Thesis (M.A.)--University of Central Florida, 2009. / Adviser: Spencer Downing. Includes bibliographical references (p. 97-100).

The De miseria humane conditionis (1191--1195) by Lotario di Segni (Pope Innocent III) was a greatly influential text in medieval culture, and was translated and reworked in many European languages. Early translations of the work, however, have been usually overlooked by scholars. This is true in particular of Della miseria dell'uomo, composed in the second half of the 13th century by the Florentine judge Bono Giamboni. / My thesis consists in an extensive comparison of Bono's Della miseria dell'uomo with Lotario's De miseria humane conditionis. My purpose is twofold: to detect the differences between the two texts; and to understand how the two texts correspond to two completely different historical contexts. How the spirit of Lotario's text was transformed a century later into Bono's work? Bono's Della miseria reveals some crucial dimensions of the mentality and sensitivity of the communal age. It transforms Lotario's discouraging analysis of earthly life into a moral treaty conceived according to a more realistic and serene mentality. Bono feels compelled to console those who are burdened by the tribulations of life; to encourage sinners to humble themselves and repent; and to give hope to men of good will in order that they become better persons. He thus conveys a positive vision of life. It is not by chance that the last part of Bono's treaty deals with paradise.

Inaug.-diss.--Königsberg. / Lebenslauf.

Texte remanié de: Ph. D. th.--Cardiff--University of Cardiff. / Bibliogr. p. 231-238. Index.

This paper explores how religious elites affect public opinion through focusing on the role of the pope, by asking the question if the publication of a papal encyclical can influence attitudes about religion. Using the Unexpected Event during Survey Design, this paper connects data from the European Social Survey 7 to investigate if respondents' answers about their attitudes towards religion changed, due to the publication of a papal encyclical. Situating itself in the theory of elite cues, the object of this research is to show that religion is an important influence in the shaping of attitudes and that the pope, as an example of a religious elite, is a relevant actor in shaping opinions across Europe. This research finds that the publication of the encyclical does not make a significant difference in attitudes among individuals, however there is an increase in level of religiosity, primarily for countries with strong pre-existing attachments towards religion.

No description available.

<p> The following study describes the evolution of Alexander Pope's Pastorals from their embryonic state in the earliest extant manuscript of them, the Houghton holograph, to their final resting place in the last authorized version of them, the posthumous 1751 edition of the poet's Works edited by his friend and literary executor, Rev. William Warburton. During this period the four poems -- "Spring", "Summer", "Autumn" and "Winter" -- and the brief critical treatise that accompanied them underwent hundreds of alterations, from single words to entire stanzas. A careful examination of the earliest extant version, in conjunction with a close study of the many changes and additions Pope made during this lifetime, provides a considerable amount of information concerning precisely what Pop endeavours to accomplish in creating this cycle of poems. A xerox copy of the Houghton holograph, together with a diplomatic transcript of it and a list of all subsequent authorized alterations to the text has been included to facilitate the study. Though some of the variants of this holograph have been cited (with varying degrees of accuracy) in previous editions of Pope's poetry, the manuscript itself has never before been reproduced in its entirety. </p> <p> This study concentrates particularly upon the evolution of the Pastorals primarily because a comparison of the final version of any given passage with earlier versions often makes the poet's intentions clearer. Pope himself would seem to have been aware of this fact since he includes a number of variant readings from manuscripts and earlier printed texts in the notes he appends to these poems in the 1736 edition of his Works. Likewise, an examination of the sources of Pope's allusions to other poems in the pastoral tradition -- some though by no means all of which he also records in his 1736 notes -- sheds additional light on the poet's meeting. Though the vast majority of these allusions have been identified by previous scholars, their function in the poems themselves has to date been, for the most part, ignored. Yet, as this study demonstrates, these allusions and their contexts form an integral part of the poet's design, frequently providing an oblique, but highly pertinent comment upon what is actually taking place. </p> <p> This study leads ultimately to a new reading of the Pastorals, one that focuses upon the numerous alterations and additions to them between 1704 -- the supposed date of the Houghton holograph which may be regarded as their first limited "edition" -- and 1751. Particular emphasis is placed on the major additions -- the dedicatory stanzas inserted into the first three poems in 1709, the revised version of the prose treatise added in 1717 and the apparatus of notes appended in 1736. For, in each of these Pope would appear to be providing his readers with the necessary direction to comprehend precisely what he is endeavouring to accomplish. To study Pope's creation without reference to these and the other factors previously mentioned is to miss much that is of the utmost importance in them. Only through a reconstruction of their evolution can be Pastorals be fully understood and appreciated. </p> / Thesis / Doctor of Philosophy (PhD)

No description available.

This study extends notions of framing theory by drawing from research analyzing the framing of Pope Francis within coverage from The New York Times. The mass media has, since the election of Pope Francis in 2013, provided him extensive coverage on a myriad of issues. Previous studies have noted Pope Francis' propensity to draw massive amounts of media attention towards his actions and statements, even noting the potential for Pope Francis to control the media narrative through his own implementation of frames. Drawing on framing theory, this study examines the ways in which coverage of Pope Francis is defined by The New York Times by finding relationships between the issues addressed in Papal coverage, the frames implemented within this coverage, the valence of the messages, and the presentation of Pope Francis himself. This thesis yields that coverage of Pope Francis within The New York Times has shifted from positive valence to primarily neutral valence when comparing the first three years of his papacy to second three years. The findings of this thesis could potentially inform future studies which may wish to determine potential for frame transfer due to the content of articles or for studies which may wish to delve deeper into the issue with a much larger sample. / Master of Arts / Since Pope Francis’ election, the mass media has focused heavily on his statements and actions. Previous literature attests to the notion that Pope Francis is unique among his predecessors when it comes to media coverage, primarily due to his propensity to make statements or moral recommendations that seemingly oppose or deviate from traditional Catholic values. This thesis explores the relationship between Pope Francis and the American mass media by analyzing 226 articles published by The New York Times within the first six years of his Papacy. The findings of this thesis point to notions related to the valence of Papal coverage, which began as primarily positive but have shifted in nature from the beginning of Francis’ Papacy. The findings of this thesis also point towards the religious nature of Papal coverage and also the potential for sexscandal coverage to shift representation of the Pope.

Thesis (M.A.)--University of Delaware, 2005. / Principal faculty advisor: Gibson, Ann E., Dept. of Art History. Includes bibliographical references.