Dissertations / Theses on the topic 'Mythic structure'
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Barker, Ruth. "To sing of Gilgamesh : the significance of mythic structure for creative practice." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3770.
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This practice-based research study investigates the structures underlying both a performance art practice, and the ancient epic of Gilgamesh, revealing the relationship between the form and content of this performance practice. This study has asked: 1) What is mythic structure? 2) What is the form of this performance practice? 3) What is the content of this performance practice? 4) How can mythic structure be related to a creative practice? 5) What is the relationship between the form and the content of this performance practice? Addressing these questions, this researcher produced and reflected upon a new body of performance artworks engaging with the ancient epic of Gilgamesh. Observations were then examined in the context of mythographic research, particularly the three-stage ‘hero’s journey’ advanced by Joseph Campbell. Both strands of research were scrutinised in the light of key concepts including the individual and collective unconscious, Salomean identification, and alogicality. This study discovered that the form and content of this performance practice are linked. Critical aspects of the three-stage structure underpinning some ancient myths (typically a separation, liminal period, and reintegration) were identified in the development and performance of the Gilgamesh Cycle works. The performance content reflects an alogical sphere that characterises Campbells’ liminal period. This alogicality privileges connectivity between persons, materials, ideas, and states. Such connectivity exemplifies what this researcher (extending Kaja Silverman’s analysis of poetry and installation art), has termed Salomean identification. Campbell’s use of ‘hero’ as a figure representing the structure described above, is therefore misguided. This researcher has recast this figure as a ‘medium’: a conduit rather than a conqueror. Finally this study has reflected on the success of the Gilgamesh Cycle as performance art practice, concluding that unanswered questions are necessary for the continued production of work. The increasing elucidation of this body of work has, for this researcher, rendered it finite.
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Proudley, Craig William. "The way of the warrior: Realising the mythic warrior-hero in the action genre and in Australian cinema." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116768/9/Craig%20Proudley%20Exegesis.pdf.
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The Way of the Warrior, Realising the Mythic Warrior-hero in the Action genre and in Australian Cinema, is Creative Practice research that pursues detailed analysis of the warrior-hero in Australian and, action genre cinema narratives. Warrior-hero archetypes are employed in the original Australian feature screenplay Behold a Pale Horse in order to address whether it is possible to synthesise the Warrior-hero archetype with the tropes, codes and conventions of the Action genre in an Australian context and create an original screenplay with the potential for both critical and commercial success?
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Davis, Sally, and sallyjjdavis@bigpond com. "Chronik disorder." RMIT University. Creative Media, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080416.092509.
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The Chronik Disorder project consists of an exegesis and screenplay. The exegesis discusses research into the film genre, three-act structure, mythic structure and archetypes. The research then informed thematic ideas, character creation and a method for plotting the screenplay and developing the characters. Chronik Disorder is an Australian story, set in contemporary Melbourne, about adolescents and rites of passage. The story explores teenagers and the hip-hop subculture, gangs, graffiti and drug experimentation. The story deals with other issues such as vocational challenges; the breakdown of the nuclear family; father-and-son relationships; and Vietnam veterans and how the war affected them emotionally and impacted on their relationships with their sons. Harley, 17, a hooker in an under-eighteen's rugby union team, dreams of playing with the under-nineteen's Australian Wallabies. Harley's alcoholic father, Kev, takes out his pain caused by his experiences in Vietnam on Harley, who escapes by hanging out with graffiti-based gang Chronik Disorder. When his friend Damian dies, Harley blames himself, ruins his rugby career, and escapes by hanging out with his gang, committing crimes and taking drugs.
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Davis, Sally, and sakkyjdavis@bigpond com. "Chronik disorder." RMIT University. Creative Media, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080704.102340.
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The research and project The Chronik Disorder project consists of an exegesis and screenplay. The exegesis discusses research into the film genre, three-act structure, mythic structure and archetypes. The research then informed thematic ideas, character creation and a method for plotting the screenplay and developing the characters. Chronik Disorder is an Australian story, set in contemporary Melbourne, about adolescents and rites of passage. The story explores teenagers and the hip-hop subculture, gangs, graffiti and drug experimentation. The story deals with other issues such as vocational challenges; the breakdown of the nuclear family; father-and-son relationships; and Vietnam veterans and how the war affected them emotionally and impacted on their relationships with their sons. Synopsis of Screenplay Harley, 17, a hooker in an under-eighteen's rugby union team, dreams of playing with the under-nineteen's Australian Wallabies. Harley's alcoholic father, Kev, takes out his pain caused by his experiences in Vietnam on Harley, who escapes by hanging out with graffitibased gang Chronik Disorder. When his friend Damian dies, Harley blames himself, ruins his rugby career, and escapes by hanging out with his gang, committing crimes and taking drugs.
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Abraham, Iona Joseph Getsi Lucia Cordell. "From cosmogony to eschatology a time-centered mythic structure for Four quartets with significance for the teaching of literature /." Normal, Ill. Illinois State University, 1986. http://wwwlib.umi.com/cr/ilstu/fullcit?p8616843.
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Thesis (D.A.)--Illinois State University, 1986.Title from title page screen, viewed July 7, 2005. Dissertation Committee: Lucia C. Getsi (chair), Glenn A. Grever, William E. Piland, Stanley W. Renner, Ray L. White. Includes bibliographical references (leaves 162-173) and abstract. Also available in print.
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Rafer, David Stanley. "Mythic structures in the works of C.S. Lewis." Thesis, De Montfort University, 2003. http://hdl.handle.net/2086/4919.
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The thesis introduction identifies the many theoretical approaches to myth, and reveals the need to find a new approach to the study of myth in the works and thought of C. S. Lewis. Most approaches to the study of myth are criticised by Lewis and his literary group of friends, known as the Inklings, as reductive. In contrast, Lewis proposed a more holistic, transcendent power of myth. The first chapter explores the specific importance of myth to Lewis' developing thought, from his early experiences of Norse myth to the development of his views in debate and through his involvement with the Inklings. Tensions and inconsistencies in Lewis' statements about myth are explored and the chapter culminates with Lewis' appreciation of myth in Christian faith, literature, and his realisation of myth as an object of contemplation. Chapter Two explores and contrasts the theories and approaches to myth of Ernst Cassirer with those of Lewis. Both thinkers are compared and areas of similarity and difference are identified, including their reactions to the problem of myth and Nazi ideology. Chapter Three applies the phenomenological traits, characteristics and principles of myth developed by Cassirer to Lewis' science fiction fantasy Perelandra. Mythical consciousness is evoked in this work through mythical images, the inner form of myth, and the type of worldview that threatens to engulf Ransom. We can observe the way that myth involves a sense of unification. Chapter Four identifies the symbolic form of myth in Till We Have Faces. The general characteristics of myth are explored and the inner form, or particular logic, of myth is revealed to actively form the mythical relations that dominate the lives of the characters. The function of myth as a form of thought is explored in the novel. Chapter Five delineates the symbolic form of myth within The Lion, the Witch, and the Wardrobe, with particular emphasis upon Lewis' handling of demonic and divine forces and the mythical concept of sacrifice and rebirth. In conclusion, a more holistic appreciation of myth in Lewis' works and thought is developed through the application of Cassirer's myth principles to Lewis' works. Apparently disparate aspects of myth are revealed to have a cohesive unity in mythical consciousness.
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Gedžiūtė, Audronė. "Kelpio mito rekonstrukcija: semiotinė perspektyva." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2009~D_20101125_190812-72542.
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Šiame darbe pristatomas bandymas atkurti keltų-galų mitą apie vandenų arba ežero žirgą, vadinamą kelpiu. Tyrime taikomas semiotinės analizės metodas, kurį sukūrė ir išvystė Algirdas Julius Greimas (1917–1992). Šiuo metodu siekiama atskleisti prasmės generavimo principus bei sudėtingą mitinio diskurso struktūrą. Pagrindinis darbo tikslas yra apibrėžti kelpio funkcijas keltų- galų mitiniame universume. Darbą sudaro dvi pagrindinės dalys – teorinė ir praktinė. Teorinėje dalyje apžvelgiamas Greimo semiotinis prasmės kūrimo modelis. Čia išdėstomi pagrindiniai metodo principai, supažindinama su svarbiausiomis kategorijomis, aprašomi prasmės elementų tarpusavio ryšiai. Praktinėje darbo dalyje aptariami kelpio izotopiją sudarantys konceptai. Ją sudaro septyni skyriai, kuriuose analizuojami arklio ir vandens įvaizdžiai, pagoniškoji mirties samprata ir pomirtinio pasaulio projekcija. Apibendrinus tyrimo rezultatus galima teigti, kad visi semantiniai elementai, sudarantys kelpio izotopiją, patvirtina iškeltą hipotezę, kad vandenų žirgas senajame keltų tikėjime funkcionavo kaip mirusiųjų sielų keltininkas į mirusiųjų karalystę.The work attempts at the semiotic recosntruction of of the kelpie (kelpy) myth. The analysis is based on the semiotic method created and developed by Lithuanian born scholar Algirdas Julius Greimas (1917 - 1992), in western scholarly environment also known as Algirdas Julien Greimas. The firts chapter of the thesis describes the semiotic model of the construction of meaning. It explains the concept of the generative pathway which includes three stages of meaning articulation: the deep, narrative and discursive levels. The second chapter exlpores the mythical figure of the kelpie. It discusses the subordinate concepts of the horse, water, death (and its aspects) and the ancient projection of the Afterlife and depicts their significance in the structure of the Celtic-Gaelic kelpie myth.
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Nicholson, Karen. "Des structures mytho-initiatiques chez Michel Tournier." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69654.
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According to the structuralist Claude Levi-Strauss, all myth has but one same structure. The purpose of this study is to expose the mythico-initiatory edifice that informs Vendredi ou les limbes du Pacifique, Le Roi des Aulnes, as well as Les Meteores, Michel Tournier's "trilogy".To write, according to Tournier, cannot be a matter of literary creation, but simply of literary renewal. Vendredi ou les limbes du Pacifique, Le Roi des Aulnes and Les Meteores represent literary reflections on the primordial importance of Myth, for the Artist and above all, for Man; it is this mythic dimension that makes Tournier's entire oeuvre an "autobiography", or rather an autohagiography, according to Tournier's neologism. The three protagonists, Robinson, Tiffauges and Paul Surin, literary avatars of Tournier as Author, embark on a Quest for this lost mythic Unity; we will see that the voyage each makes is but one and the same, an allegorical odyssey toward the light$ ...$ of the City of the Sun.
