Thèses : « The philosophy of mythology »

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Zajko, Vanda. « Women's resistance to sex and marriage in Greek mythology ». Thesis, University of Exeter, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359777.

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Fernández, Agis Domingo. « Moral Law and Political Law in Greek Mythology : The Case of Prometheus ». Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113286.

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The aim of this work is to offer the reader a tour through the most significant interpretations of the Prometheus myth, attempting to contribute from their standpoint to the clarification of the relationship between moral law and political law. In especial, it aims to highlight in Prometheus’s attitude something that betrays the presence of a strongly individualized conscience, whose dictates lead him to clash with power in its highest expression. On the other hand, different interpretations of the Greek concept of law are examined, where its highest expression is indebted to the idea of destiny. Based on Law, a common order that connects gods and humans is established, although not with the same degrees of subjection.
El objetivo de este trabajo es ofrecer al lector un recorrido por las más signiﬁ cativas interpretaciones del mito de Prometeo, intentando, a la luz del contenido de las mismas, contribuir al esclarecimiento de la relación entre ley moral y ley política. En particular, se trata de poner de relieve cómo hay en la actitud de Prometeo algo que delata la presencia de una conciencia, fuertemente individualizada, cuyo dictado le conduce a asumir el choque con el poder en su máxima expresión. Por otro lado, se analizan las diferentes interpretaciones del concepto griego de Ley, estudiando cómo la máxima expresión de la misma es deudora de la idea de destino. En base a la Ley, se establece un orden común, que enlaza a dioses y hombres, si bien no con los mismos grados de sujeción.

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Baisden, Gregory Scott. « Recombinant Mythology as answer to the Anti-Life Equation ». Thesis, Pacifica Graduate Institute, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590362.

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The pervasive perspective of Western culture views spirit as enmeshed or entombed in matter, an interpretive frame that drives us to periodic socio-political disintegration and bourgeoning planetary illness because it neither honors flesh as vehicle for spirit nor tends spirit as animating flesh. Rather, our dominant paradigm emphasizes disdaining the body and lamenting the spirit, thereby either indulging the former or discounting it, while either disempowering the latter as incarcerated in flesh or seeking its "liberation" from flesh. This is an Anti-Life Equation denigrating both body and spirit, and playing a fundamental role in humanity's current crises in faith, politics, and sustainability.

The Myth of Orpheus has traditionally been interpreted as exemplifying this emphasis by portraying him as a failure both of body because attached to his mortal lover and of spirit because unable to refrain from dooming her to eternity amongst the shades of Hades. In this frame, the mythic master of the lyre becomes a proponent of a transcendentalist imperative to free spirit from carnal prison. But what if Orpheus was not a failure – not because he failed in bringing Eurydice's spirit shade back to the day world, but because he succeeded in relinquishing his love from her carnal form and from his attachments to and projections upon her?

From this perspective, that of a Recombinant Mythology, we may reclaim our foundational stories from the anti-life perspectives and interpretations that color them. Thus we may recognize Orpheus as the very image of perceiving, acknowledging, and embracing the spiral gift of life, in which spirit enters body as a journey of experience for the tempering of soul, for transforming or transmuting phenomenal, incarnate being, rather than as a trap of separation, dislocation, and isolation from divinity.

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Strudwick, Laura M. « Prismatic perception an emerging mythology of the millennial mind ». Thesis, Pacifica Graduate Institute, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3617628.

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The postmodern worldview wanes as the millennium turns and the Millennial Generation matures; at the same time, we rapidly launch into the digital age. Information technology is developing into a changeable, networked system of devices and interfaces that profoundly shapes our professional, intellectual, and social lives. Online reading and navigation influence epistemology and perception; similarly, engagement with ergodic texts, i. e., print and film texts that require significant effort to traverse, results in enhanced cognition. Prismatic perception is a neologism that describes an emerging mythology of the mind in the information age. This fantasy of omniscient perception is rooted in images of potentiality networked with connecting strands that construct an image of a centerless web, similar to Indra's Net and the World Wide Web.

Literary theory draws on both art and philosophy and therefore directly reflects an era's defining characteristics. Deconstruction as described by Jacques Derrida serves as a precursor to hypertext theory; these two theories work collaboratively to delineate this emerging era. Reader response theory emphasizes the reader's role and correlates with the expanding participation and power of readers, writers, and creators in digital formats. Recombinant art, i. e., collaged and remixed creations that play and interact with other artists' previous works, proliferates as the culture of free and open sharing rises.

This dissertation illustrates the concept of prismatic perception with mythological symbols and images of infinity drawn from literature and film, particularly the works of Jorge Luis Borges, the Chinese classic I Ching, Mark Z. Danielewski's novel House of Leaves, and Christopher Nolan's films Memento and Inception. This work examines current issues concerning social aspects of technology, particularly recent controversies over information access. Postmodernism was characterized by the prefixes post- and de-; the prefixes that best suit the emerging era are meta- and re- as people generate, investigate, contemplate, rework, and participate in the vast accumulation of connecting and interacting information and ideas.

Keywords: Information society; information technology—social aspects—forecasting; technology—social aspects; computers and civilization; Borges, Jorge Luis, 1899-1986; deconstruction; reader-response criticism.

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Zarifi, Asmaiel. « L'amour et la haine : (Mythologie-Philosophie-Psychanalyse) ». Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30068.

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Cette recherche historique depuis les origines, à partir des premiers textes écrits de l'humanité, essaie de tracer le chemin mental d'où ces notions de haine et d'amour émergent de la sexualité et s'expriment à travers la mythologie par un processus à la fois conscient mais surtout inconscient de génération en génération. Ainsi cette rétrospective tente de découvrir le jaillissement de la source unique de l'amour et de la haine qui sourd de toute l'humanité depuis les époques historiques mais bien en deçà lorsque s'élaborait une culture commune comme une personnalité individuelle, passage de l'homme vers et dans la temporalité, le symbolique et l'imaginaire. Anaximandre, Zoroastre, Empédocle d'Agrigente, Platon, Nietzsche, puis Freud et Lacan énoncent que l'émergence de l'Homme dans la dimension de la temporalité et donc dans le langage est consubstantiel de son émancipation au sortir de la nature, mais il se trouve contraint de payer ce passage par la haine et l'amour
This historical research since the origins, from the first texts written by mankind, try to recount the mind path (or way) from where these notions of hate and love emerge from sexuality and are expressed through mythology via a process both conscious but also unconscious from generation to generation. Therefore, this retrospection tries to discover the unique origin of love and hate that bursts from all humanity from historical times, and even before when a common culture was elaborated as an individual personality, transition of man toward and within temporality, symbolic and imaginary. Anaximandre, Zoroastre, Empédocle d’Agrigente, Platon, Nietzsche, then Freud and Lacan state that the emergence of Man in the dimension of temporality, and subsequently in the language, is consubstancial (or integral part of) of his emancipation from the nature, but he is compelled to pay this transition by hate and love

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Myers, S. P. « Mythology for Christians : an investigation and empirical test of C.G. Jung's proposal that protestant theologians and adherents should think of God as a mythologem ». Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20065/.

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This research tests C.G. Jung’s suggestion that if protestant Christians think of God as a mythologem then it advances consciousness. There is an implied benefit of greater religious tolerance. The research methodology is to investigate the theoretical concepts involved, operationalise them, and then conduct an empirical test of their relationship. There are multiple problems that have to be overcome, including Jung’s amorphous and protean use of terminology. His concept of myth, in this context, is clarified and positioned within his philosophy, the contemporary culture of materialism, and the primary beliefs of the target audience. The contemporary understanding of Jungian consciousness is also revisioned to incorporate Jung’s notion of advancement based on the transcendent function. There are no existing measures for ‘thinking mythologically’ nor ‘advancement’. The concepts do not lend themselves to established psychometric principles. Therefore, two new forms of questionnaire are devised to measure these concepts, alongside two new questionnaires of conventional design that collect information about demographics and religious tolerance. There is an Information Technology sub-project, using a bespoke database and set of programs, to develop, publish, and promote the questionnaires on the internet. There are then two stages of statistical analysis: one to develop reliable and valid measures for each concept; the other to measure the relationships between the concepts. The main result of the test is that the specific relationship Jung describes in the letter – between mythological thinking and advancement of consciousness – does not hold. However, the data does suggest there may be a direct relationship between mythological thinking and religious tolerance. Despite the failure of the main test, there are a number of useful lessons from the results and suggestions for future research. There are also several spin-offs from the thesis, in terms of both concepts and resources. These are reviewed in the final chapter.

