Rozprawy doktorskie na temat „Mythology and memoir”

What lies beneath Our cultured constructions? The wild lies beneath. The mud and the mad, the bunyip Other, lies beneath. It echoes through our layered metaphors We hear its memories Through animal mythology in wilder places Through emotive imagination of landscape memoir Through mythic archaeologies of object art. Not the Nation, but the land has active influence. In festivals of bioregion, communities re-member its voice. Our creativity goes to what lies beneath. This thesis explores the ways we develop deeper and wilder connections to specific regional and local landscapes using art, festival, mythology and memoir. It argues that we inhabit and understand the specific nature of our locale when we plan space for the non-human and creatively celebrate culture-nature coalitions. A wilder and more active sense of place relies upon community cultural conversations with the mythic, represented in the Australian exemplar of the bunyip. The bunyip acts as a metaphor for the subaltern or hidden culture of a place. The bunyip is land incarnate. No matter how pristine the wilderness or how concrete the urban, every region has its localised bunyip-equivalent that defines, and is shaped by, its community and their environmental relationships. Human/non-human cohabitations might be actively expressed through art and cultural experience to form a wilder, more emotive landscape memoir. This thesis discusses a diverse range of landstories, mythologies, environmental art, and bioregional festivities from around Australasia with a special focus on the Sunshine Coast or Gubbi-Gubbi region. It suggests a subaltern indigenous influence in how we imagine, plan and celebrate place. The cultural discourses of metaphor, memoir, mythology and memory shape land into landscapes. When the metaphor is wild, the memoir celebratory, the mythology animal, the memory creative and complex, our ways of being are ecocentric and grounded. The distinctions between nature and culture become less defined; we become native to country. Our multi-cultured histories are written upon the earth; our community identities shape and are shaped by the land. Together, monsters and festivals remind us of the active land.

What lies beneath Our cultured constructions? The wild lies beneath. The mud and the mad, the bunyip Other, lies beneath. It echoes through our layered metaphors We hear its memories Through animal mythology in wilder places Through emotive imagination of landscape memoir Through mythic archaeologies of object art. Not the Nation, but the land has active influence. In festivals of bioregion, communities re-member its voice. Our creativity goes to what lies beneath. This thesis explores the ways we develop deeper and wilder connections to specific regional and local landscapes using art, festival, mythology and memoir. It argues that we inhabit and understand the specific nature of our locale when we plan space for the non-human and creatively celebrate culture-nature coalitions. A wilder and more active sense of place relies upon community cultural conversations with the mythic, represented in the Australian exemplar of the bunyip. The bunyip acts as a metaphor for the subaltern or hidden culture of a place. The bunyip is land incarnate. No matter how pristine the wilderness or how concrete the urban, every region has its localised bunyip-equivalent that defines, and is shaped by, its community and their environmental relationships. Human/non-human cohabitations might be actively expressed through art and cultural experience to form a wilder, more emotive landscape memoir. This thesis discusses a diverse range of landstories, mythologies, environmental art, and bioregional festivities from around Australasia with a special focus on the Sunshine Coast or Gubbi-Gubbi region. It suggests a subaltern indigenous influence in how we imagine, plan and celebrate place. The cultural discourses of metaphor, memoir, mythology and memory shape land into landscapes. When the metaphor is wild, the memoir celebratory, the mythology animal, the memory creative and complex, our ways of being are ecocentric and grounded. The distinctions between nature and culture become less defined; we become native to country. Our multi-cultured histories are written upon the earth; our community identities shape and are shaped by the land. Together, monsters and festivals remind us of the active land.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith School of Environment
Faculty of Science, Environment, Engineering and Technology
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In 2014, as the number of survivors dwindles, the representation of their memory and testimony after they have gone becomes increasingly important. Although it is critical to discuss the historical facts of the atrocities of World War II, those facts often do not reach the personal experiences of many survivors, who can only express many of the details of their experiences through an expression of their memories through testimony. One such testimony is that of Wanda Bielecka, a survivor of Auschwitz-Birkenau concentration camp. This practice-based research (consisting of a film and accompanying thesis) explores her memories as they are expressed through her own testimony, and the testimony of her testimony of eleven members of her family. The practice element of the PhD consists of a 73-minute film called Wanda. Wanda is a found footage narrative, a new form of film developed to answer the following research question: how is survivor experience represented in the collective memory of a survivor’s family, and how can the form of the found footage narrative be used as a way of understanding the construction of that memory? This research will explore the collective memory of the Bielecka family around the events of Wanda’s life during World War II from her incarceration in Auschwitz to her eventual liberation and journey to Paris. This collective memory will be explored as a mythology around Wanda’s experience. The film itself will then reflexively reveal its’ own place in the construction of that mythology. A formal conception of the dialectical image is fundamental to the film’s form. This form has been developed through research into essayistic modes in literature and film. It will be shown that the found footage narrative is a form of film that can be used to research, not just the collective memory around Wanda’s experience, but also other instances of collective memory.

