Dissertations / Theses on the topic 'Cosmogonies'
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Thomas, Lynn Karen. "Theories of cosmic time in the Mahabharata." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329216.
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Fages, Volny. "Les origines du monde : cosmogonies scientiques en France (1860-1920) : acteurs, pratiques, représentations." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0067.
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Les origines de l’homme, de la Terre, de la vie, ou des astres, sont des questions culturellement omniprésentes et façonnant profondément le second XIXe siècle. Mais alors que les débats autour de la théorie de l’évolution, de la paléontologie, et de la géologie, ont donné lieu à une historiographie très riche, les travaux concernant l’histoire de l’étude de l’origine des astres, que rassemble à l’époque le terme de « cosmogonie », sont beaucoup plus rares. Cette thèse s’efforce, dans le cas de la France, de combler cette lacune. Ce travail décrit en détail la variété des pratiques cosmogoniques du second XIXe siècle français. Il articule pour cela une attention particulière portée aux dispositifs institutionnels d’administration et de régulation des sciences, avec une étude prosopographique détaillée de la communauté d’acteurs, hétérogène, rassemblée par ce sujet de recherche. L’étude des auteurs d’hypothèses cosmogoniques, de leurs pratiques et de leurs discours, permet notamment d’éclairer, à travers un cas, le long processus de professionnalisation des sciences qui s’opère durant la période étudiée. Ce processus de démarcation d’une élite savante, universitaire, s’effectue simultanément sur plusieurs fronts, où les cosmogonistes sont présents. Leur étude permet ainsi d’identifier les façons dont s’élaborent, discrètement, des frontières, poreuses et longues à se stabiliser, singularisant socialement les auteurs susceptibles de participer à la fabrication de la science en fonction de critères indissociablement cognitifs, sociaux, et politiquesThe origins of man, of life, of the Earth, or the stars, are central issues that shaped deeply the second half of XIXth century. Whereas historians of science have greatly and thoroughly studied debates surrounding evolutionary theory, paleontology, and geology, the history of the researches concerning the origins of the stars (“cosmogony”) during this period has mostly remained skimmed over. This PhD dissertation endeavors to fill this gap, in the French context. This work describes minutely the variety of cosmogonical practices that were developed between the 1860s and 1920s in France. In order to do so, it combines a specific attention to institutional ways of governing and regulating scientific practices and discourses with a detailed prosopographical study of the heterogeneous community gathered around this subject. The study of the authors of cosmogonic hypotheses, of their practices and discourses, sheds a new light on the long-term professionalization process of the sciences that takes place during this period. The boundary-work characterizing and differentiating a scientific, academic, elite occurs in different places where cosmogonists were active. The study of this group of actors enables to specify the way in which the frontiers that socially and epistemically singled the authors who were allowed to participate to the construction of science were socially, cognitively, and politically built
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Cristofari, Cécile. "Cosmogonies imaginaires : les mondes secondaires dans la science-fiction et la fantasy anglophones, de 1929 à nos jours." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3030.
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J'ai voulu étudier un phénomène qui sous-tend l'écriture de la littérature spéculative (science-fiction et fantasy) aujourd'hui : la création d'un « monde secondaire », selon l'expression de J.R.R. Tolkien. Deux problèmes se posaient de prime abord. Premièrement, l'ensemble culturel et éditorial que recouvre l'expression « littérature spéculative » est relativement flou, du fait des problèmes de délimitation des genres et de la problématique culturelle plus générale (la littérature spéculative est-elle définie par des motifs littéraires, ou par l'appareil culturel qui l'entoure ?). Deuxièmement, un « monde secondaire » est-il uniquement un univers inventé entièrement différent ou détaché du monde réel, ou peut-il recouper le monde réel, etc. ? La littérature spéculative étant un genre foisonnant et en pleine évolution, j'ai pris le parti de ne pas donner de réponses définitives. Plutôt que de tenter de tracer des frontières, j'ai cherché à mettre en évidence les différents éléments dont se constituent les mondes secondaires : les traditions du genre sur lesquels les auteurs s'appuient pour transmettre la vision d'un univers original à leurs lecteurs, entre mise en avant de l'originalité et utilisation d'éléments connus comme soubassement, ainsi que la vision particulière de l'histoire, de la géographie et de la place de l'humanité dans le monde que les auteurs développent. Cette réflexion se veut située à la fois en amont et en aval de l'acte d'écriture. Elle se conclut sur les questions qui se posent aux auteurs contemporains : questions de renouvellement du genre, ou d'ouverture sur les autres médias, en particulier ceux que pratiquent les amateursI endeavoured to study a phenomenon underlying contemporary speculative fiction (science fiction and fantasy): the creation of a ‘secondary world', to use J.R.R. Tolkien's phrasing. I had to solve two preliminary problems. First, the cultural and economic phenomenon that speculative fiction represents has a blurry outline, questions regarding genre delimitation and wider cultural problems (is speculative fiction defined only by a number of literary patterns, or by the whole cultural apparatus that goes with it?) being difficult to answer. Secondly, does the notion secondary worlds only apply to invented worlds that are entirely different or detached from the real world, or can it be applied to texts that take place at least partly in the real world, etc.? Speculative fiction being a diverse genre that has been steadily evolving for years, I have chosen to avoid giving definitive answers to those questions. Instead of looking for boundaries, I have tried to emphasise the various building blocks of secondary worlds in speculative fiction: the traditions of the genre authors rely on to convey their view of an original universe to their readers, in a dialogue between known elements used as a foundation and the idiosyncratic view of history, geography and the place of mankind in the particular secondary world developed by the author. In an attempt to open this study to the contemporary practice of world-building, I have concluded with the questions that speculative fiction authors face today: how to renew the tropes of the genre, how speculative fiction pervades other media, in particular the practices of fans
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Fondville, Geneviève. "Parole poétique et parole prophétique : la quête de l'être dans les cosmogonies de Pierre Emmanuel, de "Babel" au "Grand Oeuvre"." Paris 4, 2003. http://www.theses.fr/2003PA040123.
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Presents dans les cinq cosmogonies de l'Œuvre de pierre emmanuel, les prophetes posent de maniere originale la question de la parole poetique. Ils obligent a reflechir aussi bien a ce qui precede la parole et la fonde, le souffle anterieur a tout vocable, qu'a ce qui gene, voire empeche le poete d'expulser ce souffle dans une parole qui le donne en le modulant de maniere absolument personnelle. Les prophetes figurent le poete aux prises avec un germe en lui auquel il doit donner corps quand il voudrait soit se l'approprier, soit se contenter de le contempler. à travers les personnages de babel, jacob, sophia, tu, le grand Œuvre, pierre emmanuel comprend d'une maniere originale le " je est un autre " : non simplement un autre aspect de sa personnalite, double contraire auquel le prophete est toujours confronte, mais l'accueil de l'être qui le fonde, un " toi " qu'il atteste. Incarnation du souffle, la poesie est donc aussi temoignage de l'etre en qui s'accomplit tout homme, tout l'hommeThe prophets present in the five cosmogonies of the works of pierre emmanuel ask in an original way the question of the poetic word. They oblige the reader to reflect upon what precedes the word and founds it, the breath anterior to any word as well as what impedes it, or even what prevents the poet from expelling this breath, expressing it in a word which conveys it while modulating it in a manner absolutely personal to the poet. The prophets are an image of the poet who possesses inside himself a seed to which he must give flesh when he would be tempted to appropriate it or simply contemplate it. In and through the characters of babel, jacob, sophia, tu, and the grand oeuvre, pierre emmanuel understands in an original way the "i is an other", not just another aspect of his personality, a double opposite with whom the prophet is always confronted, but the welcoming of a being who founds him, a "you" whom he attests. Poetry, which is an incarnation of this breath is thus also a testimony of being in which every man and the whole of mankind find their accomplishment
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Monceret, Claire. "Mémoire et Conscience dans Eurêka d’Edgar Allan Poe : entre mythe et science." Thesis, Corte, 2021. http://www.theses.fr/2021CORT0014.
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Dans la littérature mythique, il y a une sagesse ancienne que l’on propose d’interpréter à partir de la lecture d’Edgar Poe, et qui peut éclairer l’époque postmoderne et les nouveaux enjeux qu’elle pose à l’Homme. En 1848, Edgar Allan Poe, poète héritier de la tradition mythographique, réalise dans son « poème » cosmogonique Eurêka une expérience hybride mariant l’enquête scientifique, l’intuition paranormale et l’imagination poétique. En reliant les mythes, les sciences physiques et l’évolution de la pensée à l’intuition d’une Réalité sous-jacente, il reconnaît une connexion fondamentale entre l’Être et le Monde, et l’existence de vérités indémontrables par une logique ordinaire, comme le principe de Cohésion ou Cohérence universelle (Consistency) qui relie Tout. Les expériences cognitives les plus récentes font apparaître que les conceptions poétiques de Poe rejoignent les questions émergentes des sciences actuelles concernant l’implication de la mémoire et de la conscience dans la fabrique du réel. Elles sont ici reconnues comme étant intimement liées, produisant par leur activité conjointe des phénomènes qui échappent à une vision classique mais laissent des traces interprétables. Une démarche comparative et transdisciplinaire permet d’explorer avec Poe les facultés propres au vivant et de faire l’épreuve de leur visibilité à différents niveaux de réalité. Suivre l’intuition, à la manière de Poe, permet de générer des pistes de recherche qui ouvrent de nouvelles perspectives à condition d’être testables, c’est pourquoi l’approche herméneutique des textes est complétée par une approche expérimentale explorant d’autres modalités d’une reliance fondamentale entre les êtres et leur écosystèmeIn mythical literature, there is an ancient wisdom that is proposed to be interpreted from the reading of Edgar Poe, and which can shed light on the postmodern era and the new challenges it sets for man. In 1848, Edgar Allan Poe, a poet heir to the mythographic tradition, in his cosmogonic "poem" Eureka, carried out a hybrid experiment combining scientific inquiry, paranormal intuition and poetic imagination. By linking myths, physical sciences and the evolution of thought to the intuition of an underlying Reality, he recognizes a fundamental connection between Being and the World, and the existence of truths that cannot be demonstrated by an ordinary logic, like the principle of Cohesion or Universal Coherence (Consistency) which links Everything. The most recent cognitive experiments show that Poe's poetic conceptions agree with emerging questions in current science concerning the involvement of memory and consciousness in the making of reality. They are recognized here as being intimately linked, producing by their joint activity phenomena which escape a classical vision but leave interpretable traces. A comparative and transdisciplinary approach makes it possible to explore with Poe the faculties specific to living things and to test their visibility at different levels of reality. Following intuition, like Poe, makes it possible to generate avenues of research that open up new perspectives on condition that they are testable, which is why the hermeneutical approach to texts is complemented by an experimental approach exploring other modalities of a fundamental link between beings and their ecosystem
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Rhee, Jeesun. "Du monde mécanique à l'univers physique. Pour une histoire de la cosmologie à l'âge classique autour de Leçons sur les hypothèses cosmogoniques de Henri Poincaré (1911)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC126/document.