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Bosman, Brenda Evadne. "Alternative mythical structures in the fiction of Patrick White." Thesis, Rhodes University, 1990. http://hdl.handle.net/10962/d1001821.
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The texts in this study interrogate the dominant myths which have affected the constructs of identity and history in the white Australian socio-historical context. These myths are exposed by White as ideologically determined and as operating by processes of exclusion, repression and marginalisation. White challenges the autonomy of both European and Australian cultures, reveals the ideological complicity between them and adopts a critical approach to all Western cultural assumptions. As a post-colonial writer, White shares the need of both post-colonising and post-colonised groups for an identity established not in terms of the colonial power but in terms of themselves. As a dissident white male, he is a privileged member of the post- colonising group but one who rejects the dominant discourses as illegitimate and unlegitimating. He offers a re-writing of the myths underpinning colonial and post-colonising discourses which privileges their suppressed and repressed elements. His re-writings affect aboriginal men and women, white women and the 'privileged' white male whose subjection to social control is masked as unproblematic freedom. White's re-writing of myth enbraces the post-modern as well as the post- colonial. He not only deconstructs and demystifies the phallogocentric/ethnocentric order of things; he also attempts to avoid totalization by privileging indeterminacy, fragmentation, hybridization and those liminary states which defy articulation: the ecstatic, the abject, the unspeakable. He himself is denied authority in that his re-writings are presented as mere acts in the always provisional process of making interpretations. White acknowledges the problematics of both presentation and re-presentation - an unresolved tension between the post-colonial desire for self-definition and the post-modern decentring of all meaning and interpretation permeates his discourse. The close readings of the texts attempt, accordingly, to reflect varying oppositional strategies: those which seek to overturn hierarchies and expose power-relations and those which seek an idiom in which contemporary Australia may find its least distorted reflexion. Within this ideological context, the Lacanian thematics of the subject, and their re-writing by Kristeva, are linked with dialectical criticism in an attempt to reflect a strictly provisional process of (re) construction
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Wan, Pin P. "Investiture of the gods (Fengshen yanyi) : sources, narrative structure, and mythical significance /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11125.
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Fani, Marvasti Amin. "Social structure in tagging practices : reality or myth?" Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1604.
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Besse, Olivier. "Mythes et structures chez Tennessee Williams. . . Et Dieu dans tout çà ?." Bordeaux 3, 1997. http://www.theses.fr/1997BOR30020.
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Chez tennesse williams, l'idee de dieu se situe a un niveau inconscient. Dans une lutte interieure, williams cherche d'abord a se delivrer de ce supplice tres chretien du peche originel et de sa chute. En cela, son oeuvre est garante d'un discours qui supporte une ideologie propre a la societe americaine: le puritanisme dont williams reproduit tout un archetype ancestral qui trouve echo dans ses personnages, ses themes, mais aussi, ses mythes de predilection. Par cette incursion de dieu dans une oeuvre vouee a l'echec de l'humanite, tennessee williams s'inscrit a notre sens parmi les plus grands auteurs contemporains de tragedie. Cette affirmation prend non seulement son sens dans une etude approfondie des themes de son oeuvre mais aussi dans la mise a jour de la structure des recits de tennesse williams qui s'apparente sur de nombreux points a celle de la tragedie grecque. Enfin, en etudiant plus particulierement la structure interne de l'oeuvre de tennesse williams, nous avons pu metttre en evidence des mythes que le puritanisme a, tantot subrepticement infitres ca et la, tantot ouvertement legues a l'oeuvre de williams. Parmi ceux ci, nous avons privilegie l'etude de deux d'entre eux: l'eau et le feu pour rechercher dans l'intimite profonde de leur reflexion, l'influence la plus perceptible du puritanismeIn tennesse williams, the idea of god is located at a subconscious level. In an inner fight, williams is primarily trying to get rid of this very christian torment, the original sin and of its fall: through that, his works is the warrant of a discourse which bears an ideology specific to the american society: puritanism of which williams reproduces a whole ancestral archetype, which not only echoes in his characters, his themes but also in his favorite myths. Through that intrusion of god in a works dedicated to humanity failure, williams is acording to us among the greatest contemporary tragedy-writters. This statement originates its sense not only in a deep study of his works themes but also in the up dating of the stucture of tennessee williams stories which coresponde in many ways to the story line of the greek tragedy. Eventualy, by studying more particularly the tennesse williams' inner structure, we could find evidence of myths that puritanism sometimes infitred by and then, and at other times was openly granted to williams works. Among those, we have privileged the study of them: water and fire to analyse the most perceptible influence of puritanism in the deep intimaty of their reflexion
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El, Achak Ali. "Mythe babylonien : étude structurale de "l'Épopée de Gilgames"." Besançon, 1988. http://www.theses.fr/1988BESA1012.
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Felihkatubbe, Jason Myles. "Structure and deconstruction in the Electra myth and beyond." Thesis, Wichita State University, 2013. http://hdl.handle.net/10057/6815.
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This research examines the ideas of myth and intertextuality. The Electra myth is utilized and various versions of the Electra myth are examined from different cultures through the world starting with the earliest known version of the Electra myth up to the 20th century before focusing on Jean-Paul Sartre's telling of the Electra myth, The Flies. A structural analysis according to Levi-Strauss is conducted on The Flies. A deconstruction according to Derrida is then performed not simply on the ideas presented by Sartre in The Flies, but on the entire idea of myth, itself. This deconstruction then leads to the idea that myth is nothing more than a metaphor, providing further evidence to Levi-Strauss' idea that all problems are linguistic ones. When viewed as existing within Derrida's idea of espacement one finds that myth isn't simply a metaphor, or the "beginning," but there exists a co-constitution of both myth and logos.Thesis (M.A.)--Wichita State University, Fairmount College of Liberal Arts and Sciences, Program of Liberal Studies
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Escudié, Hélène. "Ursula K. Le Guin, une alchimie de l'Ailleurs : de la structure au mythe." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20066.
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La présente thèse se propose de montrer comment, malgré une notable diversité dans la forme comme dans les thèmes, l'œuvre d'Ursula K. Le Guin offre une remarquable cohérence autour d'images et structures fondamentales. Partant d'une organisation de base, fondée sur une opposition binaire, la romancière fait émerger un troisième terme, élément de synthèse entre les deux autres. C'est ce que démontre le système des personnages qui, mettant en regard deux clans, donne la vedette à des figures d'ethnologues qui, tout à la fois, maintiennent l'équilibre entre deux cultures et permettent la création de réseaux. Ce principe s'étend à des représentations purement linguistiques Le Guin postule en effet l'existence de deux langues, la langue du père, langue du pouvoir, et celle de la mère, langue du dialogue. Ces deux modes d'expression, pourtant si différents, semblent pouvoir atteindre une harmonie dans l'émergence d'une forme tierce, la langue de l'Art, dans laquelle s'élabore discours fondamentalement mixte et où se conjuguent oralité et écriture, poésie et prose. Deux personnages illustrent ce principe : l'androgyne, qui permet de poser la question du sexe et de mettre en lumière les disparités sociales auxquelles conduisent les caractéristiques masculines ou féminines ; le dragon qui s'offre comme la synthèse idéale des sexes, et donne toute leur part au maternel et au féminin. Ce rêve de synthèse se retrouve également dans une série d'images récurrentes, comme notamment celle de la pierre virile et du réseau maternel, combinées de façon idéale dans des représentations fondées sur le modèle du piège à rêves amérindien, modèle qui se retrouve aussi bien dans la toile d'araignée que dans certaines formes de mise en scène de l'activité onirique. L'œuvre se présente ainsi comme une forme d'hommage au père et à la mère de la romancière, ethnologues réputés, et parallèlement comme une illustration de la voix de la différence décrite par Carol GilliganThis work aims at showing how, despite a great diversity in the forms and the themes, Ursula K. Le Guin's work organises its coherence around fundamental images and structures. Founded on a basic binary opposition, the writer develops a third term, a synthesis of the two others. This is illustrated by the system of characterisation (of the protagonists) which stages two clans featuring anthropologists who maintain the equilibrium between the two cultures while developing the creation of networks. This principle extends to purely linguistic representations. Le Guin postulates the existence of two languages, the Father tongue, the language of power, and the Mother tongue, the language of dialogue. These two modes of expression, although very different, tend towards harmony in the birth of a third term, the Language of Art, in which oral and written literature, prose and poetry intermingle. Two characters serve to illustrate this: first, the androgyn underlines the problem of sex and highlights the social differences; second, resulting from sexual differentiation, the dragon represents the ideal synthesis of the two sexes, and shows the importance of the maternal and the feminine features. This dream of two into one is also present in a series of recurrent images, namely the masculine stone, and the maternal network, ideally united in representations based on Amerindian dreamcatchers, a model also illustrated by the cobweb and in forms staging dreams. The work is thus a homage to Ursula K. Le Guin's father and mother, well-known anthropologists, and also an illustration of Carol Gilligan's theory of a "different voice"
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Aitches, Marian A. (Marian Annette). ""Beowulf": Myth as a Structural and Thematic Key." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330758/.
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Very little of the huge corpus of Beowulf criticism has been directed at discovering the function and meaning of myth in the poem. Scholars have noted many mythological elements, but there has never been a satisfactory explanation of the poet's use of this material. A close analysis of Beowulf reveals that myth does, in fact, inform its structure, plot, characters and even imagery. More significant than the poet's use of myth, however, is the way he interlaces the historical and Christian elements with the mythological story to reflect his understanding of the cyclic nature of human existence. The examination in Chapter II of the religious component in eighth-century Anglo-Saxon culture demonstrates that the traditional Germanic religion or mythology was still very much alive. Thus the Beowulf poet was certainly aware of pre-Christian beliefs. Furthermore, he seems to have perceived basic similarities between the old and new religions, and this understanding is reflected in the poem. Chapter III discusses the way in which the characterization of the monsters is enriched by their mythological connotations. Chapter IV demonstrates that the poet also imbued the hero Beowulf with mythological significance. The discussion in Chapter V of themes and type-scenes reveals the origins of these formulaic elements in Indo-European myth, particularly in the myth of the dying god. Chapter VI argues that both historical and mythological layers of meaning reflect traditional man's view of history as cyclic, a temporal period with a beginning and an end. At the juncture between end and beginning is conflict, which is necessary for regeneration. The interlacing of Christian, historical and mythic elements suggests the impossibility of extricating the individual and collective historical manifestations from the cosmic imperative of this cycle. The Beowulf poet perhaps saw in the ancient myths which permeated his cultural traditions the basis of meaning of human existence.