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Apr. 25, 2008). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History." Discipline: History; Department/School: History.

The original contribution of this thesis is the examination of the official construction of a post-apartheid foundation myth through the analysis of the dead body politics of five iconic South African women that spans the three presidencies that have defined South Africa’s democratic era. This thesis examines the death and funeral of Albertina Sisulu, the return and burial of Sara Baartman, and the commemoration of Charlotte Maxeke, Lilian Ngoyi, and Helen Joseph. Sisulu, Baartman, Maxeke, Ngoyi, and Joseph have been constructed as heroines and as foundational figures for the post-apartheid nation in official rhetoric. It will contend that the dead body politics of these women not only informs a new foundational mythology, but also features in the processes of regime legitimation when the ANC-dominated government faces strong societal criticism. Although such official expressions of nationalism may appear exhausted, this thesis will show that nationalism remains a powerful and dangerous force in South Africa that attempts to silence opposition and critical analysis of perceived failing government policies or inaction. This thesis will indicate that as women’s bodies and legacies are appropriated for nationalist projects they are subsumed in discourses of domestic femininity in official rhetoric that dangerously detract from women’s democratic rights and their ability to exercise responsible and productive citizenship in the post-apartheid state. It will argue that women’s historic political activism is contained within the meta-narrative of ‘The Struggle’ and that women are re-subsumed into the patriarchal discourses of the past that are inherited in the present. This thesis approaches this topic by considering a top-to-bottom construction of post-apartheid nationalism through applying feminist critical discourse analysis to official rhetoric articulated at the public mourning and commemorative rituals of these five women.

Hindu religious culture has a rich and long-standing performance tradition containing many genres and regional types that contribute significantly to an understanding of the living vitality of the religion. Because the field of religious studies has focused on texts, the assumption exists that these are primary, and performances based on them are mere enactments and therefore derivative. This thesis will challenge this common assumption by arguing that performances themselves can be constitutive events in which religious worldviews, social histories, and group and personal identities are created or re-negotiated. In this work, I examine the history of performance cultures (understood both as genres and the groups that develop and perform them) in the Telugu-speaking regions of South India from the sixteenth century to the present in order to elucidate the cross-fertilization among various performance spheres over time.
My specific focus is on the figure of Satyabhama (lit. True Woman or Woman of Truth), the favourite wife of the god Kṛṣṇa. Satyabhama represents a range of emotions, which makes her character popular with dramatists and other artists in the Telugu-speaking regions of South India where poets composed hundreds of performance-texts about her, and several caste groups have enacted her character through narrative drama.
The dissertation is composed of four substantive parts - text, context, memory, and mimesis. The first part explores the figure of Satyabhama in the Mahabharata and in three Sanskrit Puraṇic texts. The second examines the courtly traditions of poetry and village performances in the Telugu language, where Satyabhama is innovatively portrayed through aesthetic categories. The third is based on ethnographic work with women of the contemporary kalavantula (devadasi) community and looks at the ways in which they identify with Satyabhama and other female aesthetic archetypes (nayikas). The final section is based on fieldwork with the smarta Brahmin male community in Kuchipudi village, where men continue to perform mimetic representations of Satyabhama through a performative modality known as stri-veṣam ("guise of a woman").

Thesis (M.V.A.)--University of Sydney, 2009.
Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.