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Ce travail prend pour point de départ Leçons sur les hypothèses cosmogoniques de Henri Poincaré, ouvrage qui est issu de son cours à la Sorbonne et l'une de ses dernières publications. L'objectif du travail est de restituer la pensée cosmologique du mathématicien et de l'inscrire dans l'histoire de la cosmologie, proposant une introduction aux Leçons et une grille de lectures historiques et philosophiques de cet ouvrage autour de deux axes : la cosmologie classique et la philosophie poincaréenne. La première partie est consacrée à la science classique qui oscille entre la possibilité d'une cosmogonie mécaniste et l'impossibilité d'une cosmologie en tant que science. L'ambivalence s'observe chez les auteurs des XVIIe et XVIIIe siècles notamment Kant et Laplace avec leur hypothèse cosmogonique, jusqu'au XIXe siècle qui reste récitent à s'étendre au-delà du système solaire et développer une cosmologie proprement dite. La seconde partie de la thèse vise une lecture systématique de l'œuvre de Poincaré à partir des trois ouvrages philosophiques composés et édités par lui-même comme La science et l'hypothèse. La lecture procède en trois temps, autour de trois problèmes : 1° la stabilité et le mécanisme, mis en question par la thermodynamique et le probabilisme (avant 1900) ; 2° la loi et le principe en mécanique et en physique, notamment le principe de relativité et le second principe de la thermodynamique, mis en question par le développement de la physique (1900-1905) ; 3° l'espace, mis en lumière par la nouvelle mécanique et la théorie cinétique (après 1905). Chaque problème est ouvert ou dirigé vers la problématique cosmologique, sans pour autant qu'elle soit poursuivie dans le concret ni dépasser le niveau conceptuel. Ainsi Poincaré est amené aux hypothèses cosmogoniques, pour finir par une philosophie plutôt qu'une cosmologieThis study takes as a primary source Lectures on Cosmogonic Hypotheses of Henri Poincaré, which was originally his course at the Sorbonne and one of his last publications. With the main objective to understand the cosmological thinking of Poincaré and its place in the history of cosmology, I propose an introduction to Lectures and its historical and philosophical reading around two axes: classical cosmology and Poincaré's philosophy. The first part is devoted to Classical Science to show how it seeks both the possibility of a mechanistic cosmogony and the impossibility of a cosmology as a science. This ambivalence can be seen in authors of the 17th and 18th centuries, especially Kant and Laplace with their cosmogonic hypothesis, as well as in the 19th century, when cosmological thinking remained speculative and restricted to the solar system, despite the advance of astronomy and physics, both in theory and observation. The second part suggests a systematic reading of Poincaré's philosophy from three philosophical books composed and edited by himself such as Science and Hypothesis. The reading proceeds in three steps, divided by a chronological order which is also thematic and problematic: (1) stability and mechanism, questioned by thermodynamics and probability theory (before 1900); (2) law and principle of mechanics and physics, especially the principle of relativity and the second principle of thermodynamics (1900-1905); 3 ° space, in the light of the new mechanics and the kinetic theory of gases (after 1905). Each problem shows its own cosmological moment that remains at the conceptual rather than the concrete level. Thus Poincaré is led to cosmogonic hypotheses, ending with a philosophy rather than a cosmology
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De, Rossi José. "Les Récits cosmogoniques Bara." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376062727.
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ROSSI, JOSE DE. "Les recits cosmogoniques bara." Montpellier 3, 1987. http://www.theses.fr/1987MON30017.
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Les takahotsy, genre litteraire bara, rapportent toujours une origine ; la formation du monde est une des questions ambigues et angoissantes que les recits tentent d'elucider. S'appuyant sur un corpus de textes collectes par cinq enqueteurs entre 1916 et 1968, ce travail propose d'analyser un aspect de la mythologie bara, groupe ethnique du sud de madagascar. Ce recueil de textes est un echantillon des productions litteraires relatives a l'origine du monde. En precisant la place de la cosmogonie dans la tradition orale de ce groupe, on est amene a aborder un domaine plus large : "la litterature bara". Mais il faut par la suite se concentrer sur le corpus pour detailler la typologie formelle de ces recits et les modes de leur enonciation. Ce va et vient est repris dans la methode d'analyse ou, a travers les formes et les contenus, on peut degager les finalites de ces recits; on decouvrira alors qu'ici, la cosmogonie ne rappelle pas simplement une origine, mais sert aussi a resoudre un probleme ponctuel contemporain de la narration. Plutot qu'une tentative de remonter le cours du temps, il s'agit davantage d'une mise en ordre du monde par le biais de la connaissance des rites et de la structure sociale. L'imaginaire est exprime avec talent : une ponderation apparait entre le serieux de la persuasion et l'humour traduit, entre autres par le jeu sur les signifiantsTakahotsy, a bara literary genre, always refers to an origin; the world creation is one of the ambiguous and frustrating questions that these narratives try to work out. This study proposes to analyse one aspect of the bara mythology, an ethnic group living in the south of madagascar. It rests on a corpus gathered by five investigators between 1916 and 1968. This anthology is a sample of bara literary productions referring to the origin of the world. In situating cosmogony in the oral tradition of this ethnic group, one is led to deal with a broader field : bara literature. Subsequent to this, one will have to concentrate on the corpus in order to explore the formal typology of these narratives and their mode of enunciation. Tsi movement to and from bara literature is analysed in a new fashion with the method of analysis resorted to. The aims of these narratives can therefore be laid out thanks to the analysis of forms and contents. Thus, one will discover that in bara literature, cosmogony does not only refer to an origin but can also be used to solved a specific problem which originates from the very act of narration in a given situation. Indeed, cosmogony is much more an attempt to organize the world than an attempt to go up along the course of time through the knowledge of tradition and social structure. The imaginary is expressed with talent : there appears a balance between the firmness of persuasion and the humour conveyd by the interaction of the signifying units
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Bickel, Susanne. "La cosmogonie égyptienne avant le nouvel empire /." Fribourg (Suisse) : Göttingen : Éd. universitaires ; Vandenhoek & Ruprecht, 1994. http://catalogue.bnf.fr/ark:/12148/cb35702232x.
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Brito, Robson Gomes de. "Aproxima??o dial?gica: cosmogonias grega e iorub?" UFVJM, 2018. http://acervo.ufvjm.edu.br/jspui/handle/1/1772.
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A presente pesquisa desenvolve um exerc?cio anal?tico e te?rico-conceitual da aproxima??o dial?gica existente entre os mitos cosmog?nicos grego e iorub?. Por meio de uma an?lise comparada que envolve a lingu?stica, a antropologia e os estudos acerca dos mitos. A princ?pio busca-se demonstrar a compara??o entre os mitos e a sua import?ncia para o exerc?cio lingu?stico textual. Em seguida, prop?e-se verificar a proced?ncia de outras investiga??es que atestam os textos, Mitologia dos Orix?s e Teogonia de Hes?odo, como produ??es m?ticas cosmog?nicas e finaliza-se com a demonstra??o das poss?veis interpreta??es extra?das dos textos.
Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Ci?ncias Humanas, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2018.
The present research develops an analytical and theoretical-conceptual exercise of the dialogical approach existing between the Greek and Yoruba cosmogonic myths. Through a comparative analysis involving linguistics, anthropology, and studies of myths. At first it is tried to demonstrate the comparison between the myths and their importance for the textual linguistic exercise. Next, it is proposed to verify the origin of other investigations that attest the texts, Mythology of the Orix?s and Theogony of Hesiod, as mythical cosmogonic productions and ends with the demonstration of the possible interpretations extracted from the texts.
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Chenet, François. "Psychogenèse et cosmogonie dans certains textes philosophiques indiens." Paris 4, 1997. http://www.theses.fr/1997PA040003.
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Cette recherche traite de la manière dont les spéculations psychologiques et les spéculations cosmologiques s'entrecroisent dans le cadre général de la pensée indienne privilégiant les corrélations entre microcosme et macrocosme. Elle se concentre plus particulièrement sur certains textes philosophiques indiens d'orientation " idéaliste ". Le corpus de textes étudiés comprend des textes du vedanta, du bouddhisme idéaliste et du trika ; sa pièce maitresse est le yogavasistha, dont on analyse ici de manière détaillée la philosophie. Elle aborde aussi dans une perspective comparatiste la question des équivalents indiens de la notion d'imagination transcendantaleThis research deals with the interlacing of psychological speculations and cosmological speculations within the general context of Indian thought to which the correlations between microcosmos and macrosmos are central. It focuses more particularly on some Indian philosophical texts drawing their inspiration from the idealistic outlook. Our corpus of texts includes texts from vedanta, buddhistic idealism, trika; its main piece is the yogavasistha, and a detailed analysis of its philosophy is here provided. The research tackles also in the comparative outlook the question of the Indian equivalent of the notion of transcendental imagination
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Declercq, Amandine. "L'océan environnant, aux confins de la terre : comparaison des perceptions grecque et arabe des limites du monde connu." Toulouse 2, 2008. http://www.theses.fr/2008TOU20035.
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L'Océan, entité physique et concept intellectuel, a assumé un rôle fondamental dans la pensée cosmogonique et cosmographique de nombreuses civilisations. Chacune des cultures qui ont formulé l'idée d'une naissance du kosmos à partir de l'élément liquide ou bien celle d'un Océan environnant l'oikouménè a cependant formulé une image de l'entité océanique particulière. Quelles ont été la conception et la représentation spécifiques d'Okeanos dans la pensée hellénique ? À partir de l'interprétation du legs des poètes archaïques, qui a contribué à la définition du concept d'un Océan circulaire, les anciens Grecs ont formulé une image du kosmos considérée, dès l'époque classique, comme traditionnelle. Quelles ont été les permanences et les mutations de cette image du monde jusqu'à l'Antiquité tardive ? Comment la culture arabe, installée dès le VIIème siècle après J. C. Sur les territoires profondément hellénisés du bassin méditerranéen et du Proche-Orient, a-t-elle hérité du legs cosmographique des anciens Grecs ? Cette étude propose d'éclairer le cheminement d'une image du monde – et, à travers elle, celui d'une conception de la place de l'homme au sein du kosmos – depuis les poèmes grecs archaïques, au VIIème siècle avant J. -C. , jusqu'aux compilations arabes médiévales du XIVème siècle après J. -CThe Ocean, both a physical entity and an intellectual concept, has assumed a fundamental role into the cosmogonic and cosmographic thought of various civilisations. Each culture that has formulated the idea of a kosmos' genesis from water or the concept of a surrounding Ocean has, however, formulated a particular image of the Ocean. What have been the specific conception and representation of Okeanos into Greek thought ? From the interpretation of archaïc poetry, which has contributed to the definition of the Ocean as a concept, Ancient Greeks have formulated an image of the world considered, since the classic period, as traditional by posterity. What have been the permanence and the mutations of this image from the VIth century B. C. To late Antiquity ? How did Arabic culture, settled since the VIIth century A. D. On the deeply hellenized territories of the Mediterranean area and Near East, received the cosmographic heritage of Hellenic culture ? This study exposes the development and the transmission of an image of the kosmos – and, through this image, the transmission of a conception related to the place of humanity into the kosmos – from greek archaïc poetry (VIIth century B. C. ) to the late mediaeval arabic compilations (XIVth century A. D. )
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Dias, Denise. "O hibridismo literário sobre as areias da Bahia: um olhar em Capitães da areia e Mar morto, de Jorge Amado." Pontifícia Universidade Católica de Goiás, 2014. http://localhost:8080/tede/handle/tede/3196.
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Previous issue date: 2014-03-06Este trabalho testemunha e ilumina as concepções modernas, bem como os procedimentos estéticos literários a fim de compreendê-los. Além disso, estuda os processos de hibridização nos romances, Mar morto e Capitães da areia, de Jorge Amado. As relações de identidades, representações e de produção cultural foram elucidadas numa contribuição sociológica a par de um estudo fenomenológico, estrutural, hermenêutico, baseado principalmente na teoria de hibridismo de Homi K. Bhabha e, na teoria literária, de Antonio Candido, Alfredo Bosi, Irlemar Chiampi, e outros. A metodologia de natureza qualitativa apoiou-se no raciocínio por dedução. O texto do autor foi analisado como narrativa transcultural respeitando as cosmogonias das religiões. A reflexão levou à percepção de que os textos construiu um universo literário mesclado, híbrido, que estimulou a leitura profunda das identidades brasileiras contemporâneas e, para interpretá-lo foi necessária uma ação intercultural, e interdisciplinar aproximando-os do reflexo da realidade social, da miscigenação, e do hibridismo cultural. Por isso, os estudos culturais foram necessários nessas obras literárias como maneira de ampliar os horizontes das análises, já que as influências sociais e as relações de poder foram enfatizada.