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Evers, John David. "Myth as narrative : structure and meaning in some ancient Near Eastern texts." Thesis, University of Edinburgh, 1988. http://hdl.handle.net/1842/19732.
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Evers, John D. "Myth and narrative : structure and meaning in some ancient Near East texts /." Kevelaer : Neukirchen-Vluyn : Butzon & Bercker ; Neukirchener Verlag, 1995. http://catalogue.bnf.fr/ark:/12148/cb35812284j.
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Luo, Haowen. "Is 100 Percent Debt Optimal? Three Essays on Aggressive Capital Structure and Myth of Negative Book Equity Firms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862869/.
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This dissertation comprises of three related essays in regard of puzzling negative book equity phenomenon among U.S. public firms. In essay 1, I present the evidence that there is an increasing trend of negative book equity firms over the past 50 years, from 0.3% up to over 5% among publicly traded firms in US. In contrast to previous research which generally classify these firms as distressed firms with highly likelihood of bankruptcy, I propose a new method to separate Healthy Negative Book Equity Firms (HNBEF) from relatively more distressed negative book equity firms. The results show that HNBEF have much higher net income and interest coverage ratio, they survive longer, and pay more dividends. More interestingly, these firms are often actively increase share repurchases and debt issuance. These facts, combined with their strong profitability, indicate that managers of these firms are actively increasing their leverage and choose to be negative book equity firms.
To explain the existence of HNBEF, in essay 2, I investigate several possible reasons that may contribute to the extreme leverage of these firms. I find that HNBEF are substantially undervalued by their book assets as stated on the balance sheet. In addition, the value of intangible assets, especially those off-balance sheet intangible assets, is positively related to the probability of becoming HNBEF. Moreover, I find that characteristics of intangible assets and firms also play important role on existence of HNBEF. Specifically, I find that both liquidity and redeployability of intangible assets are positively related with the probability of becoming HNBEF. Also, firms associated with closer borrower-lender relationship are more likely to become HNBEF.
To investigate if the aggressive capital structure adopted by HNBEF is optimal, in essay 3, I performed several tests to analyze how these firms differ from other firms in terms of operating performance, corporate governance and firm value. My research finds that compared to firms from same industry and with similar size, managers of HNBEF invest more heavily in their own firms, and HNBEF have better corporate governance. In addition, HNBEF are associated with better operating performance and higher value.
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Schuyler, Michael T. "Setting up Camp: Identifying Camp through Theme and Structure." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/113537.
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Mass Media and CommunicationPh.D.
Camp scholarship remains vague. While academics don't shy away from writing about this form, most exemplify it more than define it. Some even refuse to define it altogether, arguing that any such attempt causes more problems than it solves. So, I ask the question, can we define camp via its structure, theme and character types? After all, we can do so for most other genres, such as the slasher film, the situation comedy or even the country song; therefore, if camp relies upon identifiable character types and proliferates the same theme repeatedly, then, it exists as a narrative system. In exploring this, I find that, as a narrative system, though, camp doesn't add to the dominant discursive system. Rather, it exists in opposition to it, for camp disseminates the theme that those outside of heteronormativity and acceptability triumph not in spite of but because of what makes them different, othered or marginalized. Camp takes many forms. So, to demonstrate its reliance upon a certain structure, stock character types and a specific theme, I look at the overlaps between seemingly disparate examples of this phenomenon. These include a documentary film (Grey Gardens), a one-woman show (Elaine Stritch: At Liberty), a pop concert (Cher: The Farewell Tour), a diva (Vanessa Williams), a horror film (Carrie), a biopic (Ed Wood), an episodic television procedural (Charlie Angels), and a serialized television dramedy (Desperate Housewives). Then, I take what I find in those chapters and apply it to a non-canonical camp text when I look at theatrical and novelistic depictions of a sport: baseball. This reading suggests that baseball can actually serve as a form of camp. Throughout, by employing structural analysis, queer theory and postmodernism, I uncover camp mythological potential. In addition to demonstrating something which no critic has done previously, namely, that we can, indeed, identify camp via structure, character and particularly theme, this investigation results in several other discoveries. For instance, it reveals that most academics incorrectly label or dismiss camp as a gay only discipline. As becomes evident here, its theme has built into it widespread appeal, as opposed to appeal solely the domain of gay males. Also, it demonstrates camp continued relevance and vitality. Some scholarship in the last two decades or so has proclaimed camp dead, dying or insignificant. By showing our continued need for this form, by using up to the minute examples and by illustrating that critics often wholly misunderstand and misidentify this phenomenon, this dissertation challenges those assertions head on. History demonstrates a longstanding tradition of and a continued need for people to camp. Yet, the scholarship surrounding this form limits, dismisses or misidentifies it, its audience, its relevance, its appeal, its history, its power, and so forth. By asking if we can identify a timeless and necessary theme, one illustrated via character and structure, and in finding that we can, I hope to lay these problems and misconceptions to rest once and for all. In the end, camp exists. And, it exists as a
Temple University--Theses
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Артюх, В`ячеслав Олексійович, Вячеслав Алексеевич Артюх, and Viacheslav Oleksiiovych Artiukh. "Природа національного міфу: історико-філософський контекст." Thesis, Київський нац. ун-т ім. Т. Шевченка, 2000. http://essuir.sumdu.edu.ua/handle/123456789/39020.
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В дисертації подається філософський аналіз феномена національного міфу в історико-філософському вимірі. Досліджується полісемантизм поняття “міф”, який зумовлює специфіку сприйняття національного міфу. З’ясовується смисловий інваріант поняття “національний міф” у розмаїтті його історико-філософських інтерпретацій. Нація розглядається, по-перше, з історичного боку, і тоді вона виступає формою буття етносу в індустріальну та постіндустріальну епохи; по-друге, з антропологічного боку, і тоді вона стає формою колективної ідентифікаціїі, що природно притаманна людині. Сутнісно національний міф визначається як вся безпосередня, дорефлексивна повнота переживання індивідом його національної ідентичності. Показується дієвість міфічних структур на прикладі виникнення і розвитку української націоналної ментальності.Диссертация является философским исследованием природы феномена национального мифа в его историко-философском измерении. Исследован полисемантизм понятия “миф”, который обуславливает специфику восприятия и национального мифа. Доказывается, что понятие “миф”, приобретая семантическую многозначность, не просто отображает определенное содержание, но и активно его формирует. В диссертации утверждается, что национальный миф есть реализация мифотворческой способности как древнего так и современного человека. Существование мифического типа опыта обусловлено некоторыми априори психологического и культурного порядка. Утверждается, что в истории философской мысли встречается, по крайней мере, четыре варианта концепта “национальный миф”. 1) Связь нации и мифа является изначальной: всякий миф является национальным в понимании нации как первобытного коллектива. Это дорефлективная стадия существования национального мифа, его тождественности себе (от античности до Дж. Вико). 2) В традиции романтизма, который воспринимает нацию как от века данную сущность, под национальным мифом понимаются древние рассказы, которые обуславливают национальную историю и через комплиментарное восприятие которых население сплачивается в нацию. В конце XVIII–начале XIX веков путем изучения и пропаганды народного творчества осуществляется реанимация таких мифов для потребностей нациестроительства (Й.Г.Гердер, Ф.В.Й. Шеллинг, Я.Гримм). 3) Рационально-оценочная позиция, которая определяет национальный миф продуктом современной эпохи и квалифицирует его как выдуманную историю, опасную завораживающую ложь, которая мешает понять истинную сущность нации (Е.Геллнер). 4) Позиция, которая определяет национальный миф необходимым элементом опыта современного человека, причем при таком подходе научный разум не должен ставиться выше мифа (К.Хюбнер). Феномен нации в диссертации рассматривается, во-первых, с исторической стороны, и тогда нация выступает формой организации этноса в индустриальную и постиндустриальную эпохи; во-вторых, с антропологической стороны, и тогда нация выступает формой коллективной идентификации, которая естественно присутствует в мировоззрении человека. Сам процесс идентификации есть во многом процедурой мифической. В диссертации доказывается, что национальный миф является сложным переплетением деятельности неосознанных и осознанных уровней психики, который отсылает к первичным модусам восприятия нации. Национальный миф есть вся непосредственная, дорефлективная полнота переживания национальной идентичности. Вербально такой миф является парадигмальной историей, которая выводит сегодняшнее состояние нации с его прошлого по принципу мифической модели времени; мифическое время четко разделяет историю нации на прошедшее сакральное и профанное сегодняшнее, в которое возможны прорывы сакрального. Мифическое пространство нации – это священные места, которые имеют силу, переходящую в носителей национальной идентичности. При мифическом восприятии сама нация выступает сакральным существом, которое существует физически; по правилу нераздельности в мифе единичного и общего отдельный человек выступает персонификацией нации. Показывается действенность мифических структур на примере возникновения и развития украинской национальной ментальности.
The dissertation analyses the phenomenon of national myth in historical and philosophical context and investigates the polysemantics of the “myth” concept caused by the specific perception of national myth. A semantic invariant of the “national myth” concept is determined among the variety of its historical and philosophical interpretations. The phenomenon of nations is considered, first, from historical point, when the nation appears as a form of the ethnic group’s existence in the industrial and postindustrial period; and, secondly, from anthropological point, when the nation presents the form of identification which is inherent in every human being. The national aspect is defined as a fullness of the national identity perception. The efficacy of mythical structures as a factor of mentality’s formation and development is also analyzed.
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Lanfant, Véronique. "Mythe et philosophie taoi͏̈ste : les structures archétypales du discours mythique dans le langage taoi͏̈ste du clair-obscur." Paris, INALCO, 1997. http://www.theses.fr/1997INAL0004.