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Bridgman, Karen Elizabeth, of Western Sydney Hawkesbury University et Faculty of Social Inquiry. « Rhythms of awakening : re-membering the her-story and mythology of women in medicine ». THESIS_FSI_XXX_Bridgman_K.xml, 2000. http://handle.uws.edu.au:8081/1959.7/385.

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This thesis is based on the stories of the lived experience of two groups of women, the first was a group of women healers, and the second, a group of academic women.Woven through the his-story of women in medicine are two myths-those of Inanna and Isis.The insights that have come from this study will give future women a path to travel to reclaim their past.Both science and scientific medicine are critiqued, and more holistic alternatives as part of this process are offered. The thesis has been constructed with a series of stories to acknowledge the uniqueness of each individual's experience.These stories provide the threads that weave the thesis together and are congruent with both the process of the making of meaning in our lives, and with our journeys toward healing.The study is embedded in both a social and feminist framework and that of depth psychology/mythology. It is based on feminist research methods and cooperative inquiry methodology and uses narrative for the recounting of the experience. It is also a heuristic inquiry that offers constructive critique using reflexive learning and explores the richness of difference in philosophies of healing and the experience of transformation.
Doctor of Philosophy (PhD)

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Mayele, Ilo. « Gémellité, mythe et métaphore : contribution à la pensée de la dualitude ». Doctoral thesis, Universite Libre de Bruxelles, 1996. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212278.

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Keegan, Diana Morna Gerrard Dickson. « A study of Camus' notion of the absurd and its mythology in "Catch-22" and "Slaughterhouse-Five" ». Access to citation, abstract and download form provided by ProQuest Information and Learning Company ; downloadable PDF file, 139 p, 2008. http://proquest.umi.com/pqdweb?did=1460433511&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Yellowhorn, Eldon Carlyle. « Awakening internalist archaeology in the aboriginal world ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38532.

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This thesis is one step in defining the parameters of archaeology in an aboriginal context. It is designed to be a practical guide for imagining the past from an internalist perspective because archaeological methods offer the opportunity to represent antiquity that is simultaneously rational and familiar. However, an ancillary objective is to utilize symbols from antiquity as markers of modern Indian identity.
Archaeology appeared on the radar of First Nations because their growing populations demand housing and economic opportunities. Recent settlement of land claims has brought large tracts of land under the control of Native people. Archaeological sites, by their very nature, are defined by their geographical location. Artifacts and sites are the products of past human labour and as such are a unique cultural legacy that must be understood within the context of a generalized world history. Internalist archaeology mediates between a local understanding of antiquity and the ancient history of humanity on a global scale. It is a product of the dialogue that began when the world system intruded on the local experience of aboriginal people. Modern prehistory was accessible only by employing archaeological methods and traditional history, as related in story, was relegated to the margins along with its authors. Myths were discounted as plausible sources of explanation for antiquity as archaeologists constructed their theories to explain the data they accumulated during their excavations. Internalist archaeology is an analytical tool that will play a prominent role in rehabilitating oral narratives by deploying methods to search for the signatures they would leave in the archaeological record. It is also a means to examine folklore so as to discover the messages that are encoded in myths. Myths act as mediating devices which connect the high levels of abstraction, those informing the traditional worldview, with lower levels of abstractions, as represented by customs. Ecological messages are encrypted in narratives which are then transmitted between generations. Each generation must decypher the meaning embedded in a myth to benefit from it. For internalist archaeology, mythology is a reservoir of explanation that has been ignored by mainstream research but which can be the basis for this brand of archaeological research. (Abstract shortened by UMI.)

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Wentzel, Andrieta. « The four cycles of Herakles : towards the visual articulation of myth as psychological process ». Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/642.

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My research involves the reassertion of mythic experience in a manner considered contemporaneously relevant. The relevancy resides in the Jungian assumption that myth structures psychic experience to the benefit of the individual and ultimately, society. To this end, I have taken the hero myth of Heracles, and, by filtering it through Jung’s system promoting psychological maturation, that is what he called the individuation process, I have reconfigured it in fine art form

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Thom, Brian David. « Coast Salish senses of place : dwelling, meaning, power, property and territory in the Coast Salish world ». Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85209.

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This study addresses the question of the nature of indigenous people's connection to the land, and the implications of this for articulating these connections in legal arenas where questions of Aboriginal title and land claims are at issue. The idea of 'place' is developed, based in a phenomenology of dwelling which takes profound attachments to home places as shaping and being shaped by ontological orientation and social organization. In this theory of the 'senses of place', the author emphasizes the relationships between meaning and power experienced and embodied in place, and the social systems of property and territory that forms indigenous land tenure systems. To explore this theoretical notion of senses of place, the study develops a detailed ethnography of a Coast Salish Aboriginal community on southeast Vancouver Island, British Columbia, Canada. Through this ethnography of dwelling, the ways in which places become richly imbued with meanings and how they shape social organization and generate social action are examined. Narratives with Coast Salish community members, set in a broad context of discussing land claims, provide context for understanding senses of place imbued with ancestors, myth, spirit, power, language, history, property, territory and boundaries. The author concludes in arguing that by attending to a theorized understanding of highly local senses of place, nuanced conceptions of indigenous relationships to land which appreciate indigenous relations to land in their own terms can be articulated.

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Haghshenas, Leïla. « Ipséité et altérité dans l’œuvre littéraire de Leonard Woolf ». Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30066.

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La présente étude se propose d’examiner la notion d’altérité dans l’œuvre littéraire de Leonard Woolf. Notre thèse a pour ambition de tracer la trajectoire éthique de Leonard Woolf depuis ses premières expériences en tant qu’« impérialiste inconscient » jusqu’à celles d’un être hautement conscient des enjeux éthiques. Nous pensons que cette évolution dans la mentalité de l’auteur est reflétée dans son travail littéraire, politique et éditorial. L’analyse présentée dans ce travail de thèse porte sur les romans, les nouvelles et la pièce de théâtre de Leonard Woolf ainsi que sur son autobiographie riche de cinq volumes. La première partie de cette thèse a pour objectif de mettre en avant l’ouverture de Leonard Woolf aux autres cultures par le biais de l’analyse du mythe cingalais. Ce premier axe comprend une étude de son premier roman The Village in the Jungle, son deuxième roman The Wise Virgins et la nouvelle « The Two Brahmans » à la lumière de la mythologie. Dans la deuxième partie de notre étude, nous tentons de mettre en lumière la conception de l’altérité de l’auteur dans les œuvres suivantes : « A Tale Told by Moonlight », « Pearls and Swine », « Three Jews », The Wise Virgins et The Hotel. Nous pensons que ces œuvres dégagent une conception de l’altérité qui s’éloigne de plus en plus de celle exposée dans The Village in the Jungle, s’orientant vers une union avec l’autre. La troisième partie de notre travail est consacrée à l’étude de l’altérité dans l’autobiographie de Leonard Woolf. Dans cette dernière partie, nous essayons de montrer comment l’auteur tente d’intégrer l’autre à l’intérieur de sa propre ipséité. Mots-clés : Leonard Woolf, ipséité, altérité, modernisme, littérature et philosophie, mythologie, autobiographie
This study aims to examine the notion of otherness in Leonard Woolf's literary work. Our thesis means to trace Leonard Woolf’s ethical trajectory from his first experiences as an ‘unconscious imperialist’ to those of a being highly aware of ethical issues. We believe that this evolution in the author’s mentality is reflected in his literary, political and editorial work. Our analysis focuses on Leonard Woolf’s novels, short stories and play as well as his autobiography. The first part of this thesis aims to highlight Leonard Woolf’s openness to other cultures through the analysis of the Sinhalese myth. This first axis includes a study of The Village in the Jungle, The Wise Virgins and ‘The Two Brahmans’ in the light of mythology. In the second part of our study, we attempt to highlight the author’s conception of otherness in the following works: ‘A Tale Told by Moonlight’, ‘Pearls and Swine’, ‘Three Jews’, The Wise Virgins and The Hotel. We believe that these works reveal a conception of otherness that departs from the one presented in his earlier works and that moves towards a union with the other. The third part of our work is devoted to the study of otherness in Leonard Woolf’s autobiography. In this last section, we show how the author tries to integrate the other within his own ipseity. Key words: Leonard Woolf, ipseity, alterity, modernism, literature and philosophy, mythology, autobiography

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Courant, Elsa. « Poésie et cosmologie dans la deuxième moitié du XIXème siècle : nouvelle mythologie de la nuit à l'ère du positivisme ». Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEE042.