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Chifflet, Stéphanie. "Le récit de la convergence NBIC : vers une nouvelle cosmogonie ?" Grenoble 3, 2008. http://www.theses.fr/2008GRE39058.
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Les discours portés sur la convergence NBIC (convergence des nanotechnologies, biotechnologies, technologies de l'information et des sciences cognitives) relèvent d'une dimension symbolique et restent tributaires d'une pensée mythique héritée. Pour saisir tous les enjeux profonds des nouvelles technologies, il est indispensable d'en connaître les ressorts imaginaires. En effet, les sciences et les techniques (ce que nous appelons technologies) sont constituées, comme toute praxis humaine, d'images et de désirs ambivalents. En adoptant une vue sur le long terme et en inscrivant le domaine technologique dans l'histoire culturelle de la longue durée, nous tentons, dans le présent travail, de définir les contours d'un imaginaire technologique en cours de construction. La mise en récit de la convergence NBIC (qui est également une mise en images) est le lieu de réminiscences mythiques. Bien plus, selon nous, le "grand récit" de la convergence NBIC (elle-même présentée comme une révolution paradigmatique) est une actualisation du mythe cosmogonique. Par ces thèmes principaux (la maîtrise et la manipulation de la matière, la transformation de l'homme, l'héroïsation du scientifique, l'immortalité) le récit NBIC apparaît comme l'expression moderne d'un défi démiurgique que l'homme est invité à relever, devenant lui-même l'acteur d'une nouvelle religion : la religion de la technologieDiscourses about NBIC convergence (convergence between nanotechnology, biotechnology, information technology and cognitive science) have a symbolic dimension and depend on an inherited mythic thought. In order to strike the underlying stakes of new technologies, it is essential to know their imaginary aspects. Indeed, sciences and technics (what we call technologies) are constituted, like every human praxis, by ambivalent images and desires. By adopting a long term view and positioning the technological domain in the long cultural history, we try, in this work, to define the outlines of a technological imagination in progress. The NBIC convergence narration (which is also a game of images) brings about mythical reminiscences. Moreover, in our opinion, the "great story" about NBIC convergence (which is presented like a paradigmatic revolution) is an actualization of the cosmogonic myth. With its main themes (mastery and manipulation of the matter, human transformation, portraits made of scientists as new heroes, immortality), NBIC story appears like the modern expression of a demiurgic challenge that the mankind is tempted to take up, becoming himself the actor of a new religion: the technological religion
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Araujo, Cicero Romão Resende. "Verdade e interesse na cosmogonia de Descartes." [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279231.
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Orientador: Roberto de Andrade MartinsDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Mestrado
Mestre em Filosofia
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Pourille, Dominique. "Recherches sur le nou(n) dans l'egypte ancienne de l'ancien au nouvel empire." Paris 4, 2000. http://www.theses.fr/2000PA040248.
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Le nou(n) est un concept specifiquement egyptien, indissociable de la creation du monde. Mais il est aussi, des les plus anciens textes, etroitement associe a l'apparition matinale du soleil, au devenir posthume du defunt et a un evenement vital entre tous pour l'egypte, le retour de l'inondation. C'est donc une notion cle dans la pensee mythique de l'egypte ancienne, au coeur de la reflexion entreprise par ses penseurs pour apprehender les principes qui regissent l'univers. Phenomene original, dote de formes multiples, le nou(n) apparait a la fois comme un espace et une divinite. Apres avoir inventorie les graphies utilisees pour noter le nom de l'entite primordiale de l'ancien au nouvel empire, ce travail examine sous quelles apparences l'iconographie egyptienne a choisi de representer le dieu nou(n) avant de considerer celui-ci sous sa forme spatialisee. Sis dans les regions mythiques du monde inferieur, abritant des cavernes et jalonne de nombreuses portes, le nou(n) apparait comme un espace de regeneration pour l'astre solaire comme pour le defunt. Il est aussi le lieu ou peuvent etre neutralisees les forces menacant la creation. Un autre volet est consacre a l'une des formespregnantes du nou(n) au nouvel empire, sa vocation hydrologique. Crue du nil, assurant par son retour la vie de tout un peuple, eau sacralisee par son entree dans le temple, domaine du divin, tels sont les autres aspects fondamentaux du nou(n). On s'est ensuite attache a cerner la nature et la fonction du dieu nou(n) avant de s'interroger sur la naissance du monde et sa possible destruction par le demiurge qui l'a cree la premiere fois. Tout au long de cette etude, on s'est efforce de saisir dans une meme perspective la multiplicite et l'unicite du nou(n) et de montrer comment ses differents aspects se completent et s'eclairent mutuellement.
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Sanogo, Souleymane. "La parole tissée de la cosmogonie dogon à l'expérience du sacré." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0559.
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Le but de cette « thèse-création » est d'explorer la possibilité que certains éléments et concepts puissent susciter l'émergence d'une expérience du sacré à l'intérieur d'un travail plastique artistique. Cela incite à se poser la question sur la subsistance du sacré aujourd'hui. En d‘autre terme, il faut voir si les œuvres d‘arts plastiques possèdent un potentiel pour l'expérimentation de ce dit sacré. Dans un premier temps, cette investigation dans la quête de création présente les notions du sacré comme un vécu quotidien. Ensuite, elle se penche sur différents types d‘arts plastiques visuels se reliant à une certaine expérience du sacré remarquablement visible dans les expositions Les traces du sacré et Les maîtres du désordre, et dans nos œuvres à nous.(......) Et dans une tentative de réponse, notre réflexion a recouru à une approche heuristique à caractère ethnographique et « autoethnographique » qui sous-tend à une analyse, une mise en lien de différents auteurs, d‘artistes et de processus de création artistique. De cette réflexion et de ce constat, il ressort que l'expérience du sacré aujourd'hui se manifeste de différentes façons, sans aucune forme commune. Et que la création artistique notamment les arts plastiques peuvent interpréter et appréhender quelques éléments privilégiant l‘apparition d'une expérience du sacré.En somme, l‘expérience du sacré dans le monde d‘ aujourd'hui est un phénomène plutôt individuel, qui est vécu, et cela demande une présence totale de l‘individu lui-mêmeThe purpose of this "thesis-creation" is to explore the possibility that certain elements and concepts may lead to the emergence of an experience of the sacred within artistic artistic work. This prompts to ask the question about the sustenance of the sacred today. In other words, it is necessary to see if the works of plastic arts have a potential for the experimentation of this so-called sacred. At first, this investigation in the quest for creation presents the notions of the sacred as a daily experience. Then, she looks at different types of visual visual arts connecting to some experience of the sacred remarkably visible in the exhibitions The Traces of the Sacred and The Masters of Disorder, and in our works to us.(...) And in an attempt to answer, our reflection has resorted to a heuristic approach of ethnographic and "autoethnographic" nature that underlies an analysis, a linking of different authors, artists and processes of artistic creation. From this reflection and from this observation, it appears that the experience of the sacred today manifests itself in different ways, without any common form. And that artistic creation, especially the visual arts, can interpret and apprehend some elements favoring the appearance of an experience of the sacred.In short, the experience of the sacred in today's world is a rather individual phenomenon, which is lived, and it requires a total presence of the individual himself
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Wiebe, Steven L. "Christian theology in a pluralistic context : a methodological and constructive inquiry in the doctrine of creation /." New York : P. Lang, 2007. http://catalogue.bnf.fr/ark:/12148/cb41078539d.
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Ahn, Young-Hyun. "L'Imaginaire mythique dans les premiers oeuvres de Jean Giono : cosmogonie et initiation." Limoges, 1994. http://www.theses.fr/1994LIMO0505.
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Pacheco, Maria Lúcia Tinoco, and 99119-3355. "A literatura de viagem e as cosmogonias indígenas em Stradelli e Nunes Pereira." Universidade Federal do Amazonas, 2017. http://tede.ufam.edu.br/handle/tede/5734.
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Lendas e Notas de Viagem, Ermanno Stradelli (1852-1926) and Moronguetá: um Decameron Indígena, Nunes Pereira (1893-1985) offer a reading of the indigenous peoples of the Amazon from their mythology. Overall reports of travelers of the nineteenth and twentieth centuries, these two publications are unique records of narratives that initially oral, witness memory of indigenous communities and heritages reveal socially constructed in the experience of those people. Already retaken by diverse fields of knowledge as anthropology, geography, history, etc., and bringing contributions from different, yet lacked these works being the object of investigation in the field of literary studies. This work proposes to think, because, as the collected cosmogonies and presented these works by men of science, Stradelli and Nunes Pereira, and inserted into a traveling literature, could be taken into literary perspective to fill the research gap in within the literary system. Therefore, it started with three main assumptions: first consider the traveler literature that entered Brazil and indigenous Amazon in the world's memory as a polarized literature between fiction and reality; the second would take the cosmogonic text study as a poetic journey that focused on indigenous cosmogony of the Brazilian Amazon, show some instances of literary, seeking to present certain resistance of the field and stripping them at the same time; and the third would consider the work as a writing of the border, which would allow between the various relationships the intersection between science and literature, and their foray inside other poetic. The thesis presented here, which resumed the study of travel literature produced by Stradelli and Nunes Pereira in clipping these works and whose link is the Amazon, was built by means of tests, which held dialogues with Merleau-Ponty the imagination of Bachelard and Durand, besides the revisitation of the literary theories proposed by Bakhtin, Jakobson and cultural studies, among others.
Lendas e Notas de Viagem de Ermanno Stradelli (1852-1926) e Moronguetá: um Decameron Indígena, de Nunes Pereira (1893-1985) oferecem uma leitura dos povos indígenas da Amazônia a partir de sua mitologia. No conjunto de relatos dos viajantes dos séculos XIX e XX, essas duas publicações são registros únicos de narrativas que, inicialmente orais, testemunham a memória de comunidades autóctones, bem como revelam patrimônios socialmente construídos na vivência daqueles povos. Retomadas já por diversos campos de conhecimento como antropologia, geografia, história, entre outros, e trazendo contribuições das mais diversas, ainda faltava a essas obras serem objeto de investigação no campo dos estudos literários. Esse trabalho se propôs a pensar, pois, como as cosmogonias coletadas e apresentadas nestas obras pelos homens de ciência, Stradelli e Nunes Pereira, e inseridas em uma literatura de viajantes, poderiam ser tomadas em perspectiva literária de modo a preencher a lacuna da investigação no interior do sistema literário. Para tanto, partiu-se de três pressupostos principais: o primeiro consideraria a literatura de viajantes que inseriu o Brasil e a Amazônia indígena na memória do mundo como uma literatura polarizada entre ficção e realidade; o segundo tomaria o texto cosmogônico em estudo como uma poética de viagem que, centrada na cosmogonia do indígena da Amazônia brasileira, mostraria algumas instâncias do literário, procurando apresentar certas resistências do campo e destituindo-as ao mesmo tempo; e o terceiro analisaria a obra como um escrito de fronteira, que permitiria entre as várias relações o entrecruzamento entre ciência e literatura, além de sua incursão no interior de outras poéticas. A tese que ora se apresenta, que retomou o estudo da literatura de viagem produzida por Stradelli e Nunes Pereira no recorte destas obras e cujo elo é a Amazônia, foi construída por meios de ensaios, os quais mantiveram diálogos com a fenomenologia de Merleau- Ponty, o imaginário de Bachelard e Durand, além da revisitação das teorias literárias propostas por Bakhtin, Jakobson e os Estudos Culturais, entre outros.
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Padenou, Guy-Hermann. "Architecture, environnement et société : la cosmogonie des trois mondes des Tamberma au Togo." Toulouse 2, 2003. http://www.theses.fr/2003TOU20026.