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Les ouvrages fondateurs de la pensée taoi͏̈ste, et tout particulièrement le Zhuangzi et le Liezi sont des ouvrages qui présentent peu d'homogénéité quant à leur forme. Au fil des textes alternent et se succèdent discours abstraits et passages narratifs empruntés pour l'essentiel au fond mythique traditionnel. La présence de ces passages a souvent troublé les commentateurs. Reconsidérant le sens du discours mythique dans une perspective issue de courants de réflexion sur la nature de l'imaginaire qui ont mis en évidence l'aspect translogique du mythe et de l'image, nous avons émis l'hypothèse d'une identité entre le langage taoi͏̈ste et la pensée mythique ainsi envisagée. Dans un premier temps, nous nous sommes donc interrogés sur la nature du langage taoi͏̈ste en nous attachant tout particulièrement à la dimension signifiante des images mythiques. Patant d'une réflexion critique sur la nature du langage ordianire, le langage taoi͏̈ste se définit comme un langage opératoire, mouvant, qui affirmera potentiellement toutes les possibilités, et où les mots se définieraient davantage comme des noeuds de relations : c'est ce que nous avons désigné par langage du clair-obscur. Le discours mythique intégré à l'écriture taoi͏̈ste devient alors paradigme signifiant qui, s'offrant à la dimension de l'imaginaire, utilise le caractère translogique de l'image pour transcrire la vision taoi͏̈ste de la réalité. Ceci nous a permis d'identifier des paysages thématiques structurés autour de contraintes signifiantes our archétypes. Dans cette perspective, les métaphores mythiques ne peuvent plus être envisagées comme simples illustrations, allégories ou effets poétiques. Ce sont des actes sotériologiques, c'est à dire des actes équilibrants car compensateurs qui permettent de dépasser les limites de la réalité sensible, et donc un discours qui institue la non division du réel, à travers des sphères de représentation différentes qui peuvent et devraient être vécues intégralementThe presence of multiple narrative pieces drawn on Chinese mythic tradition in Taoism major groundwork (mainly in the Zhuangzi and the Liezi) has stood a source of difficulty to most of their interpreters, and often been neglected or even disregarded by commentators. Taking into account the translogical characteristics of myths and mythic images in general, we reconsider the role of mythic discourse in early Taoist philosophy. Paying attention to the use of mythic metaphors, we first investigate the nature of Taoist language. Based on a criticism of the so-called ordinary language, Taoist language can be regarded as a fluid and operative language, where the words should rather be understood as interaction nodes. This language, that we have referred to as the "language of the twilight", is able , escaping the linearity and limitations of the ordinary language, to express the flux of reality as well as the manifold of the possibilities. Assuming a structural kinship of mythic images and Taoist language, that both share translogical properties, we have identified and analyzed thematic frames organizing on structural constants or archetypes. This work shows that the mythic metaphors and narratives of the Zhuangzi and the Liezi cannot any longer be considered as mere illustrations, but in the scope of meaningful and accurate ways able to transcribe Taoist vision of reality completeness
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Andreescu, Florentina Carmen. "Transition, Nation, State, and Structure of Fantasy." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/413.
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This research aims to make evident the importance of films serving as a relevant arena for political struggles within a society, struggles that concern highly important concepts such as the nation and the state. This goal is accomplished by building upon the theory of cinematic nationhood and using the method of relational constructivism combined with insight from Lacanian psychoanalytic theory. The research regards films as forms of communication as well as forms of fantasy. The case this research focuses on is Romania. The case was selected because for a certain period of time the myths of nation and state had been strongly embedded-or nested-- within the social contexts-or commonplaces--specific to Marxism, namely work, equality, and the bourgeois enemy, followed by a swift and radical social discourse change that triggered changes within the topography of commonplaces. The films analyzed represent these changes in order to understand the specific ways in which the myth of nation and state are reflected within films produced during radical economic, social, and political transformations. This research reveals that, despite the social, economic, and political upheavals from the pre- to post-transition eras, the underlying national structure of fantasy remained remarkably unchanged, while the nation and the state changed their social relevance with changes in their position occupied within the structure of fantasy.
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Domiciano, João Felipe Guimarães de Macedo Sales. "O mito e sua estrutura: contribuições da antropologia lévi-straussiana para a formalização da clínica psicanalítica." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/47/47133/tde-28112014-151706/.
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Inserida no intercâmbio teórico entre a psicanálise e a antropologia estrutural, a presente pesquisa busca analisar os papéis e implicações da noção de mito para a constituição de um projeto de formalização da experiência psicanalítica. Em pesquisa anterior, constatamos como na conferência O mito individual do neurótico (1953), Jacques Lacan realizou a aplicação do modelo lógico através da qual o antropólogo Claude Lévi-Strauss tratou da estrutura mítica a fórmula canônica do mito (1955) ao caso freudiano do Homem dos Ratos. Desta premissa, uma questão se impôs: em que medida o modelo da estrutura inerente ao fenômeno mítico foi condição necessária para a apropriação lacaniana do ideário estrutural e quais os efeitos de tal momento constitutivo sobre seu futuro projeto de formalização da clínica psicanalítica. Com tal objetivo em vista, mapeamos inicialmente na obra de Freud as dimensões do tema do mito. Vimos como sua aparição é contemporânea à emergência da psicanálise como uma prática clínica, e como está ligado a um programa antropológico de universalização das descobertas psicanalíticas, cuja maior expressão é a publicação de Totem e Tabu (1912-13) e sua ampliação do valor metodológico da lógica mítica para a apreensão da origem da cultura. A partir de uma revisão das leituras e críticas à psicanálise pelas principais vertentes da antropologia no início do século XX, observamos como o valor epistêmico-metodológico da obra freudiana apenas será plenamente reconhecido com o advento do projeto estrutural de antropologia engendrado por Lévi-Strauss e responsável por inscrever o mito como objeto privilegiado de estudo. Acompanhamos os principais movimentos de Lévi-Strauss pela análise mítica (1949; 1955; 1964; 1985), ressaltando o papel central do modelo da fórmula canônica do mito. A análise das derivações matemáticas de seus termos fundamentais levou-nos a reconhecer seu valor para a psicanálise lacaniana. Neste modelo, Lacan encontrará (a) uma noção de estrutura que assimila a dimensão da dialética e do impossível em seus termos, (b) a base de sua teoria do significante, (c) um meta-modelo de formalização que o acompanhará por toda 9 sua obra. A partir desta revisão analisaremos se os desvios conceituais da assimilação lacaniana do modelo de Lévi-Strauss, poderiam retroativamente contribuir para uma revisão do valor da análise mitológica para além dos limites psicanalíticos. Para tal, nos valeremos de uma releitura das análises estruturais do mito de Édipo e do Homem dos Ratos. Cientes dos limites de nosso recorte, indicamos ao fim possíveis desdobramentos deste percurso para pesquisas futurasSituated in the theoretical debate between psychoanalysis and structural anthropology, this research aims to analyse the roles and implications of the concept of myth for the establishment of formalizations project of psychoanalytical experience. In previous research, we found that in the conference The neurotic \'s individual myth (1953), Jacques Lacan applied the logical model by which the anthropologist Claude Lévi-Strauss read the mythic structure the canonical formula of myth (1955) to revised the Freudian case of the Rat Man. From this premise, a question remained: to what extent the model of the structure inherent of the mythical phenomenon was necessary for the appropriation of Lacanian ideas structural condition and what the effects of such constitutive moment on his future formalizations of the psychoanalytic practice. With this aim in view, we initially mapped in Freud\'s work the dimensions of the theme of the myth. We saw how its appearance is contemporary to the emergence of psychoanalysis as a clinical practice, and how it is connected to an anthropological program of universalization of the psychoanalytic discoveries, whose highest expression is the publication of Totem and Taboo (1912-13) and its expansion of the methodological value the mythical logic to apprehend the origin of culture. From a review of the readings and critiques of psychoanalysis by the anthropologists in the early twentieth century, we saw how the epistemic and methodological value of Freud\'s work will be fully recognized with the advent of structural anthropology introduced by Lévi-Strauss, and responsible for signing the myth as a privileged object of study. We followed the Lévi-Strausss main movements in mythical analysis (1949, 1955, 1964, 1985), highlighting the central role of canonical formula of myth. The analysis of the mathematical derivations of its fundamental terms led us to recognize its value to Lacanian psychoanalysis. In this model, Lacan find (a) a type of structure that assimilates the dimension of the dialectic and the theme of impossible in its terms, (b) the basis of his theory of the signifier, (c) a meta-model for formalizing remains 11 throughout his work. From this review we analyse if the conceptual deviations of Lacanian assimilation of Lévi-Strauss model, could retroactively contribute to a revision of the value of the mythological analysis beyond the psychoanalytic limits. To this goal, we reread the structural analysis of the myth of Oedipus and the Rat Man. Aware of the limits of this research, we indicate possible outcomes at the end for future studies
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Neves, Maralice de Souza. "Communicative teaching of english as a foreign language: an approach haunted by traditional and structural myths." Universidade Federal de Minas Gerais, 1993. http://hdl.handle.net/1843/BUBD-9D7EWU.
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This study discusses the hypothesis that language teachers at a college where students major in the L2 have still been perpetuating traditional and structural myths in their practice, which might be one of the possible causes for the learners' unsuccessful L2 acquisition. In our procedure we cross-checked the results of teachers' interviews, with the students' questionnaires, the analysis of the materials and tests and a classroom lesson observation. The results show that although there is an attempt to adopt communicative materials and employ some communicative techniques, the traditional and structural myths still interfere deeply in the learning process.Este estudo discute a hipótese de que professores universitários de língua estrangeira têm perpetuado mitos de abordagens tradicionais e estruturais em sua prática na sala de aula que poderiam estar interferindo negativamente no processo de aquisição. Em nosso procedimento cruzamos entrevistas com professores, questionários respondidos pelos alunos, análises de testes e material didático e a observação de uma aula. Os resultados mostram que apesar dos esforços em empregar algumas técnicas e adotar materiais comunicativos há uma grande interferência de mitos oriundos de abordagens tradicionais e estruturais que podem ainda estar dificultando o processo de aprendizagem.
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Angelini, Marco. "The myth of rationality : on the antinomic structure of reason; the dialectical response of Socrates and Plato." Thesis, Queen's University Belfast, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268238.
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Stones, R. A. "The myth of betrayal : Structure and agency in the Labour Government's policy of non-devaluation 1964-67." Thesis, University of Essex, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381246.
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Clarke, Michael. "Body, soul and identity in Homer : a study in the structures of language and myth." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240277.
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Rojas, Zolezzi Enrique Carlos. "Mythes de la création du monde, représentations du gibier et des plantes cultivées et définition de l'ordre social traditionnel chez les Campa Ashaninka de l'orient péruvien." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0181.