La thèse montre les résultats du projet de recherche doctorale intitulé « Colonialisme, conflit armé et luttes pour la mémoire. Une étude anthropologique de la région du Magdalena Medio, Colombie, Amérique du Sud ». Le projet fut réalisé dans le Laboratoire d’Anthropologie Sociale LAS – Collège de France et l’École Doctorale en Anthropologie Sociale et Ethnologie (ED286) de l’École des Hautes Études en Sciences Sociales de Paris EHESS, sous la direction de Mme. Tassadit Yacine-Titouh. La région du Magdalena Medio s’étend sur le bassin moyen du fleuve Magdalena, une vaste vallée entre la Cordillère oriental et la Cordillère central, deux chaînes de montagnes des Andes Septentrionales en Colombie (Amérique du Sud). Jusqu'à récemment, la région du Magdalena Medio fut une frontière intérieure d’une apparence sauvage, qui hébergeait les survivants des anciens peuples indigènes de filiation Karib ou Caraïbe ainsi que certains vieux hameaux et villages d’origine espagnole appauvries. La région était une enclave par l’absence de moyens de communication, un refuge fréquente des groupes séditieux, dissidents ou insurgés et un territoire ouvert tant pour la colonisation des paysans pauvres que pour l’acquisition de terrains de la part des grandes entreprises commerciales. De la même manière, cette région était historiquement connue pour abriter quelques unes de plus grandes richesses du pays: les principales mines de l’or et d’émeraudes, les exploitations forestières comme la quinquina, les cultures tropicales comme la canne à sucre, le tabac, l’indigo, le café et le palmier à huile, l’élevage de bétail dans les plaines, les industries du gaz et pétrole et, plus récemment, les cultures de coca et de pavot. La coexistence de marginalité et richesse fut déterminant pour que la région du Magdalena Medio ait été l’épicentre de la violence colombienne au cours du dernier siècle : la violence des partis politiques libéral et conservateur depuis les années 1930, la violence des bandes des bandits (ou bandoleros) depuis les années 1950, la violence associée à l’apparition des guérillas de gauche depuis les années 1960, la violence déclenchée par les groupes de justice privée depuis les années 1970 et la violence provoquée par les paramilitaires depuis les années 1980. Dans le contexte de ces violences furent commis certains des crimes le plus horribles de la longue histoire de la violence colombienne. Cette recherche doctorale eut pour objectif principal de clarifier quel rôle joua la culture de chaque province de la région du Magdalena Medio dans la production et la reproduction d’une violence de caractères « quasi » endémiques et ses implications en la construction d’une mémoire régionale
The thesis exposes the results of the project titled “Colonialism, armed conflict and the disputes for memory. An anthropological study of Magdalena Medio, Colombia (South America)”. The project was made from Laboratory of Social Anthropology – Collège de France and Doctoral School of Anthropology [ED286] at The School of Advanced Studies in the Social Sciences (EHESS in French) under the direction of Tassadit Yacine-Titouh. The region of Magdalena Medio is located on middle basin of Magdalena River, a wide valley between the Cordillera Oriental and Cordillera Central, two mountain ranges of the Northern Andes in Colombia (South America). Until a few decades ago, the region of Magdalena Medio was an interior border, with wild appearance, which was the lodging the last survivors of the indigenous peoples Caribes or Karibs and the jurisdiction of ancient villages and towns of Spanish origin (16th-17th centuries) and new settlements arose from recent colonization (19th-20th centuries). The region was an enclave due to the absence of roads and highways, a frequent refuge of seditious, dissident and rebel groups, and an open territory for both peasant colonization and the occupation of big capitalist companies. The region is also historically known for having the most important national wealth: the mines of gold and emeralds, the forest exploitation as the quinine, the tropical agriculture of sugarcane, tobacco, indigo, coffee and oil palm, the livestock farming on the plains, the gas and petrol industries and, more recently, the coca and poppy cultivations. The coexistence of wealth and poverty turned the Magdalena Medio in one of the nation’s most violent regions. The region of Magdalena Medio was the epicenter of violence between political parties since the 1930’s, the violence of bandits or bandoleros since the 1950’s, the violence of leftist guerillas since the 1960’s, the violence of private justice groups since the 1970’s and the violence of paramilitary forces since the 1980’s. In these contexts were perpetrated some of the most shameful facts of the Colombian history. The project tried to clarify the role of culture in each province in the production and reproduction of a violence of “quasi” endemic character and their implications en the construction of an regional memory

Récusant à la fois les déterminismes naturels et les représentations d’un ordre politique ou moral, l’œuvre de Gary est marquée par une aspiration au dépassement des limites et par une posture de résistance. Face à la haine ou à la barbarie, elle défend les vertus de la dérision et le pouvoir de l’imaginaire et s’engage dans une double démarche de mise à distance et de réenchantement du monde. Nourrie par le traumatisme de la seconde Guerre Mondiale, elle soutient l’idée que l’humain est à réinventer, qu’il n’est pas une donnée préalable mais un fiction à construire, un idéal à atteindre. Artistes et créateurs se doivent donc de contribuer à l’invention d’une nouvelle mythologie de l’homme qui vienne réaffirmer un principe inaliénable de dignité et qui instille dans l’esprit de chacun la force de ne pas désespérer. Mais l’humanisme n’est pas seulement une valeur abstraite ou un horizon à conquérir : il met aussi en question une façon d’être au monde dans le présent. Il s’agit de se prémunir de ce que la réalité peut avoir d’envahissant et de dogmatique en privilégiant des « marges » où l’humain se trouve reconnu dans ses paradoxes et sa fragilité. Loin de l’idéalisme prophétique, ces refuges deviennent un espace propice à l’expression de l’intime et permettent à la fois de se dérober au regard de l’autre et d’échapper à l’injonction des discours de vérité. Façonnés autour des valeurs de l’affectif, ils incitent chacun à se rendre sensible à l’humanité latente du monde. Ils viennent rappeler que, face aux certitudes inflexibles et au principe aliénant de transparence, l’approximation et le mystère ouvrent des espaces de liberté et conditionnent bien souvent la possibilité d’être heureux
Challenging both apparent determinism and political or moral representations, Gary's work is defined by its predilection for off limit situations and contentious attitudes. Confronted with hatred or barbarism, it will always stand for irony and the power of creativity, involved both in the process of getting detached as well as enrapturing the world anew. Fed on the World War II trauma, it sustains the concept of humanness needing reinvention, not being a set notion but a fiction to be built, an ideal to achieve. Artists and creators owe their contribution to such foundation of a new human mythology upholding the unalienable principle of dignity, thus implanting everyone's spirit with the strength to resist despair. However, humanism cannot be seen just as an abstracted value or some shore to reach, it also implies the actual manner of living in the world. One has to keep clear from whatever overwhelming dogmas reality can impose, by favoring “margins” that will accept human contradictions and frailty. Away from any prophetic idealism, these dedicated spaces become shelters for intimate expression, allowing one to avoid onlookers and escape compelling truth assessments. Shaped around affective values, they bring one to become sensitive to a potential world humanity. Against rigid certitudes and the alienating principle of transparency, they help remember that approximation and mystery can give access to freedom and oftentimes condition the possibility of happiness

