Thesis (Ph. D.)--Boston University Includes bibliographical references (leaves 287-293). Abstract: leaves 294-301.

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Frank C. Laubach made substantial contributions both to literacy education and the Christian life. There were between sixty and one hundred million people who learned to read through his literacy campaigns. He traveled to 130 countries developing literacy primers in 312 languages. At the same time, Laubach was a missionary mystic, spiritual experimenter and leader among Protestant Christians. The purpose of this study was to examine the relationship between two important parts of Laubach's life: his Christian development and literacy education. The study presents an overview of the family and social background of Frank C. Laubach from a chronological framework. Additional chapters examine: the importance of i-he Christian disciplines in Laubach's life, the impact of the missionary call and Laubach's concern for Christian social responsibility. The final chapter summarizes and evaluates the research. Both the Laubach collection, found in the George Arents Research Library at Syracuse University in Syracuse, New York, and the library at Laubach Literacy International in Syracuse, provided the resources for comprehensive research in the life of Frank C. Laubach.

This thesis examines the schisms in the antebellum Baptist and Methodist Churches regarding slavery. It was these internal ruptures in both denominations that helped influence life in the slave community. The slave narratives of Henry Bibb, William Wells Brown, Frederick Douglass and Harriet Jacobs reveal the impact the schisms had on master-slave relations and slave religious instruction. Moreover, the internal rupture in both denominations over the South‟s peculiar institution was instrumental in spawning a pro-slavery Christianity. This pro-slavery Christianity proved crucial in extending and strengthening white hegemony. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