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Dans ce texte, nous réalisons une étude des conceptions concernant la relation entre les horticulteurs-chasseurs-pêcheurs ashaninka (Amazonie péruvienne) et les êtres non humains (plantes et animaux) de leur environnement, dans la mesure où les représentations socialement produites participent de la définition des modèles d'action des acteurs sociaux. Ainsi, dans le cadre de cette recherche, nous effectuons une approche de la manière dont les Ashaninka organisent leurs relations avec les ^etres non humains de l'environnement où ils habitent, à travers l'étude de la mythologie et des taxonomies de la faune et de la flore du piémont oriental des Andes centrales. On part de la critique de l'ethnoscience pour montrer que le groupe ashaninka de l'Amazonie centrale péruvienne a développé divers niveaux de classification des animaux de la forêt. Loin d'assumer une position statique de la relation de la société ashaninka avec les non humains, nous essayons de montrer le devenir de cette société à partir des changements dans le modèle d'occupation de l'espace. C'est un aspect de l'organisation de la société qui reste en relation avec la gestion des plantes et des animaux. Les changements dans le modèle d'alliance matrimoniale, conséquence de ce procès, sont ainsi analysés, en tant que partie de l'ensemble de la dynamique de reproduction socialeIn this thesis, we study the conceptions that constitute schemes of social action that provides the Ashaninka hoticulturalist-hunter-fisher-gatherer with models of interaction in the domain of the daily relations woth plants and animals of their environment. From a critical position of ethno science approach, our emphasis is given on the analysis of myths related to the origin of plants and animals and their relation with taxonomies. Evidence on the coexistence of different systems of classification in ashaninka language is presented. Far from a static approach to this subject, we stuy the actual praxis of the ashaninka social actors a the result of the process of becoming a sedentary populztion and the introduction of foreign species. Changes and continuities in marriage system, result of this process, are also studied as part of the transformations in the dynamic of social reproduction
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Duarte, Patrícia. "O ritual e os símbolos: a realização dos grafismos rupestres na região do município de Camalaú (PB)." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/4172.
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This work aims to infer the relationship between the realm of myth with the production of rock graphics, ie, whether the production of these graphics are rituals linked to a mythic structure whatever, being able to express a sacred dimension. Through authors such as Eliade (1991, 1983, 2007, 2008 a, 2008 b), Leroi-Gourhan (2007), Levi-Strauss (1996, 2007, 2008), Insoll (2004), Martin (2005), among others we seek to build a theoretical framework that provides a support for the possibility of discussions undertaken between the expressions of relational cave rituals and actions that produced them. In this paper we seek to support this theme in the theoretical overview presented by the authors that were the basis for discussing the question of sacred and ritual in the theoretical universe of Archaeology. As the focus of the research was chosen the Cariri Region, in the west of the state of Paraíba, especially the municipality of Camalaú, where the two sites were analyzed. To reach the objectives proposed in this study, we used two sites: the site Roça Nova and Beira Rio both fit the requirements established by the work because they have elements where the representations linked to the Traditionin the northeast standout, interspersed with elements of the tradition of the Agreste. It was possible to establish hypotheses of relationship that we set out to do. Using a comparative methodology and, a qualitative, we used the typological method to make comparisons between the two sets of signs of the sites. Aggregated data were collected from the contexts of insertion sites, topography, environment and spatial relationship with the water. Thus, we could demonstrate that the rite of producing rock graphics in each of the sites seem to indicate that the mythic structures vary according to the combination of graphics, distribution and typology, forms the supports with a possible relationship with other topography and ritual sites chosen at each site, even with the similarities between the proximity of the water and the techniques which they represent. Although it is not possible to identify a mythological arrangement in these sites at this time, it is demonstrated that it deals with completely different ritual moments. This leads one to suppose that this deals with a mythical structure for each group.
O presente trabalho tem como objetivo inferir a relação entre a esfera do mito com a produção dos grafismos rupestres, isto é, saber se as produções desses grafismos são rituais vinculados a uma estrutura mítica qualquer, podendo enunciar uma dimensão sagrada. Através de autores, como Eliade (1991, 1983, 2007, 2008 a, 2008 b.), Leroi-Gourhan (2007), Levi-Strauss (1996, 2007, 2008), Insoll (2004), Martin (2005), entre outros, buscamos construir um arcabouço teórico que fornecesse sustentação às discussões empreendidas dessa possibilidade relacional entre as expressões rupestres e as ações rituais que as produziram. Buscamos neste texto fundamentar essa temática na visão teórica apresentada pelos autores que foram a base para discutimos a questão do sagrado e o rito dentro do universo teórico da Arqueologia. Como lócus da pesquisa foi escolhida a região do Cariri Ocidental do Estado da Paraíba, em especial o Município de Camalaú, onde se encontram os dois sítios analisados. Para atender aos objetivos propostos neste estudo, utilizamos dois sítios: o sítio Roça Nova e o sítio Beira Rio ambos se enquadram nos critérios estabelecidos pelo trabalho, porque eles têm elementos onde predominam as representações vinculadas à Tradição Nordeste, entremeados de elementos da Tradição Agreste. Ali foi possível estabelecer hipóteses da relação pretendida. Usando uma metodologia comparativa, de cunho qualitativo, recorremos ao método tipológico para efetuar as comparações entre os acervos de signos dos sítios. Agregados a esses dados, foram levantados os contextos de inserção dos sítios, sua topografia, meio ambiente e relação espacial com a água. Assim, foi possível demonstrar que o rito de produção dos grafismos rupestres, em cada um dos sítios, parecem indicar que se trata de estruturas míticas diferenciadas em função das dos conjuntos de grafismos, sua distribuição e tipologia, forma dos suportes, possível relação com outros sítios rituais e topografia escolhida em cada sítio, mesmo com as semelhanças entre proximidade da água e técnicas que apresentam. Embora não seja possível identificar um arranjo mitológico nestes sítios, neste momento, fica demonstrado que se trata de instantes rituais completamente distintos. O que leva a supor que se trata de uma estrutura mítica para cada grupo.
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Cork, Edward. "Rethinking the Indus myths : a comparative re-evaluation of the Indus civilisation as an alternative paradigm in the organisation and structure of early complex societies." Thesis, Durham University, 2006. http://etheses.dur.ac.uk/2665/.
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Since the earliest archaeological work at Indus sites, this civilisation has been contrasted with otlier early complex societies further west, primarily Mesopotamia. During the I960'ร Walter Fairservis put forward a model constructed in this way. Using impressionistic observations of differences in the archaeological records of Mesopotamia and the Indus, he suggested that Indus society was a bipolar opposite to the type of hierarchical societal organisation he envisioned in Mesopotamia. This interpretation has exerted enormous influence on Indus archaeologists, and elements of it are still prominent in their work today. However, to date the comparative basis of this interpretation has nevet been critically and rigorously evaluated. None of its constituent elements, such as the absence of social stratification, the absence of warfare and the absence of centralised control, has ever been tested by detailed comparison with Mesopotamian data. This thesis undertakes this task, comparing the sorts of data cited as evidence for Fakservis' interpretation with equivalent data from contemporary West Asian societies. It focuses on three specific datasets: metalwork, domestic architecture and settlement patterns. The analyses reveal Fairservis' model to be a gross oversimplification. The rigorous comparative method adopted here demonstrates many of the perceived differences between the Indus and Mesopotamia to be highly problematic or simply wrong.
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Aguer-Sanchiz, Mary. "Structures de l'imaginaire odysséen, prolongements comparatifs et perspectives didactiques." Perpignan, 2006. http://www.theses.fr/2006PERP0681.
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Après avoir fait le point sur le contexte historique de production, et évoqué rapidement, en les reclassant, les travaux les plus marquants, nous nous sommes demandé quelles constellations d'images symboliques pouvaient sous-tendre l'imaginaire odysséen (la terre natale, les figures monstrueuses et aquatiques, un voyage initiatique aux confins du royaume des morts). Nous avons observé aussi comment les images d'un voyage dans un espace maritime glissaient insensiblement vers des images temporelles. Nous avons alors proposé quelques pistes d'interprétation autour des visages du temps. Il nous a semblé intéressant, ensuite, de confronter cette source à des textes contemporains pour essayer de comprendre comment un texte fondateur peut, dans un autre contexte, nourrir encore l'imaginaire. Il fallait fair un choix : l'Odyssée de Nikos Kazantzaki. Nous avons prolongé notre réflexion en explorant un genre qui a toujours facilité l'adaptation des grands mythes : le théâtre, et ainsi "revisité" deux adaptations récentes. Par ailleurs, depuis près de trois mille ans, l'Odyssée d'Homère est support d'enseignement : en Grèce, bien sûr, depuis sa rédaction, mais aussi en France. Nous avons donc tenté de confronter diverses approches dans les prgrammes et les manuels des trente dernières années environ avant de poser quelques jalons qui puissent rendre encore présent et attachant le texte homérique, sans l'enfermer dans une image obsolète de "culture antique" mais au contraire en essayant de prouver combien il pouvait encore avoir de résonances dans notre école du XXIeme siècleAfter focusing on the historical context in which was conceived then evoking and classifying the most significant works, we have dealt with the question of the type of symbolism discernable in the underlying imagery in this work (the native land), the representations of monsters and aquatic figures, an initiatory journey to the borders of the kingdom of the dead). We have also observed how the imagery of a journey on the seas slips imperceptibly into a journey in time. At this point we have tried to suggest various interpretations of how time is represented. Thereafter, it seemed interesting to us to compare this source with contemporary texts in order to understand how a founding text can, in another context, still nourish our imagination today, choices had to be made : the Odyssey by Nikos Kazantzaki. We have continued our analysis by exploring a genre which has always lent itself to the adaptation of the great myths, namely the theatre, and thus we have revisited two recent adaptations. Moreover, the Odyssey has been at the basis of teaching for almost three thousand years, in Greece, of course, since it was written, but also in France. So, we have tried to compare the different approaches present in the syllabuses and textbooks to be found in a period covering the last thirty years or so, before making some suggestions about how Homer's text could still be perceived as attractive to us today without confining it to an obsolete image of "ancient culture". On the contrary, we have attempted to prove how it could still have meaning in our schools in the 21th century
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Leunig, Timothy. "The myth of the corporate economy : factor costs, industrial structure and technological choice in the Lancashire and New England cotton industries 1900-1913." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339869.