Esta dissertação detém-se na análise e na comparação do romance Dois Irmãos (2006), de Milton Hatoum, com a narrativa bíblica dos embates fraternos presentes no livro do Gênesis, especialmente o episódio dos gêmeos Esaú e Jacó. O relacionamento conflitante entre irmãos é um constante leitmotiv, um foco de interesse que se desenvolve de diversas formas ao longo de todo primeiro livro da Bíblia Hebraica. Hatoum vai à narrativa bíblica, considerada matriz do pensamento ocidental e da memória cultural da Humanidade pelo impulso do seu tema, logo, ele não parte da Bíblia. Como, então, o autor brasileiro trabalha o seu romance em que o fulcro é justamente o embate entre irmãos em torno da primogenitura (o que nos remeteria ao texto matricial bíblico Gênesis) para alinhavar sua ficção? A nossa viagem em busca dessa resposta é iluminada por um caminho tateante e trôpego. Como numa dança folclórica, narrador e protagonistas giram, trocam de lugar e se revezam nos papéis de Esaú, Jacó, Caim, Abel e José. Nossa pesquisa vai aproximar as narrativas ora por semelhanças ora por estranhamentos com base no romance de Hatoum. Buscaremos os vestígios da narrativa bíblica presentes na obra do autor brasileiro seguindo os rastros de Omar, Yaqub e, especialmente, Nael, um narrador intervalar, meio índio, meio árabe, filho bastardo de um dos gêmeos do romance com a cunhantã, empregada da família de origem libanesa. Diante de Nael, flertaremos o tempo todo com os olhos da memória. Nael nos conduzirá a uma surpreendente descoberta: é ele quem acende o foco nacional na nossa pesquisa e, como descendente do povo indígena do Amazonas, revela-se o mais legítimo herdeiro de toda ancestralidade mitológica, originária das lendas e mitos que envolvem gêmeos inimigos em narrativas tão ou mais milenares que a Bíblia. De certa forma, então, Nael rouba para si a luz, a princípio lançada sobre os gêmeos Omar e Yaqub, e se apropria da primogenitura quando estão em jogo o poder e o nome seja do patriarca da família libanesa, seja do mito original.
The following dissertation focuses on the analysis and comparison of Milton Hatoums novel Dois Irmãos (The Brothers, 2006) and the biblical narrative of the fraternal clashes in the book of Genesis, especially that of the twins Jacob and Esau. The conflict-ridden relationship between brothers is a constant leitmotiv, a point of interest that develops in different ways throughout the first book of the Hebrew Bible. Hatoum seeks the biblical narrative matrix for Western thought and Humanitys cultural memory through the impulse of his theme, therefore he does not set out from the Bible. How then, does the Brazilian author progress through his novel, whose fulcrum is the clash between brothers in respect to their primogeniture, which brings us back to the generative biblical text of Genesis to baste his fiction? Our journey in search of this answer is brightened by a fumbling and stumbling path. As in a folkloric dance, narrator and protagonists spiral, trade places and take turns in the roles of Esau, Jacob, Cain, Abel, and Joseph. Our research will approximate these narratives either through similarities or through the estrangement from the Hatounian novel. We will seek the vestiges from the biblical narrative present in the Brazilian authors work following the trails of Omar, Yaqub, and especially the narrator, Nael. An interspersed narrator, half Indian, half Arab; bastard son, progeny of one of the novels twins and a young Indian girl, the Lebanese family\'s maid. Led by Nael\'s narrative, we will constantly flirt with the eyes of memory. Nael leads us to a surprising discovery: it is he who brings into focus the national scope in our research and, as a descendant to the indigenous Amazonian peoples, he reveals himself as the most legitimate heir to all mythological ancestrality born from folktales and myths of rival twins narratives that are as ancient if not more than the Bible. So, to a certain extent, Nael steals the light originally shined upon the twins Omar and Yaqub for himself and embraces the primogeniture, while the power and name are at stake, be it from the familys patriarch, or the original myth.

