The purpose of this thesis is to examine Webster's The Duchess of Malfi, a representative example of the Jacobean "horror" play, in terms of its possible relationship to Antonin Artaud's Theatre of Cruelty, a dramatic theory chiefly propounded in The Theater and its Double. The introductory section outlines the basic aims and principles of a Theatre of Cruelty as postulated by Artaud, and attempts to show why, in view of recent theatrical experiments, Webster's play might profitably be investigated within this twentieth century context. The first two chapters proceed to a discussion of Webster's complex theatrical form, attempting to show how and why he makes full use of any available dramatic and theatrical device and convention to aid in the presentation of his personal vision of man and society. The play is thus first examined in the context of Total Theatre, a principle basic to a Theatre of Cruelty. The central chapters of the thesis investigate the thematic lines in The Duchess of Malfi, and attempt to show how in spite of the many components from which the play is constructed, there nevertheless emerges a unified and coherent dramatic vision. This vision is seen as being developed in three ways, separable for purposes of discussion but ultimately closely inter-related, namely visual imagery, verbal imagery and characters-in-action. Thematic presentation through visual and verbal imagery is discussed in Chapter III, while Chapter IV deals in more detail with aspects of characterization. The argument advanced in Chapter IV is that Webster's method of characterization is based on what is basically a simple Good and Evil contrast, with the characters developed as opposed Forces or symbols. The characters in action, seen as opposed Forces, constitute a third presentation of the central themes, working with and strengthening the presentation of the themes as explored in the visual and verbal imagery. The final chapter of the thesis examines the play in somewhat more general terms. An attempt is made to relate The Duchess of Malfi to more traditional genres—tragedy, comedy and satire. Webster's particular use of certain features of these traditional forms is discussed. Because the play is imperfect if measured against the accepted conventions of tragedy, the theory is advanced that it might be viewed as related philosophically to the contemporary Theatre of the Absurd, on which the Theatre of Cruelty has had considerable formative influence. Throughout the discussion of themes and characterization, references to Artaud and interpretations of Artaud's ideas are included wherever possible to point out the closeness of the relationship between The Duchess of Malfi and Artaud's Theatre of Cruelty. The thesis advanced throughout is that the play contains within itself elements which were not formally advanced as an approach to drama until this century. In effect, a Jacobean Theatre of Cruelty is being suggested as existing in fact if not in name. Concluding remarks suggest that if the felt relationship between The Duchess of Malfi and the Theatre of Cruelty is seen to be a valid one, an investigation of other works by Jacobean dramatists might prove of use in giving meaning and significance to much of the violence, horror and grotesquery which appears in the plays of the period. The response of the Jacobean dramatists to their times can be seen as in many ways analogous to the response to the human condition in the dramas of the contemporary avant-garde. / Arts, Faculty of / English, Department of / Graduate