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La poésie et la cosmologie sont étroitement liées depuis l’Antiquité. Des traités d’astronomie didactiques en vers aux récits mythologiques, en passant par les hypothèses cosmologiques versifiées sur la structure de notre monde, les formes de ce dialogue sont aussi nombreuses que diverses. Or les échanges féconds entre poésie et cosmologie perdurent à travers les âges, pour culminer au XIXe siècle, dont les débuts marquent une promotion remarquable de la nuit dans l’imaginaire littéraire, à compter du premier Romantisme européen. Le cosmos, source inépuisable d’enchantement poétique, devient au XIXe siècle un sujet d’autant plus riche que les découvertes scientifiques bouleversent notre conception des cieux, ouvrant la voie à une cosmologie moderne gouvernée par les mathématiques et l’astrophysique. En France, poésie et cosmologie connaissent alors un ensemble de mutations dues à une crise de légitimité engagée par le discours positiviste. L’enquête montre comment le contexte de redéfinition des méthodes scientifiques et de renversement progressif de la hiérarchie des discours entre science et Belles-lettres a informé le dialogue entre la poésie et la cosmologie, dans le cadre d’une redéfinition parallèle de leurs formes, enjeux et valeurs. En étudiant le moment de cette transition, elle permet de porter un regard nouveau sur un ensemble de problématiques majeures qui traversent la poésie du second XIXe siècle : la forme totale et le problème du didactisme, la hiérarchie des discours de la science et de la poésie, et la question du sacerdoce poétique au regard d’un renouvellement du rapport à la mythologie
Since Antiquity, there has been a close relationship between poetry and cosmology. We can perceive the coevolution of these two disciplines in a wide range of different poetic forms: mythological tales, versified didactic treatises, or versified cosmological hypotheses on the structure of worldly existence. Nineteenth-century France witnesses particularly intense debates about the nature of both poetry and cosmology, however, and the functions of these two disciplines increasingly merge, especially after Romanticism. The cosmos assumes a new relevance as both the subject of scientific investigation and poetic creation. In this period of history, crucial scientific discoveries change our perception of the skies and give rise to the modern science of cosmology, based on the principles of mathematics and astrophysics. The legitimacy of both poetry and cosmology is tested by positivist discourse, as the definition of scientific methods change and the hierarchy between science and literature is inverted. This study shows the importance of this historical context in the dialogue between poetry and cosmology. Focusing on this crucial historical turning point, this thesis sheds a new light on various major issues that French poets faced in the second half of the twentieth century: the poetic quest for a totalizing form, the difficulties posed by the didactic genre, the value of domains of knowledge and literature, the question of the religious mission of poetry, and the renewal of mythology at the time

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Viallet-Fournier, Marie-George. « Genèse et destin : pour une conception dynamogénique des mythes ». Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL036/document.

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Si le mythe est devenu aujourd’hui une donnée incontournable pour comprendre l’âme humaine et ses différentes formes d’expression, il reste cependant équivoque et difficilement conceptualisable. En effet, le mythe est à la fois compris comme un récit fictif qui ne repose sur aucun fond de réalité mais aussi comme un discours vrai et hautement significatif. Pour bien marquer le sens philosophique de notre travail, nous avons commencé par poser le problème du mythe tel qu’il évolue dans la pensée européenne. Le mythe souffre d’une trop longue histoire, il a été déchiré entre rationalisme et romantisme. Puis nous avons questionné d’autres civilisations – les Fon du Dahomey, au Bénin – pour qui le mythe représente tout ce que les hommes doivent savoir et comprendre pour bien s’ancrer dans l’existant. Elles nous donnent à voir un mythe authentique, vivant, inséparable d’une gestuelle magico-religieuse. Ainsi le vrai sens du mythe ne se trouve pas dans nos livres, dans un Homère ou un Hésiode, mais dans le vécu même des hommes. Il est d’abord élaboré par les sociétés primitives, par des groupes d’hommes qui ne vivent que par et pour lui, avant d’être écrit, classé, interprété et réinterprété. Il semblerait à cet égard que Gaston Bachelard, à la fois poète et épistémologue, se soit intéressé au mythe. Il nous livre ainsi une réflexion originale, libre et ouverte qui nous en donne une autre image. Il pose le problème du mythe en soi, au cœur de l’écrit et, riche de ses lectures, il jette les bases d’une nouvelle mythanalyse. La compréhension du mythe semble pour nous incontournable aujourd’hui, car notre civilisation a irrémédiablement coupé entre les informations portées par des images et celles portées par les systèmes d’écritures. Cette rupture est sans doute la cause de cette grave crise spirituelle que nous traversons. Le mythe semble à cet égard salutaire : il nous reconduit directement vers les grands principes de la création, création du monde ou bien création poétique, il ré-enchante le monde
If the myth has become today an unavoidable fact to understand the human soul and its different forms of expression, it remains, however, ambiguous and hardly conceptualizing. Indeed, the myth is at once understood as a fictitious narrative which isn’t based on any in-depth reality, but also as a real and highly significant discourse. In order to underline the philosophical meaning of our work, we have begun by assert the myth problem such as it evolves in the European thought. The myth is badly affected by a too long history; it has been divided between rationalism and romanticism. Then, we have questioned other civilizations – Fon from Dahomey, Benin – for whose myth represents all the human being must know and understand to become established in existing. They show us an authentic myth, alive, indivisible from a magical-religious body language. Thus, the real meaning of myth is not in our books, in Homere or Hésiode, but in the real life of humans. It is, first of all, evolved by the original societies, by human groups which lived for it and by it, before being written, classified, interpreted and re-interpreted. It would seem, in this regard, that Gaston Bachelard, at once poet and epistemologist, took interest in myth. He reveals us an original reflection, free and open which gives us another image. He asserts the problem of the myth itself, at the heart of writing and, as a rich reader, he lays the basis of a new myth-analysis. The understanding of the myth seems for u unavoidable today because our civilization has cut off, irreparably, between the information brought by images and those brought by the writing systems. This fracture is, no doubt, the reason of this serious spiritual crisis we pass on. The myth seems, in this regard, salutary: it renews us directly towards the great principles of the creation, creation of the world or poetic creation, it re-enchants the world

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Franssen, Trijsje Marie. « Prometheus through the ages ». Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15889.

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This dissertation explores the role and significance of the ancient Greek myth of Prometheus in Western philosophy from Antiquity to today. Paying particular attention to its moral and existential meanings, an analysis of this in-depth investigation produces an overview of the exceptional array of the myth’s functions and themes. It demonstrates that the most significant functions of the Prometheus myth are its social, epistemic, ontological and moral functions and that the myth’s most significant themes are fire, rebellion, creation, human nature and ambiguity. The dissertation argues that this analysis brings to light meaningful information on two sides of a reference to the Prometheus myth: it reveals the nature, functions, themes and connotations of the myth, while information about these functions and themes provides access to fundamental meanings, moral statements and ontological concepts of the studied author. Based on its findings this work claims that, as in history, first, the Prometheus myth will still be meaningful in philosophy today; and second, that the analysis of the myth’s functions and themes will provide access to essential ideas underlying contemporary references to the myth. To prove the validity of these claims this thesis examines the contemporary debate on ‘human enhancement’. Advocates as well as opponents of enhancement make use of the Prometheus myth in order to support their arguments. Employing the acquired knowledge about the myth’s functions and themes, the dissertation analyses the references encountered. The results of this analysis confirm that the Prometheus myth still has a significant role in a contemporary philosophical context. They improve our understanding of the philosophical argument, ontological framework and ethics of the debate’s participants; and thus demonstrate that the information about the Prometheus myth acquired in this thesis is a useful means to reveal fundamental ideas and conceptualisations underlying contemporary (and possibly future) references to the myth.

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BARBAGLIA, LUCA. « RECEPTION AND LEGACY OF ERNST CASSIRER'S THEORY OF SYMBOLIC FORMS IN THE PHILOSOPHY OF WALTER BENJAMIN ». Doctoral thesis, Università degli Studi di Milano, 2021. http://hdl.handle.net/2434/869966.