Au cœur de la Haute-Savoie, entre janvier et mars 1944, un rassemblement d'hommes a lieu sur le Plateau des Glières. Sous les ordres du Lieutenant Tom Morel puis du capitaine Maurice Anjot, tous deux chasseurs alpins au 27eme BCA, ils ont pour mission de recevoir les parachutages d'armes dont les maquis du département ont besoin. Portés par la devise « Vivre Libre ou Mourir », les résistants mènent jusqu'à la fin mars 1944 contre les forces de Vichy puis de la Wehrmacht, un combat disproportionné. Si l'on ne peut parler de sacrifice, plus d'une centaine de maquisards y laissent leur vie. S'ensuit une reconstitution organisée des maquis jusqu'au 1er août 1944, date où trois milles hommes se rassemblent à nouveau aux Glières pour accueillir les parachutages les plus massifs jamais reçus par la résistance. Dès la mi-août 1944, les forces de la Résistance libèrent leur département. La défaite des armes se transforme en victoire. Dès 1944, les rescapés se regroupent au sein d'une association. Ils enterrent leurs morts, rédigent un premier livre-témoignages et publient le premier numéro de Messages. En 1973, ils lancent un concours international pour la construction d'un monument. De temps forts en temps de latence, la mémoire des Glières s'érige progressivement autour d'un récit enrichi de références mythologiques, qui devient une source potentielle d'inspiration d'un« vouloir vivre ensemble ». Soixante-cinq ans plus tard, la mémoire du maquis des Glières est toujours vivante, portée par des acteurs engagés dans le partage d'un héritage citoyen. Le processus de construction de la mémoire des Glières constitue le véritable enjeu herméneutique de cette thèse de doctorat
At the heart of Haute-Savoie, between January and March 1944, a gathering of men took place on the Plateau des Glières. Under the command of Lt. Tom Morel and of Captain Maurice Anjot, both chasseurs alpins at the 27th BCA, they are mandated to receive air drops of weapons whose the "maquis" of the Department have a pressing need. Driven by the motto "Live Free or Die", the resistance lead a disproportionate fight against the Vichy forces and then against those of Wehrmacht up to the end of March 1944. Even if one can not talk about sacrifice, more than one hundred "maquisards" lose their lives. There then followed an organized reconstruction of the maquis until the 1st August 1944, when three thousand men gather again to receive the most massive air drops ever received by resistance during daylight. At the middle of August 1944 and due to successful air drops, the Resistance forces liberate their department. The defeat of weapons becomes a victory. Since 1944, the survivors gather in a organization called "the association of survivors of Glières".' They bury their dead, write a first testimonial book and publish the first issue of "Messages". In 1973, they launch an international competition to build a monument. Going alternatively through successful and troubled times, the memory of the Glières stands gradually around a co-constructed story enriched with mythological references. Sixty-five years later, the memory of the Glières "maquis" is still alive, driven by players and commonly engaged in the share of a citizen heritage. So, the process of building the Glières memory is the real hermeneutics issue of this thesis

Using the lives of impaired individuals catalogued in the Íslendingasögur as a narrative framework, this study examines medieval Scandinavian social views regarding impairment from the ninth to the thirteenth century. Beginning with the myths and legends of the eddic poetry and prose of Iceland, it investigates impairment in Norse pre-Christian belief; demonstrating how myth and memory informed medieval conceptualizations of the body. This thesis counters scholarly assumptions that the impaired were universally marginalized across medieval Europe. It argues that bodily difference, in the Norse world, was only viewed as a limitation when it prevented an individual from fulfilling roles that contributed to their community. As Christianity’s influence spread and northern European powers became more focused on state-building aims, Scandinavian societies also slowly began to transform. Less importance was placed on the community in favor of the individual and policies regarding bodily difference likewise changed; becoming less inclusive toward the impaired.