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Cette thèse traite de la complexité des rapports entre l'architecture, l'environnement et la société, chez les Tamberma du Togo en intégrant la diversité des indicateurs relatifs à la culture, l'habitat, l'organisation sociale et spatiale, et aussi l'environnement dans lequel ils évoluent. Elle permet de mettre en évidence la représentation que cette société se fait du monde, et d'analyser la manière dont cette représentation est transposée sur sa production architecturale. Ce travail nous a amené à identifier les moteurs de l'organisation sociale et spatiale des Tamberma, et à clarifier, au travers de la perception et de la mise en ordre pratique et symbolique de l'espace et du temps qui caractérisent cette société, les rapports qu'elle entretient avec son environnement. De plus, cette étude dynamique d'une société qui a su préserver la plupart de ses caractéristiques culturelles, nous permet de montrer la manière dont celle-ci intègre la changement que lui apporte le "monde moderne"This thesis deals with the complexity of relationship between architecture, environment and society, about the Tamberma people in Togo. It integrates a variety of indicators with respect to their culture, settlement, social and spatial organization, and also the particularities of the environment in which they progress. This work allows us to highlight the Tamberma's representation of the world, and analyse how that representation is adaptated on the architectural production. It leads us to identify the main elements of the social and spatial organization of the space and the time, to clarify what characterizes the people and the links he maintains up with its environment. Furthermore, this dynamic study of a society who has succeeded in preservating most of its cultural characteristics, allows us to demonstrate how that society integrates the change the "modern world"
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Poutier, Irène. "Ecrits sur la peinture et dessins d'Antonin Artaud : vers l'invention d'une pré-cosmogonie." Besançon, 2003. http://www.theses.fr/2003BESA1014.
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Après avoir défini les grands traits du projet artistique artaldien, nous étudions un grand nombre de textes d'Artaud sur la peinture et nous dégageons, à partir de l'étude de quelques œuvres représentatives de peintres évoqués par Artaud, les raisons qui le poussent à rejeter des périodes artistiques comme le Cinquecento. Nous procédons de même pour les peintres ou courants artistiques pour lesquels Artaud s'enthousiasme, ce qui permet d'expliciter les idées maîtresses du poète sur la finalité de l'art et de la peinture. Nous montrons enfin de quelle façon, dans l'imaginaire d'Artaud, le théâtre, la peinture et les propres dessins du poète forment un ensemble qui tend vers la construction d'une pré-cosmogonie. Au-delà de la dénonciation farouche d'Artaud, dans et hors des murs de Rodez, contre un Dieu tyrannique et jaloux, nous mettons en évidence que la ligne et le trait, l'écriture et le dessin, le théâtre et la peinture tendent vers un espace de pensée et de vie nouveau et originalFirstly, we define the main features of Artaud's artistic work, the genesis of which can be found in his writings on theatre. We then go on to study Artaud's written pieces on paintings. We expose the reasons why Artaud rejected certain artistic periods, such as the Cinquecento, through a study of works of art that characterize them. We adopt the same manner in dealing with the painters and artistic periods for which Artaud felt a great enthousiasm. This enables us to explain the poet's fundamental ideas on the aims of art and painting. Finally, we show how, according to Artaud's imagination, theatre, painting and Artaud's own drawings form a coherent whole which leads towards what we call a " pre-cosmogony ". From both within and outside the confines of the Rodez asylum, Artaud ferociously condemns a tyrannical and jealous God. Beyond this denunciation, we show how sentences and brush strokes, writing and drawing, theatre and painting converge to create a space for ideas and living that is both new and original
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Chatzissomoy, Theophilia. "La cosmologie présocratique comme première recherche systématique de la raison : des influences subséquentes et des différenciations." Paris 4, 1996. http://www.theses.fr/1996PA040032.
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La cosmologie présocratique comme premier effort pour la recherche rationnelle des phénomènes cosmiques ne constitue pas seulement une cosmologie, mais aussi une anthropologie. Bien que les premiers penseurs commencent leur recherche par l'étude de la nature, ils ne peuvent pas parler de l'univers, du fonctionnement et de la composition des changements naturels sans accorder de l’importance au facteur humain dans le monde. Ses activités mentales particulières, la domination du génie et la grandeur de son dedans lui font se distinguer et dominer sur l'univers. La maturité de la pensée contribue à la communication réelle du microcosme avec le macrocosme. A cause de cette raison, les présocratiques observent avec attention le monde extérieur et dirigent aussi leur activité vers le logos personnel, vers la dimension intellectuelle dynamique qui rend l'usage exact des éléments et des représentations du monde naturel extérieur possible et qui constitue la présupposition en vue de l'interaction et de leur évolution réciproque. Chez les premiers philosophes la notion du cosmos indique l'arrangement équilibre de toutes les choses; chaque force physique effectue une œuvre remarquable et un certain nombre d’opérations sans dépasser ses limites. Lorsqu'ils se réfèrent également à la signification sociale du mot "cosmos", ils se concentrent sur la justice qui régit la vie socialeThe pre-Socratic cosmology as the first attempt to investigate by means of logic the world phenomena isn't merely cosmology but anthropology as well. Even though the first intellectuals begin their research by studying nature, they can't speak of the universe, the function or the texture of the natural transitions without even considering the position of the human factor in the world. Man's particular spiritual functions, the dominance of logic and the grandeur of his inner life enable him to distinguish and rule over the universe. The maturation of thought contributes to the actual microcosm and macrocosm intercourse. Therefore, the pre-Socratic philosophers are occupied with the external world, but at the same time they are orientated towards the individual logos, that is the dynamic intellectual dimension that renders possible the proper treatment of the external natural world's elements and scenes while it constitutes the presupposition of their interaction and mutual progress. According to the first philosophers the concept of world underlines every single object's harmonious arrangement. Each natural force performs a particular deed and a definite number of functions without surpassing its limit thought
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Soares, Filho Antonio Coutinho. "Cosmogonia profana: uma leitura de O visitante, de Osman Lins." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20148.
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Universidade Estadual do Maranhão - UEMA
In the whole of Brazilian literature, Osman Lins is a name that stands out for the quality and diversity of his production. Novelist, playwright, essayist, among other attributions, the writer has an aesthetic refinement as well as a reflexive posture in face of the cultural, social and political obstacles of the country. The osmanianos studies often highlight the author's romanesque experiments in his so-called maturity phase. Not exclusively, the prior creation to this period still lacks major critical exams, such as the novel debut, The Visitor (1955) corpus of this research. Besides the interesting textual warp, this work presents a humble fortune review, which gives rise to this work. It should be added that on several occasions the writer affirms that the cosmogonical attitude along with the preoccupations with the national ills and the reflection on the creative process, guide his life and the literary work. That said, one wonders how this worldview is presented in The Visitor. Taking into account the traced interdiscurssive of the narrative and the novelist’s social-critcism and point of view. The proposed analysis considers the mythological, biblical, and liturgical inscriptions as well as the development of his story in the plot. In the face of it, there’s a hypothesis is that Lins, in a subversive modulation brings to the scene elements of the Eden myth and Christian liturgy but he also highlights the contradictions of a society that privileges appearances, victimizing the woman mainly. In the theoretical-critical articulation a review of the analytical itinerary of the corpus is done, with the help of Nitrini (1987, 2001, 2003, 2004), Andrade (2001, 2004, 2014) and Ribeiro (2016), among others. The concepts of threshold — Benjamin (1987), Gagnebin (2010); Devices and profanation, according to Agamben (2009, 2010, respectively), also guide this research. The theoretical-critical complete this framework itself, brings reflections on the poetic–myth creation according to the thinking of Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) and Bastazin (2006). The methodological course, starting from the narrative structure and the critical fortune of the work, examines the aesthetic inversions operationalized by osmanian writing. The visitor, Osman Lins' first creative gesture despite his myth-poetic features presents through an introspective plot a sharp vision of the manipulation game that sustains the society, a principle that distorts the essence of the being and search to conceal the contradictory nature of power
No conjunto da literatura brasileira, Osman Lins é um nome que se destaca pela qualidade e pela diversidade de sua produção. Romancista, dramaturgo, ensaísta, dentre outras atribuições, o escritor possui um requinte estético bem como uma postura reflexiva em face dos entraves culturais, sociais e políticos do país. Os estudos osmanianos, com frequência, destacam os experimentos romanescos do autor em sua chamada fase de maturidade. Não exclusivamente, a criação anterior a esse período ainda carece de maiores exames críticos, a exemplo do romance de estreia, O visitante (1955), corpus desta pesquisa. Além da interessante urdidura textual, essa obra apresenta uma fortuna crítica modesta, o que enseja este trabalho. Acrescente-se que, em várias ocasiões, o escritor afirma que a atitude cosmogônica, aliada às preocupações com as mazelas nacionais e à reflexão sobre o processo criativo, orientam sua vida e o ofício literário. Isso posto, pergunta-se como essa cosmovisão se presentifica em O visitante. Levando em conta o traçado interdiscursivo da narrativa e a postura crítico-social do romancista, a análise proposta considera as inscrições mitológicas, bíblicas e litúrgicas, bem como seus desdobramentos escriturais no enredo. Diante disso, a hipótese é que Lins, numa modulação subversiva, traz à cena elementos do mito edênico e da liturgia cristã, como também expõe as contradições de uma sociedade que privilegia as aparências, vitimando, principalmente, a mulher. Na articulação crítico-teórica, faz-se uma revisão do itinerário analítico do corpus, ao que se conta com o auxílio de Nitrini (1987; 2001; 2003; 2004), Andrade (2001; 2004; 2014) e Ribeiro (2014), dentre outros. Os conceitos de limiar — Benjamin (1987), Gagnebin (2010); dispositivos e profanação, segundo Agamben (2009; 2010, respectivamente), também orientam a pesquisa. Completam o quadro teórico-crítico da mesma, as reflexões em torno da criação mito-poética conforme o pensamento de Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) e Bastazin (2006). O percurso metodológico, partindo da estrutura narrativa e da fortuna crítica da obra, examina as inversões estéticas operacionalizadas pela escritura osmaniana. Portanto, O visitante, primeiro gesto criativo de Osman Lins, não obstante seus traços mito-poéticos, apresenta, por meio de uma trama introspectiva, uma arguta visão do jogo de manipulação que sustenta a sociedade, princípio que desvirtua a essência do ser e busca ocultar a natureza contraditória do poder
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Ba, Cheikh Moctar. "Analyse comparative de quelques systèmes et représentations cosmogoniques et cosmologiques grecs et africains." Rennes 1, 2005. http://www.theses.fr/2005REN1X004.
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Les cosmogonies et cosmologies sont des moments forts de la pensée en général à travers lesquels l'homme se pose des questions sur son rapport au reste de l'univers, l'origine du monde, la création et le fonctionnement de celui-ci. En effet, face à son angoisse existentielle, son étonnement et toutes les difficultés à maîtriser son environnement immédiat et lointain, il se pose certaines questions auxquelles ces discours tentent d'apporter des réponses. C'est dans le sillage de celles dont témoignent les cosmogonies et cosmologies grecques et africaines que nous avons tenté de relever des constantes et invariants, mais aussi des variantes. Aux interrogations sur l'origine du monde, la création, le sens du devenir, la justification d'une théorie de la centralité, les implications sociales des cosmogonies et cosmologies, nous avons trouvé que ces pensées grecques et africaines, bien qu'appartenant à des zones géographiquement différentes, en ont apporté des réponses méritant l'usage des méthodes comparatives à travers l'étude objective de certains thèmes ou morceaux de ces discours révélant une permanence des préoccupations du genre humain.
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Cappi, Alberto. "Analyse statistique de la distribution spatiale des galaxies et des amas." Paris 11, 1993. http://www.theses.fr/1993PA112104.