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This work reconstructs biographical, bibliographical and theoretical aspects of Walter Benjamin’s ideas in comparison to those of Ernst Cassirer. Its primary question asks: was Cassirer’s notion of symbol, as embedded in the philosophical context of his milieu, a primary element of Benjamin’s peculiar and lifelong investigation of the cultural and the perceptive, and of their mutual contamination? In answer, it constructs a historiographical survey of Benjamin’s Weltanschauung prior to encountering Professor Cassirer at the University of Berlin in the early 1910s. It investigates the impact and influence of Cassirer’s work on Benjamin, from his time as Cassirer’s student until the last years of Benjamin’s life. The form, role and development of the concept of symbol in Benjamin’s research is analysed from the early project of an epistemology to the academic failure of the Trauerspielbuch. It pays particular attention to the dimensions of the linguistic and the mythical, two main areas to which Cassirerian analysis was also addressed at the same time. In the last section, some key concepts of Benjamin’s philosophy are examined. Of particular interest is the relation between “choc”, the “medium of perception”. These are viewed through a theoretical analysis and comparison of several sources, and in the context of the configurative possibilities that Cassirer had previously ascribed to symbolization.

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Guilhen, Ellen 1982. « A morte de Ofelia nas aguas : reflexos da personagem de Shakespeare na poesia simbolista brasileira ». [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270145.

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Orientador: Orna Messer Levin
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-12T15:30:18Z (GMT). No. of bitstreams: 1 Guilhen_Ellen_M.pdf: 1100602 bytes, checksum: 2de411dc68486b8c574bcb1e7309444b (MD5) Previous issue date: 2008
Resumo: No final do século XIX, uma cena particular da peça Hamlet (1600), de Shakespeare - o suicídio-acidente da jovem Ofélia, descrito na cena VII do quarto ato - adquire especial destaque nos poemas simbolistas, inclusive nos brasileiros. Sem deixar de trazer para a comparação os poemas "ofélicos" de Jules Laforgue, Georges Rodenbach, Laurent Tailhade, António Nobre, essa pesquisa escolheu analisar os desdobramentos e as releituras da cena nos poemas dos brasileiros Valentim de Magalhães, Cruz e Sousa, Alphonsus de Guimaraens, Guerra Duval, Da Costa e Silva, Eduardo Guimaraens, Alceu Wamosy, entre outros. A explicação encontrada para a recorrência na poesia simbolista da imagem de Ofélia morta nas águas foi a dissolução total da personagem no elemento água (o "nada substancial", para Gaston Bachelard), reproduzindo o desejo do homem finissecular de mergulhar no Nada, no Vazio. Essa associação de Ofélia ao Vazio foi distribuída, tendo como base os poemas encontrados, em três subtópicas: a união dos cadáveres-amantes - herança do Ultra-romantismo - na qual a confusão dos corpos, completamente amalgamados, remete ao estado de androginia; a esterilidade polar - especificidade do Simbolismo - na qual as grandes extensões geladas, denunciando um afastamento do ritmo da vida, produzem uma luz fria, alimentada pelo auto-refletir; e a metapoesia - prenúncio do Modernismo - na qual a própria Arte, representada por símbolos castos e/ou estéreis, é vista como o último reduto da crença do poeta. Em todas essas três divisões, é patente a presença da Lua e de outras figuras circulares, representando, ao mesmo tempo, a plenitude (o bastar a si mesmo) e a esterilidade (o círculo que de nada se alimenta e nada produz), o que indica um afastamento significativo do retrato romântico de Ofélia.
Abstract: At the end of the 19th century, a particular scene from Shakespeare's Hamlet (1600) - young Ophelia's accident-suicide, described in Act IV, Scene VII - gets in the spotlight of symbolist poems, including the Brazilian ones. This research aims at analysing the spin-offs and rereadings of the referred scene in the Brazilian poems of Valentim de Magalhães, Cruz e Souza, Alphonsus de Guimaraens, Guerra Duval, Da Costa e Silva, Eduardo Guimaraens, Alceu Wamosy, among others, in comparison to the "ophelian" poems of Jules Laforgue, Georges Rodenbach, Laurent Tailhade and António Nobre. The explanation for the repetition of the image of dead Ophelia in the water in the symbolist poetry was the total dissolution of the character in the water element (the "substantial nothingness", according to Bachelard), reproducing an end-ofcentury wish to immerse into Nothingness, into Emptiness. Ophelia's association to Emptiness was distributed, based on the found poems, into three subtopics: the union of the lovers' corpses - as a heritage from Ultra-Romanticism - in which the confusion of the bodies, totally amalgamated, reminds us of the state of androginy; the polar sterility - a particularity of Symbolism -, in which great cold extensions, which reveal a separation from the rhythm of life, produce a cold light, fed by self-reflections; and the metapoetry - a herald of Modernism - in which Art itself, represented by chaste or sterile symbols, is seen as the poet's last stand of faith. The Moon, as well as other circular images, is remarkably present in all these three divisions, simultaneously indicating plenitude (self-sufficiency) and sterility (the circle in which nothing is fed and nothing is produced), which shows a significant distance from Ophelia's romantic picture.
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária

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Fossati, Manlio. « Myth and argument in Plato's Phaedrus, Republic, and Phaedo ». Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/14175.

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Myth and Argument in Plato's Phaedrus, Republic, and Phaedo investigates the role played by eschatological myth in the arguments of Plato's Phaedrus, Republic and Phaedo. It argues that a reconsideration of the agenda followed by Socrates in each of these dialogues brings into view the contribution made by the mythological narrative to their argumentative line. Each of the three chapters of my thesis analyses the nature of this contribution. The first chapter argues that the myth occupying the central pages of the Phaedrus contributes to developing one of the themes addressed in the dialogue, namely a link between the divine realm and the activities thought by Phaedrus to be unrelated to the religious sphere. By showing that Eros fosters imitation of the gods, the palinode makes an important contribution to this topic. The second chapter proposes that the myth of Er and passage 608c2-621d3 in which it is included are an essential part of the line of argument of the Republic. I analyse the aims Socrates sets in Book 2 for his investigation into justice, and show that they include the description of the positive consequences of justice along with the benefits it causes in and by itself. By listing the rewards just people will receive from other people and the gods, passage 608c2-621d3 gives a description of the positive consequences of justice. The third chapter argues that the argumentative line followed in the Phaedo finds its culmination in the eschatological myth. Socrates expresses a hope for post-mortem justice in his defence of the philosophical life. To render it plausible to his interlocutors he needs to show that the soul is both immortal and intrinsically intelligent. After vindicating these notions, Socrates presents in the concluding myth the image of an afterlife governed by ethical principles.

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Hosnédl, Václav. « Filosofie politického mýtu ». Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-116157.

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Mythos can be regarded as an (absolutely) true story about the beginning of the world. Man with the mythical consciousness understands his spiritual transcendence and perceives time as eternity. The mythical consciousness was predominant in the society at first, but in the Antiquity started being replaced with the mental consciousness that puts science on a pedestal. However, the mythical consciousness is ingrained in man. National and transnational systems -- the Holy Roman Empire, the United States of America as well as the European Community -- were created with the consciousness of mythos. Man is able to transform the mythos, as a return to the (ideal) beginning, into political visions. New mythoi can be created by abusing the original ones -- see the Nazi mythos or the Communist mythos. However, such mythoi do not work in a long run and represent the negative externalities of the mythical consciousness. The true and original mythos must be one and universal since the beginning of the world (Earth, universe) is just one as well. The synthesis of the mythical consciousness and the mental consciousness (the synthesis of spirit and science) gives rise to the integral consciousness that sees matters in a complex manner ("he, who shall not understand everything, shall understand nothing") and interconnects feelings with reason. Political visions created based on the integral consciousness and implemented based on spontaneity and democratic consensus can move the society to a qualitatively higher level.

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Warm, Richard. « Leading Deeply : A Heroic Journey Toward Wisdom and Transformation ». Antioch University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1338487715.

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Miller, Richard. « L'imaginisation du réel : pour une politique des imaginaires singuliers :le combat du bien et la vengeance possible illustrés par la mythologie de saint Georges et le cinéma de Quentin Tarantino ». Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209981.