Made available in DSpace on 2016-04-28T19:34:39Z (GMT). No. of bitstreams: 1 Eli Gomes Castanho.pdf: 2050274 bytes, checksum: 818bd883b9c7c237bf957890b563d4f5 (MD5) Previous issue date: 2009-06-19 / Secretaria da Educação do Estado de São Paulo / This dissertation examines the ethos construction of the caipira through the discursive genre tale-story. The corpus of this work is composed by three tales-stories from the book As estrambóticas aventuras de Joaquim Bentinho, o queima-campo (1924), of Cornélio Pires, writer and story-teller from Tietê-SP, who lived in the beginning of twenty century. Our general objective was to examine the scenes of the enunciation and the construction of ethos of the caipira . Our specifics objectives were: to verify the construction of global and generics scenes, characterizers of a type of discourse and genre, respectively; to describe scenographies constructed by the stories-tales; and, through this analytic movement, to observe how is created an image of the caipira , in those scenographies. The caipira s images were historically reconstructed by different medium means. These constants reconstructions brought, in its discourses, different representations of the rural man, since the lazy and alienated man about the economic world, until the bucolic man who lives in peace with the nature and far way the urbans values. Then, it was interesting to us, to notice how the caipira s image was created in that discursive genre. The theorist base of our analysis was upon D. Maingueneau s (2005, 2006c, 2008) perspective. We chose to work with his Global Semantic plans: scenes of the enunciation, ethos and language code. We apprehended in the tale-story as belongs to the literary camp, trough the construction of a global scene that legitimates its; by the generic scene, we understood the story-tale as a discoursive genre; and, according to the scenographics analyses of the three tales-stories, we realized the creation of a relaxing and interaction moment among the planters, in the cold night, in the farm, time to rest after a hard day and enter in other places created by the utterance. After that, we have studied the utterance of the story-tales, we proceeded the study of the caipira s ethos construction kind, in the three texts chosen, that they have as theme: public health, technology and scientific progress and politic. We understood that the construction of the ethos is made by the opposition between the man of the city and the discourses that present the caipira like an antihero. The image constructed presents a countryman characterized by: the resistant and the immunity in the presence of the adversity resultant of the abandonanment of the politics public health; by a particular knowledge that is not less important than the city habitant; and a politic posture. The faces constructed are also confirmed by mechanism of the caipira variant spelling, configuring an own language code. We considered, finally, that the tales-stories draw a countryman ethos that exchanges the antihero for the hero, not accepting, by the humor, a negative and polemic stereotype, since that time until nowadays / Esta dissertação examina a construção do ethos do caipira a partir do gênero de discurso causo. A amostra que integrou o trabalho é composta de três causos publicados na obra "As estrambóticas aventuras de Joaquim Bentinho, o queima-campo" (1924), de Cornélio Pires, escritor do interior paulista, de Tietê-SP, do início do século XX. Nosso objetivo geral foi examinar as cenas da enunciação e a construção do ethos caipira. Foram nossos objetivos específicos: verificar a construção das cenas englobante e genérica caracterizadoras, respectivamente, do tipo de discurso e do gênero; descrever as cenografias construídas pelos causos; e, a partir desse movimento analítico, observar como se dá a construção do ethos caipira nessas cenografias construídas. O caipira foi historicamente reconstruído por vários meios midiáticos. Essa reconstrução constante trouxe, no bojo de seus discursos, diferentes representações do paulista da zona rural, que vão desde o matuto preguiçoso e alienado a questões minimamente necessárias à sua inserção no mundo econômico, ao homem bucólico em paz com a natureza e desapegado dos valores urbanos. Logo, foi-nos interessante perceber a imagem que se construía do caipira, no gênero discursivo causo. Para fundamentar as análises, recorremos ao arcabouço teórico-metodológico da Análise do Discurso, na perspectiva de Dominique Maingueneau (2005, 2006c, 2008). Optamos por trabalhar com os seguintes planos da Semântica Global, proposta pelo teórico francês: cenas de enunciação, ethos discursivo e o código linguageiro. Apreendemos o causo como pertencente ao campo literário, a partir da construção de uma cena englobante que o legitima; bem como o caracterizamos, pela apreensão da cena genérica, como um gênero de discurso; e, pela análise dos três causos, observamos a construção de suas respectivas cenografias, da qual percebemos a criação de um espaço de acolhimento, de interação entre os roceiros, na noite fria da fazenda, tempo para distrair-se após o dia árduo e lançar-se a outros espaços criados pela enunciação. Uma vez estudada a natureza enunciativa dos causos, procedemos ao modo de construção do ethos caipira, nos três textos selecionados, cujas temáticas são saúde pública, avanço tecnológico-científico e política. Da leitura que fizemos, pudemos perceber que a construção do ethos se dá pela auto-afirmação em oposição ao homem da cidade e a discursos que pintavam o caipira como um anti-herói. A imagem construída ostenta um camponês caracterizado pela resistência e imunidade ante a adversidade decorrente do abandono às políticas de saúde pública, por um saber que lhe é particular e não menos importante do que a do homem da cidade e por um posicionamento político ante a realidade de seu país. Tais facetas construídas são, também, corroboradas por mecanismos da variante caipira, configurando um código linguageiro próprio. Consideramos, por fim, que os causos procuram construir um ethos caipira capaz de subvertê-lo de anti-herói a herói, não acatando, pelo humor, um estereótipo negativo e polêmico, desde aquela época até os dias de hoje