Dans une perspective toute à la fois poétique, rhétorique et juridique, ainsi que générique et intertextuelle, cette étude propose une réflexion sur la mémoire et la parole de l’héroïne ovidienne. Une lettre simple (Médée, Héroïde XII) et une lettre double (Acontius et Cydippe, Héroïdes XX-XXI) sont au cœur de notre recherche. Médée et Cydippe allient le souvenir de l’instant à la parole intime et nous invitent à illustrer la représentation de la femme qui surgit au sein de l’art poétique du pathos, puis à affirmer la légitimation de son statut juridique dans une vraisemblance historique, et à apercevoir, dans un dernier temps, son émancipation, conquise dans une diversité dialogique et tensionnelle des genres et des textes. Les interférences textuelles avec les modèles fondateurs sont bien répertoriées, dans le cadre d’une allusion propre à faire apparaître une réécriture métaphorique de la réflexivité, dans un entrecroisement des instants que favorise particulièrement la figure d’Ariane catullienne (Carmen LXIV). Menée dans cet esprit, l’étude de la réminiscence littéraire est effectuée dans un travail des mots et des notions, pour la recherche d’une véritable mimésis poétique. Cette lecture aboutit à dégager la valeur autoréflexive de l’image du texte : mémoire ingénieuse et parole polysémique participent à un jeu savant où la figure féminine et la poiésis composée sont, à vrai dire, inséparables. Là réside encore l’originalité ovidienne : entre le souvenir de l’écrit et le futur de la lecture se situe la parole mnémonique, défense et message ultime de la femme ovidienne, ainsi récompensée
In a poetic, rhetorical and juridical perspective, as well as a generic and an intertextual one, this study proposes a reflexion on the ovidian heroine’s memory and speech. A single letter (Medea, Heroine XII) and a double letter (Acontius and Cydippe, Heroines XX-XXI) are at the heart of our research. Combining the memory of the instant with intimate speech, Medea and Cydippe extend an invitation to illustrate the representation of women that emerges from the poetic art of pathos, to affirm the legitimization of her juridical status in a historical plausibility, and to perceive, finally, her emancipation, gained in a dialogical and tensional diversity of genres and texts. The textual interferences with the founder models are well listed in the framework of an allusion that brings out a metaphorical rewriting of reflexivity, in an intersection of moments that particularly privileges the Catullian figure of Ariadne (Carmen LXIV). Carried out in this spirit, the study of literary reminiscence is completed in a work of words and notions for the research of a genuine poetic mimesis. This interpretation leads to highlight the autoreflexive value of the textual image: ingenious memory and polysemous speech participate in a learned play in which the feminine figure and the composed poiesis are, actually, inseparable. Therein can also be found Ovid’s originality: between the written memory and the future reading is set the mnemonic speech, defence and the ultimate message of the ovidian woman, thus rewarded

This volume brings together twenty-eight papers from an International conference on attitudes towards the past and the creating of identities in Antiquity. The volume addresses many different approaches to these issues, spanning over many centuries, ranging in time from the Prehistoric periods to the Late Antiquity, and covering large areas, from Britain to Greece and Italy and to Asia Minor and Cyprus. The papers deal with several important problems, such as the use of tradition and memory in shaping an individual or a collective identity, continuity and/or change and the efforts to connect the past with the present. Among the topics discussed are the interpretation of literary texts, e.g. a play by Plautus, the Aeneid, a speech by Lykurgos, poems by Claudian and Prudentius, and of historical texts and inscriptions, e.g. funerary epigrams, and the analysis of the iconography of Roman coins, Etruscan reliefs, Pompeian and Etruscan frescoes and Cypriote sculpture, and of architectural remains of houses, tombs and temples. Other topics are religious festivals, such as the Lupercalia, foundation myths, the image of the emperor on coins and in literature, the significance of intra-urban burials, forgeries connected with the Trojan War, Hippocrates and Roman martyrs.