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Un corps humain n’est pas le réceptacle passif d’impressions. Il n’est condamné à aucun « réel » qui s’imposerait à lui. Tout au contraire crée-t-il, continûment et spontanément, des images singulières de la réalité. Cette faculté d’imaginisation est le sujet de la présente thèse, ainsi que la conséquence qui s’ensuit, pour chaque individu, de ne pouvoir que croire en une réalité toujours déjà imaginisée. L’imaginisation sera envisagée selon une double visée :en tant que faculté (laquelle produit des effets concrets, historisants), et en tant que qualité originelle de l’être humain.

Poser que l’imaginisation est la qualité qui définit l’appartenance à l’humanité induit entre autres que la raison est renvoyée à un statut second :elle est un choix possible à l’intérieur d’une création incessante d’images-réalités, par où se constitue singulièrement une fiction enveloppante de la vie. Notre objectif n’est pas de déprécier le choix en faveur de la raison en indiquant qu’il serait, à tout coup, contraint et réducteur. Mais ne plus être en mesure – parce que l’être humain est d’emblée appréhendé en tant qu’être de raison (ens rationis) – de penser que la raison requiert un choix et qu’elle ne « va » pas de soi, c’est se couper de tout accès à la question :« Qu’est-ce que l’homme ?».

Nous voulons considérer l’être humain en tant qu’il imaginise le réel en y adjoignant une part fictive qui, à la fois, précède, intègre et outrepasse la « simple » raison. Fiction enveloppante forcément ignorée par le rationalisme positiviste, alors qu’elle est attachée de façon indissoluble à la vie de chacune et de chacun ;tous étant les acteurs individuels d’une histoire personnelle et collective.

Avant d’être un être de raison, l’homme est un être vivant qui imaginise singulièrement les choses, les situations, les évènements, ses semblables… Il en résulte une complexité telle qu’aucun échange, aucune relation, aucune cohabitation, ne peuvent à priori être déterminés rationnellement. Dès lors, si les présentes recherches ne portent pas directement sur le politique, celui-ci en constitue l’horizon, voire la finalité ultime. L’expérience nous apprend en effet que pour qu’une philosophie politique puisse être politiquement pertinente et utile, il faut qu’elle soit fondée non pas sur ce que l’on voudrait que les hommes soient, mais sur ce qu’ils sont. Non pas sur les hommes rationnels que la théorie souhaiterait qu’ils fussent, mais sur des êtres ayant un corps fait de mémoire, de peurs et de rêves.

En ce sens, nous partageons le questionnement quant à la nécessité d’une approche qui prendrait en compte « la totalité des dimensions de la vie humaine, le mythe comme la raison, le religieux comme le juridique, non pour les confondre, mais pour les articuler ensemble » .Notre plaidoyer est double, mais non contradictoire :il s’agit de penser une plus grande complexification du politique que celle définie par la raison identitaire – héritée de l’ère moderne et des Lumières – et qui est factuellement dépassée par le monde/mondialisé qui constitue désormais le territoire de toute politique. Cela n’est possible qu’en affrontant le fait que les hommes ne sont pas que raison, mais sont avant tout des imaginaires singuliers. Fonder, en ce sens, une politique requiert préalablement la définition de ce que l’on entend par imaginaires singuliers, et impose d’en repérer les modes d’agir, non plus seulement au niveau de l’histoire, ni même d’une histoire culturelle, mais d’une génésie culturelle :tel est l’objectif des recherches que l’on va lire. Celles-ci sont illustrées principalement par deux exemples paradigmatiques :la mythologie chrétienne, et le cinéma en tant qu’art de l’univers mytho-technique.

Doctorat en Philosophie
info:eu-repo/semantics/nonPublished

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Benmansour, Maryan. « La place de la mythologie ». Paris 8, 2007. http://octaviana.fr/document/122015215#?c=0&m=0&s=0&cv=0.

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Ce travail décrit la mutation du concept de mythologie depuis le XVIIe siècle jusqu’au XIXe siècle. On montre comment une perception et une conception du mythe sont apparues durant cette période et comment une nouvelle place pour la mythologie s’est constituée en poétique et en philosophie. On décrit tout d’abord la fin du modèle classique du mythe conçu comme fable, impliquant l’allégorie comme mode de figuration et d’interprétation. On dégage ensuite les conditions auxquelles la revendication d’une « nouvelle mythologie » vient à émerger : à partir des termes d’une nouvelle poétique formulés par G. B. Vico et approfondis par le romantisme naissant, la mythologie se voit promue au statut d’un idéal esthétique. On étudie enfin le déplacement que F. W. J. Schelling fait subir à la notion de mythologie ainsi installée, abandonnant peu à peu à l’idéal d’une « nouvelle mythologie » pour élaborer une « philosophie de la mythologie », toujours dépendante de conditions poétiques implicites
This work describes the mutation of the concept of mythology from the XVIII th century to the XIX th century. It shows how a new perception and a new conception of the myth have appeared in this period and how a new place for the mythology has been constituted in poetics and philosophy. First is described the end of the classical model of the myth, model according to which the myth is conceived as a fable and supposes the allegory as a specific way of figuring and interpreting. Then, the conditions on which the claim for a “new mythology” can emerge are set off : in the terms of G. B. Vico’s “new poetic” elaborated by the nascent romanticism, the mythology is promoted to an aesthetic ideal. Finally, one shows how the German philosopher F. W. J. Schelling has produced a further displacement of the mythology by giving up the ideal of a “new mythology” to elaborate a “philosophy of mythology”, which nevertheless still depends upon poetic conditions which are dug out

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Goldstein, Benjamin Gordon Mark. « The repetition of originality : on the question of association between late antique 'Gnostics' and the medieval Kabbalah : an argument for a revised methodology ». Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:b4cbb8d5-2be1-433a-9bad-b6b82c568f76.

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This thesis aims to provide a critique of the conclusions of Gershom Scholem regarding the potential for ‘Gnostic’-Kabbalistic filiation, and to establish whether, in light of the available evidence, Scholem’s arguments (which have yet, to my mind, to be sufficiently challenged) can be reasonably supported. I strive to offer an arguably clearer definition of the relevant taxonomic terms than is often presented in scholarly analyses of this question, whilst also arguing for the applicability to this debate of certain pertinent methodological approaches drawn from the wider school of comparative mythology. As such, I also attempt to establish a clear methodology for judging the probability of the genetic descent of one ‘system’ from another, viz. that perhaps the most logical method for assessing potential similarities between different ‘systems’ is to assume in the first instance that all correspondences identified are essentially coincidental, dismissing this assumption only if one can identify a high level of exactness in these comparisons (such as would render pure coincidence relatively improbable) and/or establish a secure chain of transmission between two sources, a chain which renders the transmission of ideas not only possible but indeed probable. Applying this methodology to certain potential routes by which second century ‘Gnostic’ thought might have been transmitted to the origin point of the medieval Kabbalah, I attempt both to demonstrate the wider applicability of such a methodology beyond the narrow question of ‘Gnostic’-Kabbalistic relationships, and to illustrate the serious difficulties with advancing any of these potential routes as a reliable source for the transmission of ‘Gnostic’ ideas to the Kabbalah. Rather, I argue that it may be more logically defensible, in the absence of clear source evidence, to ascribe such correspondences as are located purely to coincidence, albeit a coincidence perhaps somewhat tempered by certain observations regarding the relative ubiquity of certain concepts and modes of thought.

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Wirtz, Fernando [Verfasser], et Friedrich [Akademischer Betreuer] Hermanni. « Die Mythologie bei F.W.J. Schelling und F. Creuzer / Fernando Wirtz ; Betreuer : Friedrich Hermanni ». Tübingen : Universitätsbibliothek Tübingen, 2020. http://d-nb.info/1207831239/34.

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Baudier, Robin. « A Sister's Mythology ». ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1846.

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Coupe, Laurence. « Literature, mythology and ecology ». Thesis, Manchester Metropolitan University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422124.

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Govers, Marianne. « The maiden of the straits : Scylla in the cultural poetics of Greece and Rome ». Paris 4, 2005. http://www.theses.fr/2005PA040166.