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Le premier chapitre est consacré à un survol panoramique très synthétique du cadre théorique de formation des structures dans l'univers: il s'agit de comprendre quand et comment sont nées et se sont développées les structures que nous observons. Le deuxième chapitre passé en revue les principales techniques statistiques utilisées dans la littérature pour décrire d'une façon quantitative une distribution d'objets. Dans le même chapitre j'ai exposé les principaux modèles qui cherchent à reproduire la distribution des galaxies dans l'univers. Dans le troisième chapitre j'ai montré quels sont les problèmes dans l'analyse statistique qui peuvent être posés par les effets de sélection, en prenant un cas spécifique, la sélection des galaxies en fonction de leur diamètre ou de leur magnitude apparente. Le quatrième chapitre traite de l'analyse de la distribution spatiale des groupes de galaxies, et comment elle se situe par rapport aux galaxies et aux amas. J'ai voulu souligner les difficultés et les incertitudes des échantillons disponibles. Le cinquième chapitre est consacré à l'étude des relations qui peuvent décrire la structure des amas de galaxies. Il en résulte que les amas de galaxies tout comme les galaxies elliptiques ou les amas globulaires, se trouvent sur un plan fondamental. Dans le sixième chapitre j'ai traité de la distribution spatiale des amas et des indications qu'elle nous donne sur la structure à grande échelle. Dans le septième chapitre je présente mon travail d'observation d'amas proches et lointains, et plus en général les observations en cours ou futures et des moyens techniques grâce auxquels nous pourrons arriver à une compréhension des mécanismes des formations des structures et à une connaissance de l'univers voisin
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Chaves, Mário João Alves 1965. "Flexiexistencialismo-pela acção de progresso, da linguagem modernista à cosmogonia do pluralismo." Master's thesis, Instituições portuguesas -- -Universidade Lusíada -- -Departamento de Arquitectura (Lisboa), 1998. http://dited.bn.pt:80/30333.
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Dupas, Hervé. "Entre autochtone et cosmogonie : syncrétisme et dualités dans l'oeuvre poétique d'Alfred Mombert de 1894 à 1919." Paris 4, 2009. http://www.theses.fr/2009PA040107.
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Chabbert, Christophe. "Les mythes cosmogoniques dans la littérature d'expression française : l'exemple de Malcolm de Chazal." Paris 13, 1999. http://www.theses.fr/1999PA131002.
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Cette thèse de doctorat a pour objectif d'étudier la longue cosmogonie imaginée par le mystique Mauricien Malcolm de Chazal au cours de son œuvre. Elle comporte trois grandes parties distinctes qui s'organisent de la manière suivante : La première partie s'intéresse au mythe de la Lémurie, un continent aujourd'hui englouti. Ce thème, que l'on rencontre souvent dans la littérature de l'océan Indien, marque le début de la recherche métaphysique de Malcolm de Chazal. Cette partie analyse par ailleurs les moyens que le poète a utilisés pour retrouver le passé mythique de son île. La deuxième partie ouvre la réflexion sur l'architecture philosophique et théologique de la cosmogonie ghazalienne. Elle s'intéresse en premier lieu à la figure de Dieu, un Dieu qui se confond avec la divinité judéo-chrétienne. Elle se penche ensuite sur les traces de gnose et de pensées dualistes que l'on peut rencontrer dans certains textes des années 1950. Ce travail est complété par une étude de la christologie ghazalienne : l'on y rencontre les motifs du Logos et de Melchisédeq, témoignages d'une inclination de l'auteur pour un mysticisme chrétien prononcé. Cette deuxième partie envisage enfin le problème du Mal dans la cosmogonie ghazalienne. La troisième partie expose, en se fondant sur les éléments parfois antithétiques mis en lumière au cours des deux parties précédentes, un système cosmogonique ordonné. Puis elle replace le mythe lémurien au sein de ce système en commentant en particulier le "roman mythique" Petrusmok. (Quatrième de couverture)This doctorate thesis intended study the long cosmogony imagined by the Mauritian mystic Malcolm de Chazal throughout his work. It consists of three main distinct parts which are set out in the following manner: the first part concerns the myth of Lemuria which is now an engulfed continent. This theme, which one frequently encounters in the literature of the Indian Ocean, sets the beginning of the Malcolm de Chazal's metaphysical research. This part also analyses the means the poet used to rediscover the mythical past of his island. The second part opens up a reflection on the philosophical and theological architecture of the Chazalian cosmogony. It first considers the image of god, a god who has similarities with the judeochristian divinity. It then deals with the traces of gnosis and dualist thoughts which can be found in some texts of the fifties. This work is completed by a study of Chazalian Christology: one finds the patterns of logos and Melchisedeq, which assert of the author's penchant for a pronounced Christian mysticism. This second part also deals with the problem of evil in the Chazalian cosmogony. The third part lays out an orderly cosmogonic system on the basis of the frequently contradictory elements brought forth in the two preceding parts. It then replaces the Lemurian myth within this system by commenting on the mythic novel Petrusmok in particular. Volume II 1) synoptic charts of Petrusmok the first part is a summary of the "mythic novel" Petrusmok which is set out in the form of a series of charts and maps. Thanks to this method, the reader has rapid access to the contents of each chapter of the work as well as to the appearing characters. 2) Malcolm de Chazal the original. . . Neither "surrealist" nor "new age", bard and champion of the unique unism. This document is an essay written by René Agnel, a retired pastor of the reformed church of France who corresponded regularly with Christophe Chabbert throughout the making of his doctorate thesis. In this text, the author develops a personal reflection on Chazalian unism in terms of in its relationship with Christianism
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Laruelle, Marlène. "Le mythe aryen en Russie au XIXe siècle : la création d'une cosmogonie nationale, entre science et idéologie." Paris, INALCO, 2002. http://www.theses.fr/2002INAL0012.
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Notre analyse se trouve à la jonction de deux disciplines, l'histoire des idées et l'étude d'une aire culturelle spécifique, la Russie. Nous cherchons ici à illustrer combien les sciences humaines du XIXe siècle furent les vecteurs des idéologies de leur temps, mais également à affirmer l'importance du thème aryen comme matrice du discours identitaire russe. Le mythe aryen russe au XIXe siècle fut une recherche romantique des origines, l'espace discursif de rencontre entre le sentiment national et des sciences humaines comme l'archéologie, la philologie et l'histoire. L'argument aryaniste est en effet le seul à offrir à la Russie à la fois une généalogie de la nation sur son territoire et une légitimation de son expansion impériale. Le mythe aryen permet également une entrée dans plusieurs problématiques complexes : l'histoire de la pensée russe dite "de droite", en particulier du conservatisme ; la difficile réception de l'idée de race en Russie ; les spécificités du colonialisme et de l'orientalisme russes. Trois grand axes de réflexion sont abordés : 1. Le mythe aryen est tout d'abord un ensemble de postulats théoriques sur la nation et sur ses éléments dits constitutifs (langue, religion, race, territoire, dans des combinaisons et des exclusions spécifiques). 2. Il propose ensuite à cette même nation une nouvelle cosmogonie autour de la question des origines : raisonnements généalogiques, filiations historiques, espaces imaginaires proches ou lointains auxquels se rattacher. 3. Il est enfin un mode de discours sur l'expérience coloniale, une légitimation intellectuelle de l'avancée de l'Empire russe au nom du retour dans la patrie aryenneOur analysis is at the junction of two disciplines : the history of ideas and the study of a cultural area, that is Russia. We try to illustrate how Human sciences were the ideological vectors in the XIXth century and to affirm the importance of the Aryan theme as a matrix of the Russian discourse about identity. The Russian Aryan myth in the XIXth century was a matrix of the Russian discourse about identity. The Russian Aryan myth in the XIXth century was a romantic myth searching the origins, the discursive meeting space between the national feeling and social sciences as archaeology, philology and history. The Aryanist argument is indeed the only one which offers Russia a genealogy of the nation on its territory and legitimises its imperial expansion. The Aryan myth also permits to enter a complex problematic : the history of the so-called 'right wing' thought, and especially of conservatism ; the difficult acceptance of the idea of race in Russia ; the specificities of Russian colonialism and orientalism. There are the three main axes of reflection : 1. The Aryan myth is first a corpus of theoretical postulates on the nation and its so-called constituent elements (language, religion, race, territory, etc. In specific combinations and exclusions). 2. It then offers this nation a new cosmogony about the question of origins : genealogical reasoning, historic filiations, near or distant imaginary spaces to be connected with. 3. It is finally a discursive mode on the colonial experience, an intellectual recognition of the advance of the Russian Empire in the name of the return in the Aryan homeland
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Lopes, Luciana Matias. "A história do absoluto: teogonia e cosmogonia no ‘sistema dos tempos’ de Schelling." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/7238.
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Esta pesquisa foi desenvolvida visando compreender e expor a ideia da gênese de Deus, ou Ser originário, e do mundo dos seres finitos a partir deste, na perspectiva de Schelling, como apresentada em As idades do mundo. Para tanto, a pesquisa foi balizada pela questão radical ‘por que existe alguma coisa e não antes o nada?’ Esta questão, por sua vez, foi analisada no âmbito da elaboração de um sistema dos tempos no interior do qual se articula o devir do Ser originário e da vida de Deus em suas diferentes idades. Daquela pergunta ontológicometafísica radical resulta a compreensão de que o surgimento do mundo dos seres finitos a partir de Deus é um processo livre e consciente. O propósito de Schelling em As idades do mundo é narrar cientificamente este processo, isto é, mostrar como o Absoluto sai de si mesmo e se revela na criação. Para a realização dos propósitos desta pesquisa, juntamente com questão radical, outras questões devem ser consideradas: como pode o homem conhecer a Deus? E, ainda, como conhecer e compreender o surgimento do tempo em sua bipolaridade finitude/eternidade? Na resposta a estas perguntas está contida uma ideia fundamental sobre a qual se consolidam as investigações de Schelling abordadas por essa pesquisa: Schelling acredita haver uma analogia entre o ser humano e Deus e, por isso, o homem possui uma cociência da criação.
The present research was developed aiming to understand and to expose the idea of God or primal Being’s genesis and the world of finite beings from this point on, in the perspective of F.W.J. Schelling, such as presented in The Ages of the World. To this effect the research was driven by the radical question ‘why is there something rather than nothing?’. For its part, this question was analyzed in the context of the formulation of a system of times in whose interior is articulated the yet-to-come of the primal Being and God's life in its different ages. From that ontological-metaphysical radical question comes out the understanding that the appearance of finite beings from God is a free and conscious process, i.e. God wants to reveal Himself. Schelling's purpose in The Ages of the World is to narrate this process scientifically, i.e. to show how the Absolute come out from itself and is revealed in the creation. The question, at this point, is an investigation of the Being, which reveals the metaphysical aspect of this research. Along with this radical question, is necessary to consider other some in order to achieve the purposes of this research: what makes possible for the finite and limited to know the infinite and unlimited? In other words, how can the man know God? And furthermore, how to know and understand the advent of time in its bipolarity finiteness/endlessness? That brings us to the epistemological aspect of this research. The answers to these questions contain an idea that will be widely explored in the research following this project: Schelling believes is an analogy between God and the human being and, therefore, the man has a co-knowledge of the creation. This is the fundamental idea followelly the investigations of Schelling in this research.
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Piñón, Cotanda Mercedes. "Ciencia y Literatura. Ideosemántica y DialogÍa de la FiccIón. Su incidencia en las Cosmogonías." Doctoral thesis, Universitat Jaume I, 2012. http://hdl.handle.net/10803/125711.