Enigmatique, poétique, fragmentaire, foisonnante, réitérative, l’œuvre de Pascal Quignard attire par son univers complexe composé de fiction, de vécu personnel, de récits fabuleux, d’érudition, de pensées philosophiques, dans lequel on rencontre des lieux qui constituent des ports d’attache et qui détiennent les secrets du temps. Ces lieux semblent structurer l’œuvre. L’auteur s’intéresse à l’esprit des lieux comme pour mieux souligner les liens invisibles et imaginaires qui se tissent entre l’homme, son territoire et son passé. Etudier l’esprit des lieux et le mythe de l’origine chez Quignard, c’est essayer de comprendre l’évocation récurrente de ce territoire devenu obsédant et sa puissance de représentation dans la création de l’écrivain. Avec le choix du double corpus, romanesque et philosophique, avec le choix d’une méthode de recherche pluridisciplinaire (critique littéraire, anthropologie, imaginaire), notre thèse se construit en trois parties, qui abordent successivement la question de l’attirance des lieux, celle du glissement de l’enchantement à la mélancolie, ainsi que les caractéristiques de l’écriture poétique et mythique de Quignard. Nous trouvons des lieux enchantés qui reflètent la Weltanschauung de l’auteur. Véritables sources de vie, de l’imagination et de la création, ils suscitent la réconciliation entre l’homme et son passé, son territoire et son identité, même si la mélancolie y demeure fondamentale. Les personnages de Quignard sont extrêmement sensibles à tout ce qui est perdu et oublié, à des maisons et lieux abandonnés, à des hommes qui sont présentés comme des enfants d’Eve exilés. Le désir de ré-enraciner, de se ré-ancrer dans le lieu d’autrefois révèle l’attachement mais aussi la défaillance, car l’homme se trouve vite confronté à ce qui est perdu, au vide. L’enchantement reste éphémère, la mélancolie nous ouvre la porte des lieux sombres. Pour mettre en lumière l’esprit des lieux, Pascal Quignard a recours à une écriture riche en réminiscences, en images, en mythes. Son œuvre est le fruit de l’imaginaire, de l’intuition. Les relations complexes entre Fragments, Réminiscences, Mémoire dans son écriture révèlent la profondeur poétique de l’œuvre, tandis que le narrateur suit l’instant, la trace des êtres, les appels lointains, toujours avec son intuition, et ses impressions de poète mélancolique. L’écrivain sert également d’anciens mythes, les transforme et les enrichit comme un moyen efficace pour créer son propre mythe des lieux : mythe du perdu, mythe du retour et mythe de l’origine
Enigmatic, poetic, fragmentary, abundant, the attraction of Pascal Quignard's work comes from the complex universe of fiction, personal experiences, fabulous stories, extensive documentation and philosophical thoughts, in which some places are homeports, holding the secrets of time. Such places seem to structure the work. The author favors the spirit of places, as if to underline the invisible imaginary links between man, his territory and his past. To study the spirit of places and the origin of myth in the work of Quignard one has to try to understand the recurring evocation, which has become obsessive, of this territory, and his power of creation as writer. With the choice of a double corpus, fiction and philosophy, and a method of interdisciplinary research (literary criticism, anthropology, imagination), our thesis divides into three parts, which will examine in succession the attractiveness of places, then proceed from enchantment to melancholy, and eventually determine the characteristics of the poetic and (the) mythical writing of Quignard. We will find enchanted places that reflect the worldview of the author. They are the true sources of life, imagination and creativity, bringing about reconciliation between man and his past, his territory and his identity, even if melancholy remains fundamental in them. The characters of Quignard are extremely sensitive to all that is lost and forgotten, abandoned homes and places, and to men who are Eve's children in exile. The desire to re-root oneself into the place of the past reveals attachment but also failure, because man is quickly confronted with loss and emptiness. The enchantment remains elusive; melancholy appears constant and opens somber places in his work. To enhance the spirit of place, Quignard makes use of a rich choice of reminiscences, images and myths. His work is at the same time search for, analysis and a quest on man and his place on earth, but it is also a product of imagination and intuition. The complex relations between Fragments, Reminiscences, and Memory in his writing reveal the poetic depth of the work. The narrator also follows moment and instinct, always with the intuition and feelings of a melancholy poet. The writer also uses ancient myths and transforms and enriches them as an effective way to create his own myth of place: myth of (the) loss, myth of (the) return and the myth of (the) origin

En réponse au traumatisme de la division nationale suscitée par la guerre civile et cristallisée pendant le franquisme, la figure d’Antigone resurgit avec force dans la dramaturgie espagnole. Le parcours de résistance de cette héroïne grecque devient, sous la plume des auteurs espagnols du XXème siècle, l’emblème de la « juste mémoire » (Ricœur, 2000). Partant de l’hypothèse que le corpus des Antigones espagnoles constitue un ensemble relevant d’une dynamique commune de relecture de l’histoire, cette thèse recherche, à travers un travail comparatif des structures et des symboliques, la cohérence des versions catalanes, galiciennes et castillanes, de l’exil comme de l’intérieur, pour la période comprise entre 1936 et 1989. Dix-huit pièces sont ainsi mises en perspective pour démontrer la conquête de discours mémoriels et compensatoires à partir des sources hypotextuelles que constituent la tragédie de Sophocle, mais aussi les autres versions théâtrales du mythe. La première partie examine les procédés de réécriture du mythe, de l’histoire et de la tragédie, pour qualifier les pièces et déterminer un éventuel noyau mythique ou un schéma référentiel récurrent. La notion de « (re)configurations contemporaines » au prisme du contexte politique émerge alors pour désigner les objets de ce travail. La deuxième partie analyse les convergences esthétiques et les motifs récurrents dans les textes, car les Antigones espagnoles contemporaines placent au centre de la scène la métaphore de la marge pour figurer l’exclusion politique, ou encore celle du chemin pour représenter les destins brisés et l’exil. Fondamentalement, ces œuvres forgent un tombeau littéraire pour les défunts oubliés, mais aussi un monument en l’honneur des invisibles. La dimension esthétique de cette place théâtrale compensatrice ouvre une réflexion sur son sens cathartique dans une société en recomposition pendant la Transition. En effet, le troisième volet de cette thèse est centré sur la théâtralisation de l’histoire : il s’agit d’étudier les dispositifs de déconstruction des récits nationaux à travers les différents réagencements du mythe des Labdacides. Cette clé de lecture révèle les stratégies de démythification-remythification qui président aux nouvelles charges sémantiques des épisodes mythiques, dépeignant un autoportrait déformant de la communauté espagnole en crise. À l’horizon de ces pratiques de réécriture, se lit la conception d’une époque historique comme une épopée, que la parole cérémonielle et le dispositif scénique peuvent contribuer à purger, par une distance qui englobe un large prisme, de la sacralité au grotesque
Echoing the traumatic conflict within the nation caused by the Civil War and crystallized during Franco’s era, Antigone’s reappearance was extremely intense in Spanish dramatic creation. In contemporary rewritings, the resistance of this tragic character from Greek mythology turned out to be the emblem of a “fairer memory” (Ricoeur, 2000). This work asserts that the Spanish Antigones converge and share a common signification when it comes to rewriting History; and resorts to a comparative study of structures and symbols to shed light on the continuity between the Castilian, Catalan and Galician versions, between those written in exile or not, from 1936 to 1989. In order to establish the common dynamic, eighteen plays are compared, whose key idea is to create a memorial and a redeeming discourse based on the Greek sources but also inspired by other versions of the tragedy. Therefore, the first part examines the strategies implemented to rearrange the mythical pattern, the historical context and the tragic genre. This leads to the conclusion that there is no permanent mythical core nor a fully recurrent referential scheme. As such, the notion of “contemporary (re)configurations” through the prism of politics seems relevant to describe the rewritings. The second part analyses the aesthetic convergences and the recurring themes and metaphors throughout the texts and concludes that in the contemporary Spanish Antigones, the image of the margins embodying exclusion takes on centre stage while the image of the path is resorted to in order to evoke broken destinies and exile. Basically, these plays create a literary tomb for the forgotten deceased but also a monument in honour of the invisible –alive– ones. The aesthetic dimension of this compensatory play requires a reflection upon its cathartic sense in a transforming society during the Transition to democracy. Indeed, the third part of this work focuses on the dramatization of History, making it crucial to study the scenic devices that dismantle the official stories and political myths. This reveals the strategies of “demystification” followed by new mythifications that portray a distorting image of the Spanish community in crisis. Ultimately, these practices of rewriting show that the playwrights conceived their time as an epic and mythical phase which could be purged by theatrical ceremonial thanks to a distancing effect that covers a large prism, from sacred to grotesque