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Namekata, Marcia Hitomi. "Os mukashi banashi da literatura japonesa: uma análise do feminino e do casamento entre seres diferentes no contexto dos contos do japão antigo." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-08092011-143050/.
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O presente trabalho propõe-se a uma análise dos mukashi banashi (contos antigos) da literatura japonesa sobre os casamentos entre seres diferentes, com enfoque nas imagens da esposa animal e da esposa celestial que surgem nestas narrativas. Apresentando uma estrutura que difere bastante daquela segundo a qual que se constroem os contos de magia ocidentais, pode-se dizer que parte dos mukashi banashi que integra esta subcategoria de contos reflete o modo de pensar característico do japonês da antiguidade. Através da análise das narrativas que integram o corpus desta pesquisa, será feita uma tentativa de se aplicar as teorias ocidentais aos contos em questão, em especial as de E. M. Meletínski que, num âmbito maior que o de seu predecessor, V. I. Propp, estendeu seus estudos sobre o conto de magia ao mito; a partir disso, deverá ser proposta uma classificação para os contos selecionados. Considerando-se a origem antiga destes mukashi banashi, pretende-se também realizar a análise da esfera de ação das protagonistas femininas, no intuito de se verificar as projeções míticas nos contos, que revelam a vida dos povos antigos, bem como a descoberta da matriz imagética desses contos japoneses e discussão da mensagem subjacente às narrativas.This work intends to analyse the mukashi banashi (ancient tales) of the Japanese literature about the marriages between different beings, focusing the images of the animal wife and the celestial wife that appear in these narratives. Having a structure which differs from the structure of the western fairy tales, we can say that part of the mukashi banashi from this subcategory of tales reflects the way of thinking of the ancient Japanese people. Through the analysis of the narratives of this research corpus, we will try to apply some western theories about the fairy tale in these Japanese tales, specially the theories of E. M. Meletinsky who, in a wider point of view than his predecessor, V. I. Propp, expanded his studies about the fairy tale to the myth; we also intend to present a classification for the selected tales. Considering the ancient origin of these mukashi banashi, we intend to do an analysis of the action of the female protagonists, in order to verify the mythical projections in the tales, which reveals the life of ancient people, as well as to discover the main images of these mukashi banashi and discuss about the message which lies under these narratives.
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Bailey, Marianne Wichmann. "Le Théâtre rituel d'Aimé Césaire : les structures mythiques de l'imaginaire dramatique." Paris 4, 1985. http://www.theses.fr/1985PA040025.
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Åberg, Robin, and Tobias Edlund. "Stjärnan misstänkt för våldtäkt : En kritisk diskursanalys av framställningen av våldtäkt på kvällstidningarnas sportsidor." Thesis, Uppsala universitet, Medier och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-433857.
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This paper examines the Swedish tabloid press coverage of three rape case allegations where the accused was a high-profile sport star. Critical discourse analysis was applied as the theoretical and methodological framework combined with the theoretical concepts of monstering and rape myths. The three cases we examined were the rape allegations against Cristiano Ronaldo, the rape allegations against three Swedish hockey players and the child rape case involving the Malmö FF player Kingsley Sarfo. Monstering is a term used to describe the process in which the media portrays a rapist as a “monster” or “pervert”. By doing so the rapist is separated from “ordinary men”. If the problem is never identified as “men raping” then the solution can never be “stop men from raping” Rape myths on the other hand, focuses on how media reports on rape creates and sustains stereotypic ideas about rape. Research have found that if the media writes about rape in a stereotypical way then this perception of rape will spread to the readers. We found that monstering appeared regularly in each of the three cases mostly through naming and reference of the alleged perpetrators and the accusers. Rape myths also appeared in each of the three cases but to a lesser degree. Rape myths was prominent through a linguistic separation between the alleged rapist and the rape. Our results also showed that a patriarchal discourse was prevalent in the reporting on rape in the Swedish tabloid press.
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Raj, Shehzad D. "Ambivalence and penetration of boundaries in the worship of Dionysos : analysing the enacting of psychical conflicts in religious ritual and myth, with reference to societal structure." Thesis, University of Essex, 2018. http://repository.essex.ac.uk/23662/.
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This thesis draws on Freud to understand the innate human need to create boundaries and argues that ambivalence is an inescapable dilemma in their creation. It argues that a re-reading of Freud’s major thesis in Totem and Taboo via an engagement with the Dionysos myth and cult scholarship allows for a new understanding of dominant forms of hegemonic psychic and social formations that attempt to keep in place a false opposition of polis and phusis, self and Other, resulting in the perpetuation of oppressive structures and processes. The primary methodological claim of the thesis is that prior psychoanalytic engagements with cultus scholarship have suffered from being either insufficiently thorough or diffused in attempts to be comparative. A more holistic and detailed approach allows us to ground a psychoanalytic interpretation in the realities of said culture, allowing us to critique Freud’s misreading of Dionysos regarding the Primal Father and the psychic transmission of the Primal Crime. This thesis posits that Dionysos needs to acknowledged as a projection of the Primal Father fantasy linked to a basic ambivalence about the necessity of boundaries in psychosocial life. Using research from the classics and psychoanalysis alongside Queer and post-colonial theory, as well as extensive fieldwork and primary source analysis, this thesis provides a grounded materialist critique of psychoanalysis’ complicity in reproducing a false dichotomy between polis and phusis, a dichotomy that furthers the projection onto marginalised groups whose othering is linked to a fear and desire of a return to phusis and denial of its constant presence in the psyche and polis. This re-reading of Dionysos challenges the defensive structures, which are organised around ideas of subjectification that posit that phusis must be severed from polis/ego and projected onto Dionysos and all groups that threaten the precariousness of these boundaries.
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Ventimiglia, di Monteforte Luigi Maria Antonio. "Alternative monetary policies for commodity dependent developing countries : the myth of the exchange rate solution : a post-Keynesian analysis of the Peruvian economic structure (1991-2010)." Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/14702/.
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This thesis addresses the issue of how monetary policy may influence non-financial firms' investment behaviour in a commodity dependent developing country. The Peruvian experience over the last two decades is particularly interesting because of the non-conventional exchange rate intervention implemented by the Banco Central del Peru since the beginning of the 1990s. The thesis is organised in two parts. Part one critically reviews the evolution of the extensive theoretical literature on the 'commodity trap' since the Prebisch and Singer hypothesis. It compares and contrasts the developmental effectiveness of two monetary policies alternatives to inflation targeting, namely Peg-Export-Price (PEP) target and the Real-ExchangeRate (RER). It also shows how, however, these two alternative proposals overlook the issue of dollarisation. Second, part one also reviews the recent empirical literature on the financialisation of primary commodities and its effects on the cycle of commodity dependent developing countries. Part one concludes with sketching the theoretical framework of the thesis which relies on a Minskyian framework. Part two illustrates the empirical findings of the thesis relative to the current monetary policy and its effects on a sample of 117 Peruvian firms. It concludes that the RER solution is not effective and that the PEP solution is not applicable. Part two also demonstrates how the current monetary policy favours firms which are more dollar exposed, namely domestic conglomerates and multinational corporations. The thesis concludes that to escape the commodity trap, a change in the structure of the economy would be necessary; this would require a more active role of the central bank with respect to credit supply and in line with industrial policy. Nevertheless, the country's political economy conditions, such as the interests of the powerful conglomerates cannot be ignored.
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Hylén, Torsten. "Ḥusayn, the Mediator : A structural Analysis of the Karbalā´ Drama according to Abū Ja`far Muḥammad b. Jarīr al-Ṭabarī (d. 310/923)." Doctoral thesis, Uppsala University, History of Religions, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-7457.
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The present study has a twofold purpose: Firstly, it is an analysis of the Karbalā´ Drama—i.e. the death of Ḥusayn b. `Alī in the hands of an army which had been sent out by the Umayyad authorities, at Karbalā´ in 60/680—as it is retold by the Muslim jurist and historiographer Abū Ja`far Muḥammad b. Jarīr al-Ṭabarī (d. 310/923). Despite its importance, especially to Shī`ite Islam, this text as such has received relatively little attention among scholars of Islam. In this study, the Karbalā´ Drama is regarded as a myth and the method used to analyze it is inspired by the structuralism of Claude Lévi-Strauss. Lévi-Straussian structuralism has probably never before been applied to early Arabic material to the extent that it is used here. The second purpose of the study, then, is to investigate to what extent and in what mode such a method is applicable to this material.
A portion of the text, called the “Text of Reference,” has been selected and thoroughly analyzed. In that analysis, a number of structural features such as codes, oppositions, mediations, and transformations have been identified and made the basis for a more cursory study of the rest of the story. An important structural feature that is detected in this way is the way the argument of the story is forwarded. By the transformation of metaphors into metonyms, the story attempts to make arbitrary relationships look natural and intrinsic. Such a relationship is that between water and blood—two liquids which are at times shed, at times withheld in the story. Husayn takes a mediating position in that he gives his water and his blood. He acts as mediator both in a negative sense (he establishes the basic Islamic opposition of good and evil), and in a positive sense (as religious guide he acts as a bridge between them).
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Damlaci, Ferry Pinar. "La narration classique dans le cinéma turc (1980-2000) : prémisses pour une étude structurale de la logique narrative et des principales figures héroïques." Paris 1, 2012. http://www.theses.fr/2012PA010521.
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Le cinéma turc des années quatre-vingt et quatre-vingt-dix est, de manière générale et à sa façon, un cinéma classique. Par le cinéma classique, il faut entendre le style dominant propre au cinéma hollywoodien. Le classicisme hollywoodien se compose d'un conflit généré par l'action orientée vers un but, des personnages-motivés au centre du récit, des obstacles à surmonter, du rapport de causalité entre les faits et de la résolution du conflit. Par ailleurs, la particularité du style classique réside dans la description du personnage principal. Dans le cinéma turc, il s'agit d'un type de héros particulier que nous qualifions de justicier. Celui-ci se soumet à son existence (mauvaise fortune), alors que l'individu du « cinéma occidental», lui, construit son existence (futur à créer) La soumission au destin ne réduit pas le héros-justicier à l'inaction, au contraire il est la force dynamique principale de l'action du film. Selon la logique narrative, c'est-à-dire selon que le héros-justicier punit les méchants ou remédie à la situation, nous pouvons grouper les films turcs de notre corpus sous deux réseaux actionnels : le premier généré par le principe de « punition» et le deuxième par le principe de « réparation », Cette logique narrative fait naître le mythe du « surhomme», entre autres. L'étude des mythes véhiculés par le cinéma nécessite qu'on s'attache à la fiction et à ses thématiques qui dénoncent l'imaginaire social et les mentalités.