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La presente Tesis pretende mostrar que no existe contradicción entre la literatura y la ciencia, ni son sus métodos opuestos, como reconoce la propia ciencia, por más que este supuesto antagonismo venga demarcando ambos campos, no sólo en la sociedad sino incluso en el mundo académico. Consideramos que el saber es universal, y su búsqueda, -motivada por el cripticismo de la propia naturaleza-, parte en ambas de la observación y la intuición. Ciencia y Literatura, -physis y lógos-, desde la proyección polisígnica del lenguaje y la capacidad de reflexión por la metafísica, volverán a encontrarse en un mundo, -el nuestro-, que si bien nos supera y asume como parte del universo, se hace también por medio de ellas, reconocible. De ahí que el pensamiento de Pascal, presida esta tesis al afirmar: "Por el espacio el universo me comprende y me contiene como un punto; por el entendimiento yo le comprendo a él".
La tesis, desde la teoría Ideosemántica como expresión del universo cambiante, cual corresponde a una Cosmogonía, describe ordenadamente un camino iniciático donde cada capítulo, inserto en la totalidad, cierra a su vez sus propias conclusiones. Los epígrafes e imágenes que introducen los distintos capítulos y secuencias, son escogidos ex profeso por significativos, al asumir en esencia, el mensaje de cada capítulo que en número de 10 (el último es conclusivo), van desgranando, los Principios de la Ciencia inseparables de la Literatura.
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Piñón, Cotanda Mercedes. "Ciencia y literatura. Ideosemántica y dialogía de la ficción. Su incidencia en las cosmogonías." Doctoral thesis, Universitat Jaume I, 2012. http://hdl.handle.net/10803/125711.
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La presente Tesis pretende mostrar que no existe contradicción entre la literatura y la ciencia, ni son sus métodos opuestos, como reconoce la propia ciencia, por más que este supuesto antagonismo venga demarcando ambos campos, no sólo en la sociedad sino incluso en el mundo académico. Consideramos que el saber es universal, y su búsqueda, -motivada por el cripticismo de la propia naturaleza-, parte en ambas de la observación y la intuición. Ciencia y Literatura, -physis y lógos-, desde la proyección polisígnica del lenguaje y la capacidad de reflexión por la metafísica, volverán a encontrarse en un mundo, -el nuestro-, que si bien nos supera y asume como parte del universo, se hace también por medio de ellas, reconocible. De ahí que el pensamiento de Pascal, presida esta tesis al afirmar: "Por el espacio el universo me comprende y me contiene como un punto; por el entendimiento yo le comprendo a él".
La tesis, desde la teoría Ideosemántica como expresión del universo cambiante, cual corresponde a una Cosmogonía, describe ordenadamente un camino iniciático donde cada capítulo, inserto en la totalidad, cierra a su vez sus propias conclusiones. Los epígrafes e imágenes que introducen los distintos capítulos y secuencias, son escogidos ex profeso por significativos, al asumir en esencia, el mensaje de cada capítulo que en número de 10 (el último es conclusivo), van desgranando, los Principios de la Ciencia inseparables de la Literatura.
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Djian, Claire. "Esthétique et cosmogonie : l'inspiration créatrice et le divin dans la peinture juive (début XXème siècle à nos jours) : thèse." Nice, 2001. http://www.theses.fr/2001NICE2036.
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L'inspiration créatrice et le divin dans la peinture juive renvoie à l'acte créateur, épreuve de l'artiste face à son propre monde. Mémoire d'une histoire vieille de plus de 3000 ans, d'un passé, d'un vécu, d'un héritage familial où le rôle de l'oubli occupe sa fonction de tri. Vais-je garder ou non la totalité de ce qui m'est transmis ? La peinture joue ici un rôle de médiateur entre l'homme et le monde invisible. Elle nous révèle un imaginaire fondé sur l'inspiration biblique et sur des valeurs affectives et émotionnelles d'une croyance profonde en Dieu. L'abstraction picturale serait la révélation et l'aboutissement d'une aventure mataphysique entre la réalité visible et l'invisible, l'omniprésent comme un discours universellement applicable qui vise à dépasser l'idée de frontière, du limite et du banal. Sorte de nouveau discours entre artistes de cultures différentes dont l'objet essentiel est en fait la création artistique. Une problématique qui nous conduit inévitablement vers une recherche de "l'unité originelle", sorte de retour nécessaire à la terre promise, un paradis perdu et retourvé. . .
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Savard, Virginie. "Cosmogonie des possibles : renégociation de la vérité fictionnelle et lecture quantique dans «Des anges mineurs» et «Dondog» d'Antoine Volodine." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/28314.
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Le post-exotisme propose une expérience de lecture déstabilisante. L'univers fictionnel autoréférentiel créé par Antoine Volodine maintient dans l'indéfinition les frontières qui séparent les êtres, mais également celles entre le réel et le rêve, la vérité et l'invention. Ce monde, perturbant déjà les attentes du lecteur, est dans certains cas transmis par des narrations problématiques qui le rendent d'autant plus difficile à saisir. C'est le cas dans les deux romans à l'étude, Des anges mineurs (1999) et Dondog (2002). La combinaison d'éléments formels qui brouillent les repères du lecteur et le mènent à renégocier son adhésion au récit crée un dispositif particulier qui est au centre de ce mémoire. Celui-ci modifie la façon dont le lecteur pourra se saisir de la vérité fictionnelle : ses piliers habituels, l'autorité narrative et la cohérence fictionnelle, sont marqués par l'incertitude et tissent donc, plutôt qu'une vérité unique, une multitude de possibles. Le rapport au réel sous-tendu par la physique quantique fournit un éclairage intéressant pour comprendre les ressorts de cette vérité fictionnelle multiple. Tous deux admettent la coexistence d'états concurrents, placent l'observateur comme foyer du réel et modulent les possibles selon un rapport de probabilité. Ce parallèle fournit une manière de cerner les effets directs du dispositif formel et d'observer les mécanismes qui se mettent en place dans la lecture d'un monde évanescent.
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ROSENDO, Alexandre da Conceição. "Recriação e atualização da cosmogonia amazônica no corpo cênico do G.R.E.S. Beija-Flor de Nilópolis." Universidade Federal do Pará, 2011. http://repositorio.ufpa.br/jspui/handle/2011/7829.
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O presente trabalho se propõe a entender e refletir de que maneira ocorre a preparação corporal do corpo cênico dos desfiles do G.R.E.S. Beija-Flor de Nilópolis, a partir dos enredos que compuseram a “tríade amazônica”, os quais sejam: i “Pará – O Mundo Místico dos Caruanas nas Águas do Patu-Anu” (1998); ii “Manôa – Manaus – Amazônia - Terra santa... Que alimenta o corpo, equilibra a alma e transmite a paz” (2004) e; iii “Macapaba: Equinócio Solar, Viagens ao Meio do Mundo” (2008). Partindo do pressuposto que exista nesses desfiles uma mitologia recriada, atualizada e estilizada, analiso o processo de criação empreendido, também pelas artes cênicas, de forma a instaurar uma espetacularização da cultura popular. Para tanto, retrato o processo de valorização e conversão da cultura amazônica nos desfiles de um G.R.E.S., precisamente na Beija-Flor. Tendo a Amazônia como mote, analiso a definição de mito e cosmogonia, refletindo acerca da cultura amazônica, que tem suas lendas, mitos e imaginário trasladados de sua realidade e natureza correntes e convertidos pelo processo de preparação corporal no trabalho dos atuantes, componentes dos desfiles. Desse processo resulta o fenômeno encantatório dos desfiles de G.R.E.S. na cultura do Carnaval carioca. Esse trabalho discute ainda a teatralização do Carnaval como fundamentação para as encenações nos desfiles e o processo de concepção do espetáculo carnavalesco.
This paper purposes the comprehension and reflection on which manner occurs the corporal training of the scenic chorus of parades of the G.R.E.S. Beija-Flor de Nilópolis, through the carnival plots which compose its “amazonic triad”, such as: i “Pará – O Mundo Místico dos Caruanas nas Águas do Patu-Anu” (1998); ii “Manôa – Manaus – Amazônia - Terra santa... Que alimenta o corpo, equilibra a alma e transmite a paz” (2004) as well as; iii “Macapaba: Equinócio Solar, Viagens ao Meio do Mundo” (2008). Considering the existence of a recreated, modernized and stylized mythology in those parades, I analyze the creation process engaged, also through the scenic arts, in order to institute “spetacularization” in popular culture. Therefore, I feature the valorization and conversion process of amazonic culture in the parades of a G.R.E.S., precisely in Beija-Flor de Nilópolis. Assuming the Amazon as core, I analyze the definitions of myth and cosmogony, reflecting on amazonic culture, which has its legends, myths and imaginary transferred from its current reality and nature, and also converted through the process of corporal training into the work of the performers, who compose the parades. From this process, results the charming phenomenon of Carnival in Rio de Janeiro. Finally, this paper also tackles on the issue of theatricalization of Carnival as a basis to the establishment of the staging in the parades, as well as a process of conception of a “carnival show”.
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Idrissa-Souley, Hassane. "La scientificité des connaissances dites irrationnelles : réflexion sur la science des thérapeutes traditionnels du Niger." Paris 1, 1996. http://www.theses.fr/1996PA010544.
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Agbo, Dadie Bernard. "Penser Dieu autrement, de la métaphysique à l'anthropologie : les fondements d'une pensée négro-africaine sur Dieu." Paris 4, 2000. http://www.theses.fr/2000PA040014.
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Toute religion est mythologie, au sens étymologique du terme, à la fois mythe et logos, c'est-à-dire récit et explication. Les religions traditionnelles négro-africaines se comprennent dans ce sens. Elles ont un langage qui leur est propre et irréductible au discours rationnel, comme unique mode de pensée autorisée. Par leurs mythes, leurs proverbes, leurs rites et symboles, elles traduisent des figures de la divinité aussi multiples que variées. Toute pensée africaine sur dieu, théologique ou philosophique, doit tenir compte de cet héritage culturel. Et si « la théologie est anthropologie », la réflexion négro-africaine se doit de traduire la question de dieu, non seulement sur le terrain culturel, mais aussi dans l'immanence de l'histoire humaine, avec son corollaire de problèmes socio-politiques. Car aucune formulation théologique et philosophique n'est à la mesure des mystères, des ruptures, des déchéances d'un parcours humain. La crédibilité des nouvelles élaborations théologiques et philosophiques africaines sera alors d'ajuster la réflexion à la praxis.
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Ngete, Kabeya N'Teba Delphin. "La maladie et la souffrance humaine dans l'éthique sociale Yaka, education à la co-responsabilité; cosmogonie africaine et révélation chrétienne." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ35650.pdf.
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Drees, Willem B. "Beyond the Big bang : quantum cosmologies and God /." La Salle (Ill.) : Open Court, 1990. http://catalogue.bnf.fr/ark:/12148/cb356197519.
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Gomez, Lopez Jesús Alberto. "Les propriétés cinématiques de l'échantillon de galaxies Herschel reference survey (HRS)." Thesis, Aix-Marseille, 2019. http://theses.univ-amu.fr.lama.univ-amu.fr/190920_GOMEZLOPEZ_331igh882svxq792bzb987zvk_TH.pdf.
