual catharsis, carried out through contradictory heroic codes of honor of the Bundren family members. In re-defining the epic hero’s capacity for trials and tribulations, Faulkner works hard, again, on the basic meaning of the journey toward salvation when he juxtaposes flood and fire with personal greed as natural obstacles on the way. He skillfully internalizes the quest and expands the single meaningful experience into a mythic universality of symbolic weight.
The last part of the thesis, functioning as conclusion, summarizes the techniques with which Faulkner universalizes his available mythological material and applies the resultant theme to some other major works of Faulkner’s. The crosscheck proves that almost all of Faulkner’s works can be viewed as a significant microcosmic record of human conflicts from the angle of mythopoesis.
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Daas, Martha Mary. "A new view of Mester de Clerecia : myth and mythopoesis in the Milagros de Nuestra Señora and the Libro de Alexandre." 2002. http://hdl.handle.net/2152/10949.
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Daas, Martha Mary. "A new view of Mester de Clerecia myth and mythopoesis in the Milagros de Nuestra Señora and the Libro de Alexandre /." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3077520.
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