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Dans l'imaginaire des Grecs et des Romains, Scylla est un monstre qui combine des éléments canin, féminin, et marin. Ce travail analyse les différentes peurs qu'elle vint à incarner dans la littérature et l'iconographie antiques ainsi que les métaphores qui les unissent symboliquement et donnent au développement de la figure sa cohérence à travers époques et genres. On montre en particulier que trois modèles — le monstre dévorant, la femme fatale et la jeune fille nubile — sous-tendent nombre des représentations de Scylla et que tous trois impliquent un passage difficile, qu'il s'agisse de la gueule d'un prédateur, du sexe féminin ou de la transition vers l'âge adulte. À partir de l'exemple de Scylla sont abordées des questions théoriques plus larges comme celles de la relation entre textes et images, de la pertinence des concepts de " mythe " et de " figure mythique ", et du rôle de la sexualité dans les représentations de la monstruosité
In ancient Greek and Roman cultures, Scylla is a sea-monster that usually combines – albeit in manifold ways – features of a dog, a woman, and a fish. Through a close study of her representations in texts and images, this thesis analyses the fears that Scylla comes to embody in various sources as well as the metaphors that connect those fears and secure the coherence of her development across time and genres. In particular, it is argued that three models underlie many of Scylla's representations – the rapacious sea-monster, the sexually aggressive woman, and the bride-to-be – and that they all involve a narrow and potentially dangerous passage, be it the throat of a predator, the female genitals, or the transition into womanhood. By focusing on a specific figure of Greek and Roman mythology, the thesis sheds light on current theoretical debates including the relation between texts and images, the relevance of the notions of “myth” and “mythical figure,” and the role of gender in representations of monstrosity

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Anglès, Pierre. « L'archange d'immortalité ou essai mathématique d'approche du phénomène de rajeunissement dans l'Antiquité ». Toulouse 2, 1990. http://www.theses.fr/1990TOU20060.

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Rath, Ingo W. « Der Mythos-Diskurs und sein Verlust eine Vor-Geschichte der abendländischen Vernunft / ». Wien : VWGÖ, 1991. http://catalogue.bnf.fr/ark:/12148/cb35532150v.

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Auraix-Jonchière, Pascale. « La mythologie de Barbey d'Aurevilly à travers les romans et les nouvelles ». Clermont-Ferrand 2, 1995. http://www.theses.fr/1995CLF20072.

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De l'aveu même de son auteur, l'oeuvre romanesque de Barbey se caractérise par une écriture secrète -indirecte et plurivoque-, qui voile en même temps qu'elle se dévoile, un sens qui miroite et échappe sans cesse. Au sein de ce langage ambigu où les signes s'entrecroisent, l'importance d'un code mythologique de nature syncrétique (renvoyant tout aussi bien à la tradition antique que biblique) est manifeste. Notre propos est d'étudier la pertinence de ce code : diffus dans le texte, répond-il à une authentique organisation, reflète-t-il des schèmes archétypaux et donc préexistants ; enfin, acquiert-il une spécificité en étant retravaillé par l'écrivain, modèle selon les exigences toujours nouvelles de l'histoire collective et de l'histoire individuelle ? Il s'agit d'observer comment ce langage particulier fonctionne à l'intérieur du texte romanesque et comment en retour il le fait fonctionner, c'est-à-dire en révèle les fondements et en dévoile la finalité
Acoording to the author himself, the prose works of barbey d'aurevilly are anchored in a form of writing whose hidden mechanisms, working in indirect and multivocal ways, both veil and uncover shimmering levels of meaning which do not lend themselves readily to definitive circumscription. . The importance of a mythological code which is syncretic in nature, situated at the heart of this ambiguous language with its interconnected signs, and referring back to both ancient and biblical traditions, is manifest. The aim of this works is to study the pertinence of this code : diffused in the text, does it answer to clear principles of organisation? does it reflect archetypal, and therefore pre-existent, generalised structures? finally, does this code acquire specific characteristics in the course of its reworking by the writer, and is it modelled on the ever-changing demands of collective and individual history? this work sets out to examine how this singular language works within the prose text, and how, conversely, it makes the latter function - that is, how it reveals the elements in which the narrative is grounded as well as the finality towards which the text is bent

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Robinson, Scott E. (Scott Elmon) 1961. « Dichotomy in American Western Mythology ». Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500528/.

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The fundamental dichotomy between savage and civilized man is examined within the archetypal Western myth of American culture. The roots of the dichotomy are explored through images produced between 1888 and 1909 by artists Frederic Remington and Charles Russell. Four John Ford films are then used as a basis for the "dichotomous archetype" approach to understanding Western myth in film. Next, twenty-nine "historical" and "contemporary" Western movies are discussed chronologically, from The Virginian (1929) to Dances with Wolves (1990), in terms of the savage/civilized schema as it is personified by the roles of archetypal characters. The conclusion proposes a potential resolution of the savage/civilized conflict through an ecumenical mythology that recognizes a universal reverence for nature.

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Bek-Pedersen, Karen. « Nornir in Old Norse mythology ». Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/29143.

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The primary object of the thesis is to discuss a particular group of female supernatural beings called ‘nornir’ and their relationship to the Old Norse concept of fate. Although well-known and often mentioned in scholarship dealing with Old Norse culture, these beings are all too often dealt with in overly superficial ways. The research presented in the thesis seeks to go much deeper in order to properly understand the nature and role of ‘nornir’ in the Old Norse world view, and the conclusions reached importantly overturn a number of stereotypical conceptions that have long dominated our understanding of ‘nornir’. The discussion of these beings falls into four main chapters: a discussion of the similarities and differences between ‘nornir’ and several other kinds of female supernatural beings; a discussion of certain symbolic aspects relating the dwelling place of the ‘nornir’ to their strongly feminine nature; a discussion of the well-established image in which fate is represented through different kinds of textile work, and the problems that surround this metaphor in the Old Norse sources; and a discussion of the Old Norse vocabulary relating to fate and the quasi-legal aspects of the ‘nornir’. The thesis focuses on Old Norse culture and uses predominantly Old Norse source material. Comparative material, especially Celtic, Anglo-Saxon and Classical, is, however, employed when this is thought to be relevant.

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Zilleruelo, Arturo Goldbarth Albert. « Dream landscapes A personal mythology / ». Diss., A link to full text of this thesis in SOAR, 2007. http://soar.wichita.edu/dspace/handle/10057/1187.

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Thesis (M.F.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of English.
"May 2007." Title from PDF title page (viewed on Dec. 29, 2007). Thesis adviser:Albert Goldbarth. Includes bibliographic references (leaves 34-39).

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Lee, Chanju. « Birth and Women in Mythology ». Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/35.

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The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.

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Dragan, Radu. « Espace du corps, espace du monde : études sur les représentations de l'espace de la société traditionnelle : le cas roumain ». Paris, EHESS, 1997. http://www.theses.fr/1997EHES0070.