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Le Herschel Reference Survey (HRS) est un échantillon complet de 323 galaxies proches. Grâce à sa nature complète, le HRS est en train de devenir la référence pour plusieurs études des galaxies. Nous avons rassemblé et analysé des données spectroscopiques à 2D Fabry-Pérot H-alpha à haute résolution pour les objets star-forming (261 galaxies) du HRS, fournissant information cinématique complémentaire à l'échantillon. Nous avons vérifié la cohérence des courbes de rotation en comparant nos vitesses de rotation maximales à celles calculées à partir des données HI et en calculant les relations Tully-Fisher dans les bandes i- et NIR, stellaire et baryonique. Nous avons étudié la relation entre la masse dynamique et la masse baryonique totale (étoiles, gaz, métaux et poussière) des galaxies, ainsi que la main-sequence baryonique et dynamique sur un échantillon représentatif de l'univers local. Ces données cinématiques, combinées aux données multifréquences disponibles couvrant l’ensemble du spectre électromagnétique (de l’UV GALEX aux IRS lointains, incluant HI et CO), et aux modèles chimio-spectrophotométriques multizones de l’évolution des galaxies ainsi qu’avec le code SED-fitting CIGALE, nous permettre d’étudier le rôle joué par la vitesse de rotation et la turbulence aux échelles du GMC dans le processus de formation des étoiles dans les galaxies de type tardif. À cette fin, nous étudions d’abord le cas de la galaxie de type tardif HRS 102 (NGC 4254). Nous avons exploré l’influence de la cinématique sur le processus de formation des étoiles et le gaz à basse résolution (jusqu’à kpc avec le code CIGALE) et à haute résolution (aux échelles GMC avec l’image VESTIGE H-alpha)The Herschel Reference Survey (HRS) is a sample of 323 nearby galaxies. We have gathered and analysed high-resolution 2D Perot-Fabry spectroscopic Ha data for the star forming objects of the HRS, providing a complementary kinematical information to the sample. We checked the consistency of the RC by comparing our Vmax to those derived from HI data, and computing the i-band, NIR, stellar and baryonic TFRs. We use this set of kinematical data combined to those available at other frequencies to study the relation between the dynamical and the total baryonic mass, and derive the baryonic and dynamical main sequence of the HRS. These kinematica data, combined with the available multifrequency data spanning the whole electromagnetic spectrum (from FUV to far-IR, including HI and CO), and multizone chemo-spectrophotometric models of galaxy evolution as well as with the CIGALE SED fitting code, allow us to study the role played by velocity rotation and turbulence at GCM scales in the process of star formation occurring in normal late-type galaxies, since star formation is tightly correlated to the gas column density according to the Kennicutt-Schmidt law, and probably modulated by the kinematics. We are studying first the case of the late-type galaxy HRS 102 (NGC 4254). We explored the influence of kinematics on the star formation process and the gas content at low resolution (down to kpc scales using the CIGALE SED-fitting code) and at high resolution (GMC scales using the VESTIGE Ha image). We calculate the gas column density using the available high resolution ALMA CO data. The results are presented in this work and the study will be extended to a larger sample of HRS galaxies
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Belota, Juliana Mitoso. "Neká Mahsá (gente-estrela): Um Estudo de Vivências do Calendário Desâna no Tupé." Universidade Federal do Amazonas, 2012. http://tede.ufam.edu.br/handle/tede/3924.
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This paper focuses on the discussion of the Astronomical Calendar Desana and its (re ) signification in the context of tourism and etnoconservação in Desana Tupé , locus of the research community . The initial objective of the research was to analyze those aspects of mythology contained in the experiences Desana in Tupe . We leave the narrative of the book , published by ISA , Bueri Kadiri Marirye " The lessons you never forget " ( DIAKURU & KÍSIBI , 2006) for the analysis of elements present in the cosmogonic statement schedule Desana Tupé . Empirical plurality theme made we push the analysis to identify not only the elements of the mythical calendar, contained in the tour package offered to the public in the RDS Tupe , but the social function of shamanism Desana , where he survives the modes of globalized tourism . Observance of environmental dynamics altered by changing factor , both caused by territorial mobility from high to low river Negro , as caused by climate change, which are observed in the region , was something that , transversely , we are dedicated in understanding the meanings of the use of this calendar among this group . From the point of view of the process of expropriation and breach of their culture , in dealing with exogenous to its tradition activities, analyzing the return to en- reza - focused on aspects of traditional shamanic experiences - resulting in our hypothesis , the assertion a field reterritorialidade recognized by Desana . The approach with the elements that keep the memory of tradition - myths and hierophanies gifts modes - of - doing transiting the prior knowledge to generations, to modern - contemporary modes of know-how Desana in Tupe - led us to the structures that are the path to the understanding of memory as a system of adaptation to the group. Systems from which appropriate the tradition in a different way , to your local development and establishment as culturally distinct ethnic group the Black River in semi-urban context, around the city of Manaus . In this way , memory , find the schedule , the " edge " [ 1 ] of culture itself . Jerusa Pires Ferreira (2010) defines the term as " contour drawing " where , in my view , the Desana at Tupe , pass and permeate , " a flowing in and out of the culture." This interlacing of contours and knowledge was the object of our analysis. The group , led by Kísibi - Kʉmʉ Desana , Raimundo Sources Vaz , is a descendant of the group of grandmothers cited by Diakuru & Kísibi (2006 ) , the sib Wahari Dihputiro Pora [ 2 ] , urucú the creek , a tributary of river Tiquié . Our approach was qualitative and resorted to structured and semistructured interviews , in order to know the different aspects of culture Desana transiting in their current survival pathways . Our hypothesis is that Desana at Tupe, maintains a relationship with the sacredness of mythical - ritual memory of their traditional astronomical calendar and are able to describe the symbolic and cosmological relationships associated with it, allowing us to analyze the modern polarity - traditional, in this experience .
O presente trabalho centra-se na discussão do Calendário Astronômico Desâna e em sua (re) significação no âmbito do turismo e da etnoconservação na comunidade Desâna do Tupé, lócus da pesquisa. O objetivo inicial da investigação foi fazer uma análise dos aspectos da mitologia contidos nas vivências Desâna, no Tupé. Partimos das narrativas do livro, publicado pelo ISA, Bueri Kãdiri Marirye “Os ensinamentos que não se esquecem” (DIAKURU&KÍSIBI, 2006) para a análise dos elementos cosmogônicos presentes no calendário demonstrativo Desâna do Tupé. A pluralidade empírica do tema fez com que estendessemos a análise à identificação não só dos elementos do calendário mítico, contidos no pacote turístico oferecido ao público, na RDS do Tupé, mas à função social do xamanismo Desâna, onde ele sobrevive aos modos do turismo globalizado. A observância da dinâmica ambiental alterada pelo fator mudança, tanto a ocasionada pela mobilidade territorial do alto para o baixo rio Negro, como a ocasionada pelas mudanças climáticas, as quais são observadas na região, foi algo a que, de um modo transversal, nos dedicamos no entendimento dos significados do uso deste calendário entre este grupo. Do ponto de vista do processo de ruptura e expropriação da sua cultura, na lida com atividades exógenas à sua tradição, a análise do retorno à casa-de-reza - focada nos aspectos xamânicos das vivências tradicionais – resulta, em nossa hipótese, na afirmação de um campo de reterritorialidade reconhecido pelos Desâna. A aproximação com os elementos que guardam a memória da tradição - mitos e hierofanias presentes nos modos-de-fazer que transitam do conhecimento anterior às gerações, aos modos modernos-contemporâneos do saber-fazer Desâna, no Tupé - nos levaram às estruturas que são o caminho percorrido até o entendimento da memória como sistema de adaptação para o grupo. Sistemas a partir dos quais se apropriam da tradição, de um modo diferenciado, para seu desenvolvimento local e estabelecimento como etnia culturalmente diferenciada do rio Negro, em contexto semiurbano, no entorno da cidade de Manaus. Neste caminho, da memória, encontramos o calendário, na “borda”[1] da própria cultura. Jerusa Pires Ferreira (2010) define o termo como “desenho de contornos” por onde, a meu ver, os Desâna, no Tupé, passam e perpassam, “num fluir de dentro e fora da cultura”. Este entrecruzar de contornos e saberes foi nosso objeto de análise. O grupo, liderado pelo Kísibi- Kʉmʉ Desâna, Raimundo Fontes Vaz, é descendente do grupo de avós citados por Diakuru & Kísibi (2006), o sib Wahari Dihputiro Porã[2], do igarapé Urucu, afluente do rio Tiquié. Nossa abordagem foi qualitativa e recorreu a entrevistas estruturadas e semiestruturadas, no propósito de conhecer os diversos aspectos da cultura Desâna que transitam em suas vias de sobrevivência atuais. Nossa hipótese é de que os Desâna, no Tupé, mantém uma relação de sacralidade com a memória mítica-ritual tradicional do seu calendário astronômico e que são capazes de descrever as relações simbólicas e cosmológicas associadas a ele, o que nos permite analisar a polaridade moderno-tradicional, nesta vivência.
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Bejarano, Villarroel Julio Alejandro. "Espaço Andino : Chipaya, uma lógica ancestral de conformação urbana." reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/1323.
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Dissertação (mestrado)—Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, 2008.Submitted by Jaqueline Oliveira (jaqueoliveiram@gmail.com) on 2008-12-15T15:11:32Z No. of bitstreams: 1 DISSERTACAO_2008_JulioAlejandroBejaranoVillarroel.pdf: 2065118 bytes, checksum: 85d9e298ab5a56ca3af5f47027706b8a (MD5)
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Este estudo pretende levar o leitor a uma maior compreensão sobre o Espaço Andino. Em principal, observando as suas características particulares de estruturação espacial. Neste sentido, a análise toma como objeto central a comunidade indígena Chipaya, localizada na região andina da Bolívia. Considerando que este povo antigamente ostentava traços próprios na concepção, configuração e manejo de seu espaço. E sendo, no transcorrer do tempo, influenciado por múltiplas adequações em seu esquema urbano e forma de vida, sobretudo a partir do período colonial espanhol. Ainda hoje, se observa nesta comunidade uma essência importante na organização de seu espaço, dentro de uma visão de mundo andino que sempre foi refletida sobre esta região. Aspectos estes, que formam parte da análise que aborda o presente estudo. Pretende-se, que este conhecimento possa levar o leitor a uma reflexão mais ampla sobre este tema, a partir da formação que compete, principalmente como arquitetos, urbanistas ou simples pessoas interessadas no problema. Estabelecendo entre eles um devido conhecimento e nisso o respeito ao pensamento e à forma de vida das comunidades indígenas nesta zona.
This study intends to lead the reader to a greater comprehension of the Andean Space. In principal, observing the main characteristics of spatial structuring. In this sense, the analysis takes as central object the indigenous community Chipaya, located in the Andean region of Bolivia. Considering the fact that this people formerly held their own traces in the conception, configuration, and handling of their space. And, in the time passing, being influenced by multiple adequacies in its urban scheme and way of living, mostly from the Spanish colonial period. Still today, an important essence in the organization of its space is observed in this community in a view of the Andean world that was always reflected on this region. These are the aspects that form part of the analysis that addresses the present study. The intention of the study is that this knowledge should lead the reader, starting from our own knowledge, in special, as architects, urbanists or simple people interested in the problem, to a broader reflection of the theme. Setting among them the appropriate knowledge for the thought and the way of living of the indigenous communities in this zone.
Este estudio pretende llevar al lector a una mayor comprensión sobre el Espacio Andino. Principalmente, observando sus características particulares de estructuración espacial. En este sentido, el análisis toma como objeto central a la comunidad indígena Chipaya, localizada en la región andina de Bolivia. Considerando que este pueblo antiguamente ostentaba trazos propios en la concepción, configuración y manejo de su espacio. Siendo influenciado en el transcurrir del tiempo, por múltiples adecuaciones en su esquema urbano y forma de vida, sobre todo a partir del periodo colonial español. Aun hoy, se observa en esta comunidad una esencia importante en la organización de su espacio, dentro de una visión de mundo andino que siempre fue reflejada sobre esta región. Aspectos estos, que forman parte del análisis que aborda el presente estudio. Se pretende, que este conocimiento pueda llevar al lector a una reflexión más amplia sobre este tema, a partir de la formación que compete, principalmente como arquitectos, urbanistas o simples personas interesadas en este problema. Estableciendo en estos un debido conocimiento y en eso el respeto al pensamiento y la forma de vida de las comunidades indígenas en esta zona.