Notre recherche débouche sur une analyse thématique de la scène alimentaire dans deux romans québécois: La Scouine d'Albert Laberge et Un homme et son péché de Claude-Henri Grignon. Vers la fin, nous étudions rapidement Trente arpents de Ringuet. Les trois romans ont été écrits à l'époque où l'idéologie traditionnelle terrienne restait le discours social dominant, alors que la terre était généralement perçue comme une mère nourricière avec ses attributs de générosité et de fécondité, et sa valeur de fondement de la survie nationale lorsque fleurit le roman régionaliste. Notre approche emprunte son modèle de lecture à la théorie sémiotique de la Logigue de Port-Royal telle que comprise par Louis Marin dans La Parole mangée. Ce qui nous intéresse plus particulièrement dans cette étude, c'est la richesse sémiotique que la pensée théologique investit dans la formule rituelle eucharistique par l'énoncé consécratoire <<ceci est mon corps>>. Louis Marin a su découvrir la dimension sémiotique du dogme catholique en recourant au concept de <<la double-représentation>> du signe et en décrivant un processus selon lequel chaque signe "enferme deux idées, l'une de la chose qui représente, l'autre de la chose représentée et sa nature consiste à exciter la seconde par la première". Dans ce sens-là, le signe est à la fois <<objet>> et <<opération>> et le fonctionnement spécifique de son insertion dans un système signifiant où gravitent les formes esthétiques et les discours sociaux, offre des pistes intéressantes à la lecture des oeuvres littéraires. En nous servant des concepts mis au point par Louis Marin, nous allons tâcher d'abord de découvrir ce que signifie la nourriture dans la scène alimentaire des romans de Laberge, de Grignon et de Ringuet et puis de trouver quelle <<idée de chose>> est à la fois cachée et représentée par le signe, afin de mettre à jour l'arrière-plan idéologique des trois romans que nous étudions. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Les technologies nomades (smartphones, tablettes, . . . ) étant actuellement très répandues,nous avons souhaité, dans le cadre de cette thèse, les utiliser comme vecteur pour proposer au grand public des outils de spatialisation sonore. La taille et le nombre de transducteurs utilisés pour la captation et la restitution sonore spatialisée sont à ce jour la limitation principale pour une utilisation nomade. Dans une première étape, la captation d’un opéra pour une restitution sur des tablettes tactiles nous a permis d’évaluer les technologies audio 3D disponibles aujourd’hui. Les résultats de cette évaluation ont révélé que l’utilisation des quatre capteurs du microphone Soundfield donne de bons résultats à condition d’effectuer un décodage binaural adapté pour une restitution sur casque. Selon une approche inspirée des méthodes de localisation de source et le concept de format « objet », un prototype de prise de son 3D léger et compact a été développé. Le dispositif microphonique proposé se compose de trois capsules microphoniques cardioïdes. A partir des signaux microphoniques, un algorithme de post-traitement spatial est capable, d’une part, de déterminer la direction des sources et, d’autre part, d’extraire un signal sonore représentatif de la scène spatiale. Ces deux informations permettent ainsi de caractérisercomplètement la scène sonore 3D en fournissant un encodage spatial offrant le double avantage d’une compression de l’information audio et d’une flexibilité pour le choix du système de reproduction. En effet, la scène sonore ainsi encodée peut être restituée en utilisant un décodage adapté sur n’importe quel type de dispositif.Plusieurs méthodes de localisation et différentes configurations microphoniques (géométrie et directivité) ont été étudiées.Dans une seconde étape, l’algorithme d’extraction de l’information spatiale a été modifié pour prendre en compte les caractéristiques réelles in situ des microphones.Des méthodes pour compléter la chaîne acoustique sont proposées permettant la restitution binaurale ainsi que sur tout autre dispositif de restitution. Elles proposent l’utilisation de capteurs de localisation présents sur les terminaux mobiles afin d’exploiter les capacités qu’ils offrent aujourd’hui. / Mobile technologies (such as smartphones and tablets) are now common devices of the consumer market. In this PhD we want to use those technologies as the way to introduce tools of sound spatialization into the mass market. Today the size and the number of traducers used to pick-up and to render a spatial sound scene are the main factors which limit the portability of those devices. As a first step, a listening test, based on a spatial audio recording of an opera, let us to evaluate the 3D audio technologies available today for headphone rendering. The results of this test show that, using the appropriate binaural decoding, it is possible to achieve a good binaural rendering using only the four sensors of the Soundfield microphone.Then, the steps of the development of a 3D sound pick-up system are described. Several configurations are evaluated and compared. The device, composed of 3 cardioid microphones, was developed following an approach inspired by the sound source localization and by the concept of the "object format encoding". Using the microphone signals and an adapted post-processing it is possible to determine the directions of the sources and to extract a sound signal which is representative of the sound scene. In this way, it is possible to completely describe the sound scene and to compress the audio information.This method offer the advantage of being cross platform compatible. In fact, the sound scene encoded with this method can be rendered over any reproduction system.A second method to extract the spatial information is proposed. It uses the real in situ characteristics of the microphone array to perform the sound scene analysis.Some propositions are made to complement the 3D audio chain allowing to render the result of the sound scene encoding over a binaural system or any king of speaker array using all capabilities of the mobile devices.

Syftet med den här uppsatsen är att undersöka hur self-made men används i nutidaamerikanska TV-serier. Två far/son-konstellationer ur serierna Succession ochOzark analyseras med hjälp av mansforskning för att komma fram till hurrelationerna ser ut, vilket förhållande karaktärerna har till sin egen maskulinitetoch hur serierna adresserar ämnet nyliberalism. Uppsatsen landar i att fäderna harsvårt att släppa sin hårda mask medan sönerna i viss mån vågar visa sig sårbara.Sönerna modellerar sig efter fäderna samtidigt som de försöker bryta sig loss ochbli självständiga. Mäns svårigheter att visa sig sårbara tas upp och problematiserasi båda serierna medan den nyliberala ekonomin snarare ses som en obekvämnaturlag att anpassa sig till vare sig man vill eller inte.

I denna uppsats behandlas Markusevangeliet 1:1-15. Dessa verser granskas textkritiskt genom en genomgång av grammatik och syntax jämföra olika översättningar samt utvärdera om en adoptionistisk kristologi kan utläsas. Sedan behandlas verserna utifrån receptionshistorisk metod för att undersöka om det fanns kretsar bland tidiga Kristustroende som fann stöd för en adoptionistisk läsning och förståelse av Markusevangeliets inledning, dvs. att denna läsning motiverade rörelserna att förstå detta som att utnämnandet av Jesus som Guds son skedde först vid dopet i Jordan och inte dessförinnan. Uppsatsen syftar också till att redogöra för ett par av dessa tidiga rörelser och undersöka om de kan ha läst och funnit kristologiskt stöd i Mark 1:1–15 samt att jämföra dessa tidiga rörelser och deras läsning av Mark 1:1–15.