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Moren, Jan. "Om reformer : En studie av Kvalitetsreformen, Politireform 2000 og Kunnskapsløftet." Doctoral thesis, Karlstads universitet, Avdelningen för arbetsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7318.
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This thesis studies three major reforms in the public sector of Norway. The sectors studied are the police, higher education, and primary schools. The main motive for studying these reforms are of a theoretical nature, the reason to study them is to produce general knowledge about reforms. The study aims to answer two main questions. One is about the possibilities and limitations contained in using reforms to change organizations. The second is about how organizations can promote the ideals of representative democracy. In its efforts to attain answers to these questions the thesis blends empirically-oriented research with aspects of organization theory and political theory. The thesis is divided into four different parts. First, there is a descriptive presentation of the three reforms. Secondly, there is a discussion of various theories of reforms and organizations. The primary aim of this analysis is to illuminate and explain the empirical data, but this discussion should also provide its own answers to the main questions asked in the thesis. Thirdly, these theories are applied to analyze data from the three reforms. And finally, the study concludes with a summary of what general insights about the reforms we are left with after studying the Quality Reform, The Police Reform 2000, and the Knowledge Reform. The study shows that reforms have both policy and content aspects, and that it is important to distinguish between the two in order to analyse and understand them. The policy aspect is that reforms are a strategy for change - they are tools for implementing change in organizations. The content aspect is that reforms have a specific content - they have certain objectives that they want to realize. The study concludes that in order to understand this complex and fascinating phenomenon, we need to understand reforms both as instrumental tools, institutional adaptations and symbols.
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Atihé, Eliana Braga Aloia. "Uma educação da alma: literatura e imagem arquetípica." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-21062007-114845/.
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Esta tese procura registrar uma história de vida articulada por imagens da literatura apropriadas pela subjetividade no sentido de uma educação do cultivo da alma. Para isso, lanço-me, a partir de alguns trajetos de leitura, a um percurso teórico-analítico de cunho antropoliterário, no qual o texto é compreendido como mito e incorporado à história de vida do leitor como mediador simbólico inter e intrasubjetivo, cuja abertura semântica deve-se justamente à presença da imagem arquetípica segundo noção de James Hillman (1995:10). Os potenciais pedagógicos da literatura são veiculados pelas imagens portadoras do arquétipo como \"janelas de aprendizagem\" (Paula Carvalho) que permitem que o leitor transite do texto à existência e de volta, num circuito que o auxilia a promover a equilibração de polaridades e a elaboração criativa da alteridade representada, em última instância, pelo inconsciente, no sentido da construção da identidade do ego e em direção à individuação. São eixos organizadores: (1) a Arquetipologia Geral no contexto da Teoria Geral do Imaginário, de Gilbert Durand; (2) a noção de imagem no contexto da Psicologia Arquetípica, segundo James Hillman e (3) a noção de Educação Fática em José Carlos de Paula Carvalho. A partir de uma perspectiva hermenêutica que procura a abertura do discursivo rumo ao existencial (Paula Carvalho, 1998:59), recolho imagens de três obras clássicas da literatura, lidas por mim aos treze anos de idade, e que me conduziram na direção da descoberta da imagem essencial - a da educadora -, processo no qual enxergo a finalidade última da educação. As referidas obras lidas à margem da escola tornaram-se especialmente significativas devido à dinâmica proposta pela dimensão escolar oficial, também ela imprescindível para que a experiência com o significado se construísse. Retorno assim a Madame Bovary, de Gustave Flaubert, como exemplo de uma literatura para a formação da sensibilidade heróica; ao Decamerão, de Giovanni Boccaccio, como exemplo de uma literatura para a formação da sensibilidade mística e a O morro dos ventos uivantes, de Emily Brontë, como exemplo de uma literatura para a formação da sensibilidade dramática.This present study tries to register images of a life history articulated by images of the literature - these latter ones appropriated by the subjectivity towards an education of the soul. Being so, I launch myself, starting from my experiences as a reader, into a theoretical-analytical path based on an anthropo-literary view in which literature is understood as myth and life history, i.e., as inter and intra-subjective symbolic mediator whose semantic openness is due mostly to the presence of the archetypal image - according to James Hillman\'s denomination ( 1995, 10). The pedagogical potentials of the literature are, in this way, transmitted by the images bearing an archetypal meaning that circulates from the text towards the life of the reader, to promote the equilibrium of the polarities, through the creative elaboration of alterity represented by the unconscious, in the construction of the ego´s identity. The thematic axe\'s that organize this study are: 1) The General Archetypology, of Gilbert Durand (1997); 2) the notion of image according to the Archetypal Psychology, of James Hillman (1997b). From an hermeneutic perspective, which looks for an openness that goes from the discourse towards the existential (Paula Carvalho, 1998, 59), I get images from three classical novels, in order to understand themselves in the convergence of life with reading, even guiding me to the direction of the discovery of my own essential image or daimon - in which I recognize the objective of education. The mentioned novels were read apart from school. Nevertheless, they became specially significant in my educational process due to the dynamism proposed by the official schooling dimension - also completely necessary so that this experience with meaning could be built. So, I come back to Madame Bovary, by Gustave Flaubert, as an example of a literature that forms the heroic sensibility; to Decameron, by Giovanni Bocaccio, as an example of a literature that forms the mystic sensibility; to O morro dos ventos uivantes, by Emily Brontë, as an example of a literature that forms the dramatic sensibility.
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Wiklund, Alexis. "The Male Gaze som retorisktverktyg : En utredande litteraturstudie över hur the Male Gaze kan användas inom retorikvetenskapen." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22981.
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The thought behind this bachelor essay regarding gender and rhetorical feminist criticism developed years ago out of the fact that I read just a little too many dirty chick lit-pockets as a teen. Those chick lit-pockets were my first introduction to sex, to gender roles, to how men and women react and are supposed to react to each other and, in some sense, even to feminism. Those chick lit-pockets, later turning into hardcore Harlequin-books, became my benchmark when I started to contemplate the fact that this is a man’s world, produced and reproduced by a male gaze which influences everything from sex, porn, advertising, gender roles, jobs and payment to dirty pockets for teenage girls. The essays aims to show how the male gaze-phenomenon could be to use for the rhetoric discipline: first combined with other rhetorical theories as a way to analyze and understand gender and objectification. The main question asked; How to put the male gaze on a rhetorical leash? This bachelor essay consists of a qualitative literature study focusing on four articles and one book in which five different male gaze-perspective appears. Every article presented will be followed by an explicative chapter in which the articles, specific male gaze- perspective will be combined with relevant rhetorical theories and applied to pop cultural example cases in order to demonstrate its academic potential. The conclusion of this essay establishes that the rhetorical discipline indeed could have great use of the male gaze-perspective while analyzing different kinds of artifacts, if combined with different kinds of methods. It confirms that it is possible to put the male gaze on a rhetorical leash and explains five specific ways to do so.
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Noronha, Fernanda Silva. "Animês e mangás: o mito vivo e vivido no imaginário infantil." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-17122013-152946/.
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Animês e mangás: o mito vivo e vivido no imaginário infantil é uma análise hermenêutico-figurativa do mangá Naruto. O trabalho procura lançar questões sobre a importância da figura do herói do mangá shonen nos processos iniciáticos de crianças e adolescentes estudantes da rede pública paulistana. Para tanto, apoia-se, sobretudo, na teoria do imaginário de Gilbert Durand e da jornada do herói de Joseph Campbell. A pesquisa que teve como corpus de análise a primeira temporada do mangá Naruto e o animê de mesmo título, as produções imagéticas dos estudantes e as diferentes versões de narrativas tradicionais japonesas extraídas de sites otakus e de livros infanto-juvenis sustenta a ideia de que mangás são derivações, por empobrecimento, de mitos japoneses, que enformam as produções imagéticas dos apreciadores desse gênero literário. Com efeito, e por meio do método de convergência simbólica, a análise destaca o simbolismo ambíguo das figuras da raposa e dos meninos-heróis, recorrentes nas narrativas tradicionais e na iconografia japonesa. Importante ressalva é indicar não se tratar de uma abordagem comparativa entre a cultura japonesa e as culturas ocidentais que convivem com este gênero literário. A conclusão a que se chega ao final deste estudo é que o mangá Naruto constitui uma literatura iniciática que presentifica o arquétipo do herói no imaginário infantil e apresenta valor heurístico para pensarmos a construção de uma pedagogia do psiquismo imaginante proposta por Bruno Duborgel, assim como a dinâmica do imaginário de nossa própria época.Animes and mangas: the living and lived myth in childhood imagination is an hermeneutic-figurative analysis of the Naruto manga, that launches questions about the importance of the shonen manga hero figure in the initiatory processes of children and adolescents students of São Paulo public schools network. For that, it relies, mainly, in the imaginary theory of Gilbert Durand and in the hero journey of Joseph Campbell. The research which had as its analysis corpus the first season of Naruto manga and the anime with the same title, the imagistic productions of students and the different versions of traditional Japanese narratives extracted from otakus sites and books for children and teenagers supports the idea that mangas are derivations by impoverishment of Japanese myths that shape the imagistic productions of enthusiasts of this literary genre. In effect, and by means of the symbolic convergence method, the analysis highlights the ambiguous symbolism of the fox and boy-heroes figures, recurrent in traditional narratives and in the Japanese iconography, although it is not to be confused with an eminently comparative approach between the Japanese culture and occidental cultures that coexist with this literary genre. The conclusion reached at the end of this study is that the Naruto manga constitutes an initiatory literature that makes present the hero archetype in the childhood imagination and that has an heuristic value to make us think about the construction of a pedagogy of imaginative psyche proposed by Bruno Duborgel, as well as the dynamics of our own epochs imaginary.
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Cerrón-Palomino, Rodolfo. "Language Contact and Linguistic Shift in Central-Southern Andes: Puquina, Aimara and Quechua." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113457.