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I. Le mythe cosmogonique: analyse des mythes. Le dualisme: le bien et le mal et la table d'oppositions des pythagoriciens. Le diable et le bon dieu. Le plongeon cosmogonique. Systemes de transformations: sequences, groupes, ensembles. La terre plate et la terre froncee. Le trickster et les royautes gemellaires. La naissance de l'espace: le templum et les divisions de l'espace. L'ocean et les piliers - poissons. St. Simeon stylite. Un systeme "cybernetique". La nature logique du dualisme. Ii. L'espace de ce monde: 1. Le territoire. La fondation du village. Le vieillard fondateur, une fiction qui permet l'appropriation de l'espace. Foret, village, limite. Peau coupee en lanieres et circumambulations rituelles. Tracer la frontiere: reperes, signes, pierres de bornage. La "part de l'ame". Systemes dualistes dans l'europe orientale. Breches dans l'espace: la limite et le trou. Passer d'un monde a l'autre en traversant la limite. Le village et l'espace des morts. 2. La maison. Le complexe symbolique de l'esprit - gardien. Le sacrifice de construction et sa structure logique. St. Georges et l'annee cosmique. La structure de l'espace habite. 3. Le corps. L'alterite du dedans. La formation de la notion d'etendue. Les orifices et la souillure. Corps et espace: structure grammaticale et structures rituelles a trois termes. Le role des ouvertures du corps. Le corps comme metaphore de l'espace. Les trois formes de rapport a un lieu. Iii. L'espace de l'autre monde. Contes et histoires merveilleuses. L'elargissement de l'espace reel sous la pression de l'imaginaire ames errantes et revenants. La liturgie de 40 jours et l'espace imaginaire a byzance: la continuite entre les mondes. L'eau des morts et l'alterite au feminin. Le voyage de l'ame dans l'au-dela: les deux voies. Le pont en toile et les douanes du ciel. La maison de l'ame au paradis. Perspectives. L'espace dextrogyre et l'etude de hertz sur la preeminence de la main droite. Le principe de la non-contradiction et la tri-dimensionalite de l'espace. La nature innee des representations spatiales. Chomsky et sa "grammaire universelle". Logique classique et logiques polyvalentes dans la pensee symbolique. L'espace et le langage. Les recherches de hubel et wiesel. La nature topologique des representations spatiales des societes traditionnelles
I. The cosmogonical myth: analysis of myth. The dualism: the right, the bad and the table of oppositions of the pythagoreans. The devil and god. The cosmogonical dip. Systems of transformations: sequences, groups, ensembles. Flat earth and wrinkled earth. The trickster and the double kingship. The formation of space: the templum and the divisions of space. The ocean and the fish-pillars. St simeon stylite. A cybernetical system. The logic character of dualism. Ii. Space of this world. 1. The territory. Founding of the village. The founding ancestor, a fiction permitting the ownership of territory. The forest, the village and the limit. The strip-cut hide and ritual circumambulation around the territory. Tracing of boundaries: marks, signs and boundary stones. The "soul's part". Dualist systems in eastern europe. Breachs in space: the limit and the hole. Passing from one world to another across the limit. The village and the territory of the dead. 2. The home. The symbolic complex of the guardian spirit. The logical nature of the foundation sacrifice. St. George and the cosmic year. The structure of the inhabited space. 3. The body. Alterity of within. The extent: formation of this notion. Orifices and danger. Body and space: grammatical structure and ritual three-terms structures. Function of body's orifices. The body as metaphor of space. In, within, into: three types of positions in space. Iii. Space of other world. Space of fairy-tales. Invasion of imaginary in real space. Wandering souls and ghosts. The mass of forty days in byzance and the continuity of the two worlds. The water of the dead and the female body. Souls travel towards other world: the two paths. The linen bridge and the customs of the sky. The souls home in paradise. Perspectives. The hertz's study on the right hand. The non-contradiction principle and the three-dimensional space. The innate character of spatial representations. Chomsky and his universal grammar. Classical logic and polyvalent logic of the symbolic thinking. Space and language. Hubel and wiesel's researchs on the innate character of spatial perception. The topologic character of spatial representations in traditional societies

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Marshall, Diane Connelly Frances S. « The liminal mythology of Anish Kapoor ». Diss., UMK access, 2004.

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Thesis (M.A.)--Dept. of Art and Art History. University of Missouri--Kansas City, 2004.
"A thesis in art history." Typescript. Advisor: Frances S. Connelly. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 181-197). Online version of the print edition.

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Indergaard, Henrik. « Pindar and the mythology of Heracles ». Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543667.

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Miller, Louise May Whilhemina. « Classical mythology and the contemporary playwright ». Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29879/.

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This practice-based thesis explores, through the creation of three new full-length plays, the ways in which a contemporary playwright might engage with classic mythology, specifically ancient Greek mythology in the development of new work. The plays form a triptych, each inspired by a single, yet interconnected Greek myth: their mythic inspirations are as follows, Sodium (2010-11) Theseus and the Minotaur, Sulphur (2011-12) Ariadne at Naxos, and Silver (2010) Icarus and Daedalus. Non-dramatically extant ancient Greek myths were selected in order to seek to explore dramatic possibilities beyond Greek tragedy. The diverse ways in which this body of work was approached is framed by the influence of contemporary theatre practice. Alongside this creative enquiry, the thesis explores the impetus which prompted practitioners to turn to classical mythology for inspiration over two millennia since the myths were created. Reflection on the processes which led to the creation of these plays in relation to the author’s own highlights potential conflicts between ancient and contemporary theatre practice, and seeks to explore ways in which the juxtaposition between traditional and contemporary approaches to theatre making can spark creative engagements. The fission between tradition and subversion was a key factor in the creation of the plays now presented, offering possible insights into the ways in which contemporary practitioners can benefit from a playful engagement with traditional practice in order to generate new work.

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Kunin, Seth Daniel. « A structuralist analysis of Hebrew mythology ». Thesis, University of Cambridge, 1993. https://www.repository.cam.ac.uk/handle/1810/272384.

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Higgins, Andrew S. « The genesis of J.R.R. Tolkein's mythology ». Thesis, Cardiff Metropolitan University, 2015. http://hdl.handle.net/10369/7528.

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This thesis critically examines the earliest creative work of J.R.R. Tolkien, from which the first version of his mythology would emerge, as one coherent whole, rather than a series of individual creative acts. It argues that all aspects of Tolkien's creativity worked in a dialectic way to bring to life an invented secondary world the complexity of which fantasy literature had not seen before. In examining Tolkien's early creative process this study also offers an alternative profile and assessment of J.R.R. Tolkien, in contradistinction to the popular image of him as the elderly Oxford don, by critically reading him as a young man, student, budding philologist, soldier and World War One survivor. The scope of this thesis is a holistic examination of Tolkien's earliest creative output comprising poetry, prose, language invention and visual works and includes analysis of several of Tolkien’s early creative works which remain either unpublished or under-analysed. The study uses several contextual frameworks to offer an in-depth analysis of Tolkien’s early imaginative language invention, a neglected area in Tolkien studies, in spite of being at the core of Tolkien’s creative process. This thesis, therefore, is critically responding to a gap in Tolkien and fantasy literature scholarship, and offers new insights on the earliest writing phases of one of the most influential fantasy authors of the 20th century. The introductory chapter presents an overview of Tolkien criticism and defines the scope and range of the thesis. Chapter two examines how myth-making and language invention came together in Tolkien’s earliest works and argues that these two key elements become inextricably intertwined in the first full expression of Tolkien’s early mythology, The Book of Lost Tales. Chapter three explores the underlying religious underpinnings of Tolkien's mythology and his early attempt to employ overt Roman Catholic words and ideas into his emerging secondary world. This chapter goes on to demonstrate how Tolkien combined Roman Catholic ideas with elements of both pagan mythology and Victorian spiritualism into the fabric of his secondary world. Chapter four focuses on the role of visual expression in Tolkien's early mythology by reading two major groups of documents from this period: published drawings and paintings in which Tolkien expressed his early mythic ideas; and a group of visually oriented ‘para-textual’ elements, such as maps, charts and samples of Tolkien’s invented writing systems. These visual representations are explored as ‘trans-medial’ components which, along with layered narratives and language invention, make up the fabric of Tolkien’s invented secondary world. The last chapter of this thesis explores several ways Tolkien experimented with in order to link his growing body of mythology to the primary world. It examines Tolkien’s first ‘framework’ of transmission which relied on dreams, and dream vision, to attempt this link. The second half of this chapter explores how Tolkien developed a parallel narrative transmission ‘framework’ through the re-imagining and re-purposing of Germanic myth and legend. The thesis also includes a series of appendices: a chronology outlining Tolkien’s creative works from this time; a list of the books he borrowed from the Exeter College Library as an undergraduate; a detailed list of examples of Tolkien's early language invention from the time; and a transcript of a report on the literary talk Tolkien gave at Exeter College on the Anglo-Catholic poet Francis Thompson.

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Moatti-Gornet, Danièle. « Qu'est-ce qu'une femme ? : traité d'ontologie ». Paris 8, 1998. https://octaviana.fr/document/18185998X#?c=0&m=0&s=0&cv=0.

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Anderson, Vera. « Numerology as the base of the myth of creation, according to the Mayas, Aztecs, and some contemporary American Indians ». Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186236.

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This dissertation intends to demonstrate the impact of numerology in every aspect of the lives of ancient precolombian people as well as several contemporary American Indian tribes. For this reason numerology may be viewed as a true science, that is both an esoteric and a philosophical one. Thus, numbers may be looked upon not only as abstract signs, but as all inclusive entities in and of themselves. To the ancients, numerical symbols had an occult connotation that transcended the restrictive boundaries of simple computation. For instance, numerology had an integral role in Maya, Aztec, and some contemporary American Indian religious ceremonies. As an example, the high priests were able to predict future events by making intricate numerological computations. Further still, Maya and Aztec calendars were so accurate that they demonstrated an extraordinary knowledge of astronomical events. In order to accurately study the intricate subject of numerology it was necessary to divide the dissertation in several parts. These parts include a concise discussion of the Maya, the Aztec, and certain contemporary American Indian tribes. A general account of Maya, Aztec, and Contemporary American Indian culture and society was included, using the available data of present day archeological and written documents, in order to accurately describe the philosophy of these people. From an examination of the life and culture of these ancient societies, the basis for their myths of creation and the impact of numerology on those particular myths may be easily ascertained. The conclusion discusses how numerology shaped two great civilizations, that of the Maya and Aztecs, and how these basic esoteric numbers were absorbed and changed, to suit the needs and culture of some present day American Indian tribes.