This thesis analyses the concept of the "Day of the Lord" as it comes to expression in Luke-Acts. In these books, this Old Testament concept is reinterpreted and used in conjunction with another Old Testament theme: the coming of the Son of man. An analysis of the Lukan passages about the coming of the Son of man (Luke 17:22-37i 21:5-36; 12:35-48) in the context of the contemporary historical situation of first-century Judaism reveals that when speaking of the coming of the Son of man, the Lukan Jesus is referring to a number of comings; namely, his own life (Luke 12) and the destruction of Jerusalem in 70 CE (Luke 17 and 21). The Old Testament imagery of the Son of man is used to show the nature of this coming: a vindication of those suffering "for my name's sake" (Luke 21: 17). In Luke this message of hope and judgment is brought to Israel; Acts shows how the final age has dawned, extending this message of hope and judgment to the gentiles. The suffering of Jesus and his resurrection of vindication become the suffering of the church to be ended by another day of vindication and resurrection. Luke-Acts, therefore, points out the eschatological character of the coming of Jesus and the destruction of Jerusalem in 70 CE, for they are the beginning of an event that will be consununated in the final coming. In the mean-time, those who eagerly await that coming can claim the already fulfilled promises and testify to the Spirit-filled restoration taking place already now, in the last days. / Thesis / Master of Arts (MA)

[pt] O presente trabalho teve como objetivo investigar o sistema familiar recasado, a partir da perspectiva dos filhos do primeiro casamento. Buscou-se, com este estudo, compreender como as crianças vêem as relações familiares existentes entre elas e seus pais, mães, padrastos, madrastas, irmãos e avós. As transições pelas quais a família recasada passa, iniciadas por um processo de divórcio, seguido pela inclusão de novos membros através do novo relacionamento de um ou de ambos os pais, tornam o sistema familiar mais complexo, demandando de todos readaptações e ajustes. Os papéis dos membros da família de primeiro casamento não se ajustam aos deste novo arranjo, e cada membro precisa encontrar seu lugar para que se sinta pertencendo à família. Desenvolveu-se uma pesquisa de campo qualitativa, com entrevistas semiestruturadas realizadas com sete crianças de famílias recasadas, sendo elas filhas do primeiro casamento. Os entrevistados tinham entre dez e treze anos, todos residentes na cidade do Rio de Janeiro e pertencentes às classes média e média alta da população. Os dados foram analisados a partir do método da análise de conteúdo e, da fala dos entrevistados, emergiram cinco categorias: papel de pai e papel de mãe; participação da família ampliada; relacionamento com padrasto/madrasta; coparentalidade; e, relações de fratria. Ao olhar dos filhos, parece ser importante que as funções familiares sejam bem definidas, para que o relacionamento familiar seja visto de forma positiva. A partir dos resultados encontrados, pode-se sugerir que, na visão da criança, o modelo de família de primeiro casamento ainda é uma forte referência. Aponta-se também para o importante suporte oferecido pela família ampliada, para dificuldades no relacionamento coparental pós-divórcio e para a importância de incluir os novos membros da família recasada. / [en] This study aimed to investigate the remarried family system, from the perspective of the children from intact families. We have tried to understand how children see the relationships between them and their fathers, mothers, stepfathers, stepmothers, brothers and grandparents. The transitions in which the members from remarried family go through, begining with divorce, followed by the addition of new members through the new relationship of one or both parents, makes the system more complex, requiring adaptations from everyone involved. The roles of members from the traditional first marriage family do not fit this new arrangement, and each member needs to find their place and feel like they belong to the family. We have developed a qualitative research, with semi-structured interviews with seven children from remarried families, sons of the first marriage. The respondents were between ten and thirteen years old, residents in the city of Rio de Janeiro and belonging to the middle/upper classes of the population. The data was analyzed using content analysis method and from the speech of the interviewees, five categories emerged: the role of father and mother; participation of extended family; relationship with stepfather / stepmother; co-parenting; and, sibling relationships. In children s view, it seems important that family roles are well defined, so that the family relationship feels positive for them. From the results we found, we can suggest that, in the child s point of view, the traditional family model of first marriage is still a strong reference. The results also show the importance of the support provided by the extended family, of maintaining a cooperative coparental post-divorce relationship and of including the new members of the remarried family.

The photographer discusses the work in Boundaries, her Master of Fine Arts exhibition on display at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee from October 31 to November 4, 2011. The exhibition consists of 20 black and white photographs, the main subject of which is the photographer's son. The photographs and supporting thesis explore the idea of boundaries real and implied, and how confinement can prompt a variety of behaviors. Topics include the process and evolution of the work and the artists who have influenced it, the importance of light and the challenge of photographing family. Included is a catalogue of the exhibition.

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The leitmotif of Stuffmobile, a modern day Florida-based novella, is that of relational healing: a son with his father, ex-lovers with one another, and, even more challenging perhaps, a son making peace with his dead mother. New beginnings are explored, both as resurrection of long dead feelings and as starting afresh after loss. A husband finds distraction in a covert project after his wife’s death, so much so that his preoccupied isolation worries his two adult children. The son comes to investigate, and his malfunctioning car leads to a reunion and the beginnings of reconciliation. Hours later, an accident nearly derails the relationship once more. The characters here struggle to understand and be understood, to avoid hurting others and avoid being hurt, all while searching for respect and love—just another normal day of the human experience.