碩士
逢甲大學
歷史與文物研究所
107
Mythology reveals a people’s worldviews, while its cultural thinking comes from its way of categorizations of things, which further influences people’s praxis and production of history. Against the backdrop of the Wa people’s frequent overseas interactions during the Kofun period, Okinoshima in the Genkai Sea became home for religious rituals, where sacred practices lasted for centuries and the contemporary belief of the three Munakata goddesses in Japanese mythology originated. Focusing on the relations between mythology and history, the study analyzed the mythological thoughts implied by two museums’ historical exhibitions related to Okinoshima’s sacred rituals by adopting methodologies of both historical anthropology and museology. The study then further explored the process of cultural reproduction and transformation in the course of history, as well as the phenomenon of infiltration between memory and history. The study discovered that the way museums arranged their historical exhibitions on display was influenced by contemporary values and also implied standards of cultural cognitive systems, which indicates the point that culture defines history. Cultural thinking of “other world” (“takai”, 他界 in Japanese) and “gods from outside world” in Japanese mythology determined the composition of ritual objects of Okinoshima in historical exhibitions. The exhibition by Shimpokan Museum of Munakata Taisha was planned and displayed in a diachronic point of view, while the special exhibition “the Sacred Island of Okinoshima in Munakata Region and the Yamato Imperial Court” by Kyushu National Museum was done in a synchronic point of view. They both emphasized the process of cultural reproduction and transformation and showed the historical interpretation of “the rebirth of the self.” Additionally, the cultural memory of Okinoshima shaped by the memory mechanisms of mythological text and ritual practices also influenced the museums’ production of history, which showed a historical view that encompasses both the sacred and the secular.

Indiana University-Purdue University Indianapolis (IUPUI)
The ‘loss of self’ trope is a pervasive shorthand for the prototypical process of Alzheimer's disease (AD) in the popular imagination. Turned into an effect of disease, the disappearance of the self accommodates a biomedical story of progressive deterioration and the further medicalization of AD, a process which has been storied as an organic pathology affecting the brain or, more recently, a matter of genetic calamity. This biomedical discourse of AD provides a generic framework for the disease and is reproduced in its illness narratives. The disappearance of self is a mythic element in AD narratives; it necessarily assumes the existence of a singular and coherent entity which, from the outside, can be counted as both belonging to and representing an individual person. The loss of self, as the rhetorical locus of AD narrative, limits the privatization of the experience and reinscribes cultural storylines---storylines about what it means to be a human person. The loss of self as it occurs in AD narratives functions most effectively in reasserting the presence of the human self, in contrast to an anonymous, inhuman nonself; as AD discourse details a loss of self, it necessarily follows that the thing which is lost (the self) always already existed. The private, narrative self of individual experience thus functions as proxy to a collective human identity predicated upon exceptionalism: an escape from nature and the conditions of the corporeal environment.