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Graziani, Françoise. « La pensée fossile mythe et poésie : d’Aristote a Vico ». Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040187.

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Le vieux différend entre le philosophe et le poète, entre logos et mythos, peut être converti en accord à condition de changer de point de vue. Alors que Platon n’a voulu voir dans leurs différences qu’une source de discorde et de division, Aristote en a tiré une poétique et une rhétorique, les poètes de la Renaissance une philosophie poétique et Vico une anthropologie du langage et une archéologie de la pensée. Ce qui est pour les modernes une « pensée sauvage » a longtemps été considéré par les anciens comme une sagesse archaïque, qui s’exprimait par figures et « traduisait en langue des dieux » les voix de la nature.On se propose ici de réévaluer les notions de pensée poétique et de pensée mythique en adoptantle point de vue des poètes de la Renaissance et de l’âge baroque, qui identifièrent l’une et l’autre à la pensée ingénieuse productrice de métaphores, de figures et de fictions. Mais il faut remonter aux sources antiques pour pouvoir rendre compte de l’active polysémie des anciennes méthodes d’interprétation des mythes qui, loin de séparer les points de vue de la physique, de la morale et de la théologie, les associaient en une « science poétique » qui faisait la synthèse de tous les savoirs du monde, et qui est désormais une science fossile
The old dispute between the Philosopher and the Poet, which leads to the dichotomy betweenLogos and Mythos, can be turned into a settlement as long as one changes one’s viewpoint. WhilePlato only considered their difference as a source of discord and division, Aristotle drew from it aPoetic and a Rhetoric, the Renaissance poets a Poetical Philosophy, and Vico a language’sAnthropology and an Archeology of the Thought. What is considered by the Moderns to be a « wildthinking » was seen by the Ancients as an archaic wisdom, expressed through figures and« translating the voices of nature into the language of gods ».The purpose here is to reassess the concepts of Poetic and Mythic thought by adopting theviewpoint of the poets of the Renaissance and the Baroque era. Those cleary identified these twospecific thinkings with the wit’s power to produce metaphors, figures and fictions. In order to achievethis research, it is important to revisit the antic sources, so as to enlight the effective polysemysupporting the ancient ways used to interpret myths. Far from categorising the stance of the physics,the morals and the theology, the Ancients used to gather them into a comprehensive « poeticscience » : it reunited the synthesis of all knowledge but has become a fossilised science

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Fournier, Marie-George. « Genèse et destin : pour une conception dynamogénique des mythes ». Phd thesis, Université de Bourgogne, 2012. http://tel.archives-ouvertes.fr/tel-00841639.

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Si le mythe est devenu aujourd'hui une donnée incontournable pour comprendre l'âme humaine et ses différentes formes d'expression, il reste cependant équivoque et difficilement conceptualisable. En effet, le mythe est à la fois compris comme un récit fictif qui ne repose sur aucun fond de réalité mais aussi comme un discours vrai et hautement significatif. Pour bien marquer le sens philosophique de notre travail, nous avons commencé par poser le problème du mythe tel qu'il évolue dans la pensée européenne. Le mythe souffre d'une trop longue histoire, il a été déchiré entre rationalisme et romantisme. Puis nous avons questionné d'autres civilisations - les Fon du Dahomey, au Bénin - pour qui le mythe représente tout ce que les hommes doivent savoir et comprendre pour bien s'ancrer dans l'existant. Elles nous donnent à voir un mythe authentique, vivant, inséparable d'une gestuelle magico-religieuse. Ainsi le vrai sens du mythe ne se trouve pas dans nos livres, dans un Homère ou un Hésiode, mais dans le vécu même des hommes. Il est d'abord élaboré par les sociétés primitives, par des groupes d'hommes qui ne vivent que par et pour lui, avant d'être écrit, classé, interprété et réinterprété. Il semblerait à cet égard que Gaston Bachelard, à la fois poète et épistémologue, se soit intéressé au mythe. Il nous livre ainsi une réflexion originale, libre et ouverte qui nous en donne une autre image. Il pose le problème du mythe en soi, au cœur de l'écrit et, riche de ses lectures, il jette les bases d'une nouvelle mythanalyse. La compréhension du mythe semble pour nous incontournable aujourd'hui, car notre civilisation a irrémédiablement coupé entre les informations portées par des images et celles portées par les systèmes d'écritures. Cette rupture est sans doute la cause de cette grave crise spirituelle que nous traversons. Le mythe semble à cet égard salutaire : il nous reconduit directement vers les grands principes de la création, création du monde ou bien création poétique, il ré-enchante le monde.

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Berger, Emile. « Germanic mythology in Richard Wagner's 'Der Ring' ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33873.

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Richard Wagner, in writing the text which would become the libretto of his four operas comprising the Ring was influenced greatly by German Mythology as well as old Norse writings. His main sources are the Volsungensaga, the Thidreksaga and the Nibelungenlied. Certain portions of the Ring follow closely the events described in some of the sagas, other portions have been changed and elaborated to achieve theatrical effect. I have endeavoured to explain the differences between the sources and the finished masterpiece. Whether his version of the tales was to ensure good theatre or whether he felt that he was improving on the originals is a moot point. The similarities are sufficient to prove that he had totally immersed himself in the literature available and no doubt felt himself to be a worthy protagonist of this culture. There is no doubt that his music is a masterpiece which may be enjoyed with or without any depth of knowledge of its origins.

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Edwards, David. « Keats, mythology and the politics of sexuality ». Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321583.

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Avis, Robert John Roy. « The social mythology of medieval Icelandic literature ». Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2837907c-57c8-4438-8380-d5c8ba574efd.

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This thesis argues that the corpus of Old Norse-Icelandic literature which pertains to Iceland contains an intertextual narrative of the formation of Icelandic identity. An analysis of this narrative provides an opportunity to examine the relationship between literature and identity, as well as the potency of the artistic use of the idea of the past. The thesis identifies three salient narratives of communal action which inform the development of a discrete Icelandic identity, and which are examined in turn in the first three chapters of the thesis. The first is the landnám, the process of settlement itself; the second, the origin and evolution of the law; and the third, the assimilation and adaptation of Christianity. Although the roots of these narratives are doubtless historical, the thesis argues that their primary roles in the literature are as social myths, narratives whose literal truth- value is immaterial, but whose cultural symbolism is of overriding importance. The fourth chapter examines the depiction of the Icelander abroad, and uses the idiom of the relationship between þáttr (‘tale’) and surrounding text in the compilation of sagas of Norwegian kings Morkinskinna to consider the wider implications of the relationship between Icelandic and Norwegian identities. Finally, the thesis concludes with an analysis of the role of Sturlunga saga within this intertextual narrative, and its function as a set of narratives mediating between an identity grounded in social autonomy and one grounded in literature. The Íslendingasögur or ‘family sagas’ constitute the core of the thesis’s primary sources, for their subject-matter is focussed on the literary depiction of the Icelandic society under scrutiny. In order to demonstrate a continuity of engagement with ideas of identity across genres, a sample of other Icelandic texts are examined which depict Iceland or Icelanders, especially when in interaction with non-Icelandic characters or polities.

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BoisAubin, Pierre A. « Digital Preservation of Haitian Mythology Music Notation ». Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078357.

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This project aims at preserving Haitian mythology music; it is conceptualized as having two components: • Digital Preservation Archive: The process generates equivalent notation of hardcopies as well as supplementary audio clip. The resulting artifacts are archived in a website. • Music Production Using Media Technologies: is an effort to stimulate interest in the music. Digital media technologies are applied toward arranging mythology songs for small Afro Western styled musical group. We design a workflow for notating, recording, and staging the music.

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Barth, Bernhard. « Schellings Philosophie der Kunst : göttliche Imagination und ästhetische Einbildungskraft / ». Freiburg i. Br. : K. Alber, 1991. http://catalogue.bnf.fr/ark:/12148/cb356854858.

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Thèses sur le sujet « The philosophy of mythology »

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