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In this paper an attempt will be made to offer a partial history of the three major languages of ancient Peru: Puquina, Aimara and Quechua, postulating their initial settlement from which they started spreading, until their encounter in the Central-Southern Andes during the Late Intermediate Period. It is proposed that the Incas passed through two stages of language substitution: the first from Puquina to Aimara and then from Aimara to Quechua. Linguistic, historical and archaeological evidence will be advanced to support the hypothesis.En la presente contribución intentaremos bosquejar una parte de la historia de las tres lenguas mayores del antiguo Perú: el puquina, el aimara y el quechua, proponiendo los emplazamientos iniciales a partir de los cuales se expandieron hasta confluir en los Andes centro-sureños durante el Periodo Intermedio Tardío. Proponemos que los incas, a lo largo de su dominación, pasaron por dos etapas de mudanza idiomática: primeramente del puquina al aimara y, luego, del aimara al quechua. En apoyo de las hipótesis planteadas echamos mano de las evidencias de carácter lingüístico, histórico y arqueológico disponibles.
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Belmar, Shagulian Jasmin. "El mito de la Quintrala : Estructuras simbólicas en dos novelas de Gustavo Frías." Doctoral thesis, Stockholms universitet, Romanska och klassiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-142124.
Full textAbstract:
The purpose of this comparative study is to analyse La Quintrala’s myth as a symbolic discourse, thereby filling a gap in the previous studies about La Quintrala. The theoretical and methodological framework of this analysis consists of a hermeneutical approach based on the method of figurative structuralism: mythocriticism. This is a dual classification method of symbols: Diurnal and Nocturnal Orders that expose the symbolic structures formed by symbols and archetypes found in mythemes in a compilation of corpora. The first one is Gustavo Frías’ novels Tres Nombres para Catalina: Catrala (2008) and Tres nombres para Catalina: la doña de Campofrío (2008); the second is a historic essay (hypotext), Benjamín Vicuña Mackenna’s Los Lisperguer y la Quintrala (1944), and four novels: Magdalena Petit’s (2009) La Quintrala, Mercedes Valdivieso’s (1991) Maldita yo entre las Mujeres, Virginia Vidal’s (2002) Oro, veneno y puñal, and Gustavo Frías’ El Inquisidor (2008). Mythocriticism is employed in the analysis to show what the mythical structure of the hero’s journey (Separation, Initiation, Return) reveal. Such journey is combined structurally with the Mother archetype (White, Red and Black Goddess), the intrinsic archetype of La Quintrala’s myth. The heroic structure unveils its own mythemes, La Quintrala’s and the first corpus’s mytheme through the diachronic and synchronic flow of the hero’s journey. This method permits to identify and compare the progression of the symbolic structures. The analysis demonstrates a transformation of the symbolic structures between both corpora. This survey reveals that Vicuña Mackenna and Petit, and partially Vidal and El Inquisidor, exhibit an inclination to the diurnal symbols that strengthen, through a heterodiegetic narrator, the representations of the witch-femme fatale, counteractive attributes of the Red and Black Goddesses in the myth. Valdivieso, on the other hand, shows a propensity to the nocturnal symbols of inversion and intimacy that emphasize the Red Goddess’ features, though the novel also exposes La Quintrala as a witch-femme fatale. This exposure occurs through the use of both an autodiegetic narrator –La Quintrala– and a heterodiegetic one –the hypotext embodied in the popular voice– that appear to contrast each other. Finally, in Tres Nombres para Catalina, La Quintrala as the autodiegetic narrator dominates the whole story. She personifies the Great Goddess archetype who bestows her new positive attributes during the adventure. This novel assumes primordially the nocturnal symbolism incarnated by both the mystical and the synthetical structures and relegates the diurnal discourse of the hypotext to a secondary position in the narrative. Nonetheless, Tres Nombres para Catalina’s narrative still relies on the hypotext to reproduce and reconstruct all the mythemes in the myth of La Quintrala. Conclusively, the results of this analysis indicate that the identification of all the mythemes supports the hypothesis of a transformation in the symbolic structures which characterize La Quintrala in both corpora. This reveals the embodiment of Tres Nombres para Catalina’s own mytheme, consisting of a vindication and a recognition to her indigenous heritage, and the acceptance of her mestizaje. As a consequence, Tres nombres para Catalina, in comparison to the second corpus, diverges and expands the symbolic structures, but still shows a continuity of the myth.
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Fani, Marvasti AMIN. "Social Structure in Tagging Practices: Reality or Myth?" Thesis, 2008. http://hdl.handle.net/1974/1604.
Full textAbstract:
Tagging is widely adopted in so-called "collaborative-tagging" systems which are one
of the Web 2.0 applications that have achieved lots of attention lately. They provide
services for users to store, manage and search web resources with the help of freely
chosen keywords, called "tags". Because of the high-volume usage of these systems
and the annotations that users provide by their tags, these systems are regarded as
good targets for disciplines like knowledge discovery. Roughly, two lines of research
have been pursued so far on collaborative tagging: to study the structure of tags and
to study their functionality in web search. In this research we investigated tagging
structures in a popular collaborative-tagging system, called del.icio.us, by focusing on
the relations of "tags", "users" and "web resources", three main components of any
collaborative-tagging system. Particularly we are interested in finding whether there
are social structures that could be used to increase the usability of these systems
for content retrieval and navigation. Our results show that people mainly use tags
for their own informational needs which are personal rather than social. Any social
structure or communities around tags and users is rare and weak which suggests that
collaborative tagging has not added much to personal bookmarking. However, we
show some regularities in tagging behavior that could be utilized for user experience
improvement.Thesis (Master, Computing) -- Queen's University, 2008-12-04 14:34:37.537
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Wang, Ling, and 王羚. "Representing Myths of China’s Peaceful Rise in Yan’s Social Relational Structure diagram." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/79874272253330357046.
Full textAbstract:
博士中國文化大學
政治學系
101
In order to understand “the myth of China’s peaceful rise,” it is suggested to use the strategy in the methodology of Bourdieu that has systematic reflection on group unconscious. Thus, the subject of “China’s peaceful rise” is being handled by “mythology”. First of all, myth can be aimed on reality facts. This involves the group unconscious of the context of the times: when the west sees the rise of China with the context of “ultra-modernism,” it often forgets the imperial colonial interest in the modern period and the long process of democracy. On the contrary, when China sees its own rise with the context of entering “modernism,” on one hand, to the change of the times, it stills tangled with Marxism of the previous history or it ignores the western experiences of the post modern and ultra modern. On the other hand, in the opinion of China Communist Party, it is still wondered in the origin interpretation control of power legitimacy and it does not understand that the deformed aristocratic republic actually includes the factors of traditional scholar politics. Secondly, myth can aim on methodology issues. This involves the systematic reflection of the research method of semiotics and republic methodology. As for the “social relationship structure” of the main method of the paper, it was originally the systematic reflection outcome of Hsiao-ping Yen on international relationship theory through semiotic. Here, this diagram is going to be reflected, applied, and re-reflected through the disciplines intertextuality methodology. As for the systematic reflection on republic methodology, first is the distorted theory of Montesquieu on China Empire and unconsciously reflect his Epistemology. Then the long originated western republic theory is being discussed in reflection. Then naturally, the unconscious issue of each thinker after bias ignorance is presented. Later, the historical changes of the context of the republic theory can be sorted out as the references of the China Communist Party, which will be discussed later. Finally, myth can aim on the content of China’s peaceful rise. Here it involves the description of western people to China and the description of our national people. Huntington and Nye of the national security field, Becker and Naigbitt of the economic field, Fox and Almond of the political field, and Halper and Jacques of the cultural field are the representatives of the western theorists; for China theorists, the collection edited by the military representative Lee Er-Bin, New Right Wing Ho Di, and New Left Wing Wang Shao-Guan and the interview summary of Leonard on China theorists are chosen to represent the four fields respectively. They make comments on the subjects of China’s peaceful rise or the deformation of “China mode” or the context of “globalism.” The key is the reasons of their judgment often follow the origin of the conscious such as civilizationism, Machiavellism, and neoliberalism. However, these reasons are presented in the fields of the “structure diagram” with the content of the judgment and make appropriate reflective adjustment of the factors of the original items of the diagram.
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Cadrette, Ryan. "Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth." Thesis, 2013. http://spectrum.library.concordia.ca/977729/1/Cadrette_MA_2013.pdf.
Full textAbstract:
The primary purpose of this thesis is to postulate a working method of critical inquiry into the processes of narrative adaptation by examining the consistencies and ruptures of a story as it moves across representational form. In order to accomplish this, I will draw upon the method of structuralist textual analysis employed by Roland Barthes in his essay S/Z to produce a comparative study of three versions of the Orpheus myth from Ovid’s Metamorphoses. By reviewing the five codes of meaning described by Barthes in S/Z through the lens of contemporary adaptation theory, I hope to discern a structural basis for the persistence of adapted narrative. By applying these theories to texts in a variety of different media, I will also assess the limitations of Barthes’ methodology, evaluating its utility as a critical tool for post-literary narrative forms.
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Chin, Mooi-san, and 秦美珊. "Structure Analysis of Myth and Ritual about Yi and Chang'e." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/58223674090094383616.
Full textAbstract:
碩士南華大學
文學研究所
91
China myth present as episodic form, this is cause it keep as an origin form of mythology. Thus, this dissertation would base on the point, and try to filtering the connotative meaning put on by previous academicians and also the cause-effect logic that fabricates the plots, to find out the basic structure of Yi（羿） and Chang’e（嫦娥）myth. Using Yi and Chang’e myth as text, this dissertation will also relate the associations of the myth with the worshipping of sun and moon. From the text of Yi and Chang’e myth, the basis of binary structure also implies the ideology of Yin（陰） and Yang（陽）. The binary structure in mythology projects the early stage of human thoughts. In the timeless mood of myth, not only the sense of history is erased, the recycle characteristic of story construction also has a tendency of transcending death and aiming for eternity. And this is relevance with the attempt of Yi and Chang’e for escape from death. Despite textual analysis of myth, this dissertation will cross into the field of ritual. From the discourse of god and goddess of sun and moon, this dissertation will search for the similarities between the related worshipping of sun and moon with the myth of Yi and Chang’e, by implementing structural analysis. Between myth and ritual, the function of symbols is crucial, where it will correlate the two with flexibility. Moreover, through the field of ritual, the ideal form of myth is reproduced and represented. The relationship of myth and ritual is strengthened by relying on each other.