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Veiga, Paulo Eduardo de Barros. "A cosmogonia nas Metamorfoses de Ovídio : um estudo sobre as figuras da origem do mundo, com tradução e notas /." Araraquara, 2017. http://hdl.handle.net/11449/151967.
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Orientador: Márcio Natalino ThamosBanca: Maria de Lourdes Ortiz Gandini Baldan
Banca: Brunno Vinicius Gonçalves Vieira
Banca: Neiva Ferreira Pinto
Banca: Elaine Cristina Prado dos Santos
Resumo: Ovídio (43 a. C. - 17 d. C.), poeta do período Clássico da Roma Antiga, mais precisamente da época de Augusto, escreveu por volta de 8 d. C. a obra intitulada Metamorfoses (Metamorphoseon libri), um longo poema dividido em quinze livros. De modo geral, narram- se diversos mitos, com enfoque nas transformações de seres e de coisas. Esta pesquisa tem como córpus parte do Livro I, mais especificamente os hexâmetros de número 1 a 451, em que Ovídio conta histórias mitológicas a respeito da origem do mundo. Ou seja, o tema central dos versos escolhidos é a Cosmogonia, um conjunto de mitos etiológicos que narra o princípio do universo e as transformações que o mundo sofreu para chegar à forma atual. Este trabalho, inspirado na Semiótica greimasiana, procurou compreender o processo de construção de sentido no texto, com um olhar voltado para as figuras que compõem a Cosmogonia, no nível discursivo. Para essa compreensão, investigaram-se, com maior ênfase, os recursos figurativos e icônicos percebidos nos versos de Ovídio. Assim, observaram-se, no poema, as figuras que revestem determinado tema e o encadeamento delas, na busca pelo sentido. Desse modo, analisaram-se o signo, a sua expressão e os efeitos de sentido que contribuem para a formação do poético no texto ovidiano. Além disso, tendo em vista a leitura da obra de um antigo romano no original latino, propôs-se, inclusive como subsídio à análise literária, uma "tradução de serviço", acompanhada de notas de referência mítico-cul... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Ovid (43 BC - AD 17), poet of the Classic period of Ancient Rome, more precisely from the time of Augustus, wrote around 8 AD a work entitled Metamorphoses (Metamorphoseon libri), a long poem divided in fifteen Books. In general, several myths are narrated, focusing on the transformations of beings and things. This research has as corpus part of Book I, more specifically the hexameters of number 1 to 451, in which Ovid tells mythological histories regarding the origin of the world. That is, the central theme of the chosen verses is the Cosmogony, a set of etiological myths that tells the principle of the universe and the transformations that the world underwent to arrive at the present form. This work, inspired by greimasian Semiotics, sought to understand the process of construction of meaning in the text, with a look at the figures that make up the Cosmogony's theme, in the discursive level. For this understanding, the figurative and iconic features, perceived in the verses of Ovid, were investigated more emphatically. Thus, in the poem, the figures that cover a certain theme and the chain of them, in the search for meaning, were observed. In this way, the sign, its expression and the effects of sense that contribute to the formation of the poetic in the Ovidian text were analyzed. Moreover, in view of the reading of the work of an ancient Roman in original Latin, a "translation of service", accompanied by notes of mythical-cultural reference, was also proposed as a subsidy to literary analysis. This translation basically sought to describe the Latin grammatical system to understand it on a linguistic level. The reference notes, however, turned to the relation between the text and Culture, seeking to explain it. As a study of poetry, some hexameters were analyzed in search of metric data that favor the construction of the poetic sense. In short, the research highlighted the way... (Complete abstract click electronic access below)
Doutor
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Veiga, Paulo Eduardo de Barros [UNESP]. "A cosmogonia nas Metamorfoses de Ovídio: um estudo sobre as figuras da origem do mundo, com tradução e notas." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151967.
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Ovídio (43 a. C. - 17 d. C.), poeta do período Clássico da Roma Antiga, mais precisamente da época de Augusto, escreveu por volta de 8 d. C. a obra intitulada Metamorfoses (Metamorphoseon libri), um longo poema dividido em quinze livros. De modo geral, narram- se diversos mitos, com enfoque nas transformações de seres e de coisas. Esta pesquisa tem como córpus parte do Livro I, mais especificamente os hexâmetros de número 1 a 451, em que Ovídio conta histórias mitológicas a respeito da origem do mundo. Ou seja, o tema central dos versos escolhidos é a Cosmogonia, um conjunto de mitos etiológicos que narra o princípio do universo e as transformações que o mundo sofreu para chegar à forma atual. Este trabalho, inspirado na Semiótica greimasiana, procurou compreender o processo de construção de sentido no texto, com um olhar voltado para as figuras que compõem a Cosmogonia, no nível discursivo. Para essa compreensão, investigaram-se, com maior ênfase, os recursos figurativos e icônicos percebidos nos versos de Ovídio. Assim, observaram-se, no poema, as figuras que revestem determinado tema e o encadeamento delas, na busca pelo sentido. Desse modo, analisaram-se o signo, a sua expressão e os efeitos de sentido que contribuem para a formação do poético no texto ovidiano. Além disso, tendo em vista a leitura da obra de um antigo romano no original latino, propôs-se, inclusive como subsídio à análise literária, uma “tradução de serviço”, acompanhada de notas de referência mítico-cultural. Essa tradução, basicamente, procurou descrever o sistema gramatical latino, a fim de compreendê-lo em um nível linguístico. Já as notas de referência voltaram-se à relação do texto com a Cultura, empenhando- se em explicá-la. Tratando-se de um estudo voltado à poesia, escandiram-se alguns hexâmetros em busca de dados de métrica que favoreçam a construção do sentido poético. Em suma, na pesquisa, destacou-se o modo como o texto literário foi construído por Ovídio, autor das Metamorfoses, que, com alto burilamento estético, cantou a Cosmogonia.
Ovid (43 BC – AD 17), poet of the Classic period of Ancient Rome, more precisely from the time of Augustus, wrote around 8 AD a work entitled Metamorphoses (Metamorphoseon libri), a long poem divided in fifteen Books. In general, several myths are narrated, focusing on the transformations of beings and things. This research has as corpus part of Book I, more specifically the hexameters of number 1 to 451, in which Ovid tells mythological histories regarding the origin of the world. That is, the central theme of the chosen verses is the Cosmogony, a set of etiological myths that tells the principle of the universe and the transformations that the world underwent to arrive at the present form. This work, inspired by greimasian Semiotics, sought to understand the process of construction of meaning in the text, with a look at the figures that make up the Cosmogony’s theme, in the discursive level. For this understanding, the figurative and iconic features, perceived in the verses of Ovid, were investigated more emphatically. Thus, in the poem, the figures that cover a certain theme and the chain of them, in the search for meaning, were observed. In this way, the sign, its expression and the effects of sense that contribute to the formation of the poetic in the Ovidian text were analyzed. Moreover, in view of the reading of the work of an ancient Roman in original Latin, a "translation of service", accompanied by notes of mythical-cultural reference, was also proposed as a subsidy to literary analysis. This translation basically sought to describe the Latin grammatical system to understand it on a linguistic level. The reference notes, however, turned to the relation between the text and Culture, seeking to explain it. As a study of poetry, some hexameters were analyzed in search of metric data that favor the construction of the poetic sense. In short, the research highlighted the way in which the literary text was constructed by Ovid, the author of Metamorphoses, who, with high aesthetic level, sang the Cosmogony.
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Hruby, Armin. "Nous und Kosmos : Interpretationen zu Aristoteles' und Hegels Anaxagoras-Rezeption /." Köln : A. Hruby, 1986. http://catalogue.bnf.fr/ark:/12148/cb34918132h.
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Chapot, Frédéric, and Tertullien. "La création du monde et la matière : Hermogène et les controverses aux IIe-IIIe siècles." Paris 4, 1994. http://www.theses.fr/1994PA040202.
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La collation et le classement des témoignages sur la doctrine d'Hermogène (chrétien hérétique de la fin du deuxième siècle) permettent de mesurer l'originalité d'une pensée, qui porte essentiellement sur la création du monde et l'essence de la matière, sur le mal, sur l'âme humaine et sur l'ascension et la résurrection du Christ. A la source de chacun de ces points figure l'interrogation sur le statut de la réalité matérielle. En particulier son refus de la création ex nihilo et son recours au dualisme situent Hermogène au coeur des débats des premiers siècles de l'ère chrétienne. Replacé dans ce contexte, il apparait comme un chrétien platonicien, mais aussi gnosticisant, comme en témoigne l'idée de l'origine matérielle de l'âme humaine ; de la présence, tapie sous le cosmos, de la matière désordonnée qui ébranle l'ordre ; de la venue d'un sauveur, détaché de la création, qui vient nous arracher à un monde plongé dans la matière. L'analyse du traité de Tertullien Aduersus hermogenem, consacré à la question de la création du monde, est une bonne manière d'entrer plus avant dans les controverses de cette époque. Fondée sur une nouvelle édition critique (à nouveaux frais) et une traduction française de l'Aduersus hermogenem, cette étude en propose un commentaire à la fois philologique, philosophique et historique. C'est aussi l'occasion de tenter une synthèse sur la théologie de la création à l'oeuvre chez Tertullien, qui fut, avec Irènée et Théophile d'Antioche, un des premiers à élaborer le dogme de la création ex nihiloThrough the collation and classification of the accounts of Hermogenes' doctrine (Hermogenes was a heretical christian who lived at the end of the second century), we are entitled to apprehend the originality of a thinking which was essentially concerned with the creation of the world and the essence of the matter, with evil, with the human soul, and with Jesus Christ's ascension and resurrection. At the basis of each of these topics there is a questioning about the status of material reality. It was essentially through his refusal of an ex nihilo creation as well as his resorting to dualism that Hermogenes stood at the core of the debates during the first centuries of the Christian era. When replaced into this context Hermogenes may be considered as a platonic christian, but also as a gnosticising one. And this is all the more obvious when one bears in mind his belies in a material origin of the soul, in a disorderly matter, lurking below the cosmos, and disturbing the order, and in the coming of a savour who, as he did not take part in the creation of the universe, has come to save us from a world steeped in the matter. The present analysis of Tertullian's tratise, which deals with the question of the creation of the world, is a good way to go further into the controversies of this time. Based on a new critical edition and on a french translation of the treatise, this study offers its readers a philological, philosophical and historical commentary. It is also the opportunity to make an attempt at synthesizing the theology of the creation which is at work in the writings of Tertullian, who was one of the first thinkers to develop the dogma of an ex nihilo creation
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Yomo, Djeriwo Etiti Jean-Pierre. "Cosmothéandricité Bakongo : révélation biblique et médiation culturelle." Paris 4, 1992. http://www.theses.fr/1991PA040154.
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L'étude socio-religieuse de l'univers traditionnel Kongo indique que le royant adopte des attitudes lui permettant de se mettre en relation avec le sacré. L'expérience religieuse Kongo s'ordonne suivant les idées principales en un ensemble cohérent dans lequel la trilogie de communion "Nzambi, Dieu, Nkulu, les Ancêtres, et Kanda ,le Clan" forme la structure de la vie religieuse. Face au message chrétien, cette relation cosmothéandrique tripolaire présente des traits analogiques permettant d'accueillir culturellement Jésus-ChristA study of the social and religious life of the Kongo reveals a tradition in which a sense of the supernatural is a part of everyday life. .
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Parisi, Ariela. "Jose Maria Arguedas, Heroe Cultural: Estructura Mitica En Los Rios Profundos." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1556199036899447.
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Naddaf, Gérard. "L'origine et l'évolution du concept grec de "phusis" /." Lewiston (N.Y.) ; Queenston (Ont. : Lampeter (GB) : Canada) ; E. Mellen Press, 1992. http://catalogue.bnf.fr/ark:/12148/cb37061859p.
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