Made available in DSpace on 2016-04-25T19:20:55Z (GMT). No. of bitstreams: 1 ENCRUZILHADAS E TRAVESSIAS.pdf: 1409576 bytes, checksum: dbca54edfc328d3027e24e7fb3474205 (MD5) Previous issue date: 2005-05-20 / This work is based both on specialized literature and field research at Ilê Axé Kalamu Funfum. Its main focus is Candomble, an African-Brazilian initiatic religion based on rituals structured around myths and transmitted orally. In order to study Candomble it is important to define what myths are as well as their meaning in the present time; to define the differences between oral culture and culture transmitted in writing; to define what mythical time is and to shed light on rites that underpin such a religion. Without such definitions, it is not possible to define the followers. The definition of such a person is made possible only by resorting to theoretical tools defined by both anthropology and psychology. It also requires the adoption of a psychological theory that sees spirituality as an integral part of the human psyche. After comparing various approaches and after a discussion about interdisciplinarity as proposed by the bootstrap approach to culture, it is possible to conclude that Stanislav Grof and Ken Wilber s Transpersonal Psychology caters for such needs. Using such a theoretical tool it was possible to analyze trance, the cornerstone of Candomble. In order to reach such a state, its followers go through initiation rites aiming at reconnecting them to primal energies (Orishas). Being the generative energies of all things, Orishas are the transcendent archetypes, in a more platonic sense of the word. They are the building energy of all things and are also the prototypes that exist in the unconscious, and therefore transmit characteristics that are understood by the followers as psychological types. During the rites of initiation, the follower s identity is reconstructed. It remains unique although the connection with the Orishas who form the follower s essence causes the follower to acquire the characteristics of these Orishas. The path of initiation unveils a spiritual, cosmic and primordial essence, always present but ignored, thanks to the rupture between Orum (the world of the Orishas) and Aiyé (the created world). The trance is the moment of reconnection and unity: The Orishas manifest themselves trough their followers and dance and spread their axé. From this point of view, the human being can be defined as a centre of relations, as an individual that is part of a religious group and the Cosmos, as a link in an infinite chain of interrelated events. / Esse trabalho, baseado tanto em literatura especializada quanto na pesquisa de campo realizada no Ilê Axé Kalamu Funfum, enfoca o Candomblé, religião afro-brasileira iniciática baseada em rituais estruturados por mitos transmitidos de forma oral. Para estudá-la, precisamos definir o que são mitos e seu significado nos dias atuais; as diferenças entre cultura oral e cultura literária; definir o que é tempo mítico e esclarecer os ritos que sustentam a religião, sem o que não estaremos aptos a definir quem é o adepto que freqüenta as casas-de-santo . A definição dessa pessoa só é possível pelo cruzamento de instrumentais teóricos definidos pela Antropologia e pela Psicologia; também necessita a adoção de uma teoria psicológica que entenda a espiritualidade como parte integrante da psique humana. A partir do diálogo entre diversas abordagens e da discussão sobre interdisciplinaridade tal como proposta pela abordagem bootstrap da cultura, concluímos que a Psicologia Transpessoal de Stanislav Grof e Ken Wilber atende a essas necessidades. De posse desse instrumental teórico, analisamos o transe, momento axial no Candomblé. Para atingi-lo, seus adeptos submetem-se a ritos de iniciação com o objetivo de religá-los às energias primordiais (os Orixás). Energias geradoras de todas as coisas, os Orixás são arquétipos transcendentes, no sentido platônico do termo; energias constituintes de todas as coisas, são também protótipos existente no inconsciente, transmitindo características entendidas pelos adeptos como tipos psicológicos. Durante os ritos de iniciação, a subjetividade do adepto se reconstrói; apesar de manter-se singular, a conexão com os Orixás que formam sua essência fazem com que adquira as características desses Orixás: todo o trajeto das iniciações revela uma essência espiritual, cósmica, primordial, sempre presente mas ignorada, graças à fratura entre Orum (o mundo dos Orixás) e Aiyé (o mundo criado). O transe é o momento de religação e unidade: os Orixás manifestam-se em seus adeptos, dançam e espalham seu axé. Nessa perspectiva, o ser humano pode ser definido como um centro de relações, um indivíduo parte de um grupo religioso e do Cosmo, um dos elos numa cadeia de eventos intercomunicados e infinita.

This dissertation examines the discourses surrounding women and writing in the rapidly commercialized publishing industry and media in early 20th-century Japan. While Japan has a rich history of women's writing from the 10th century onwards, it was in the 1910s that the journalistic category of "women's literature" (joryû bungaku) emerged within the dominant literary mode of Naturalism, as the field of literature itself achieved a respectable cultural status after the end of the Russo-Japanese War (1904-5). Through a close textual analysis of fictional works, literary journals, and newspapers from the turn of the century to the 1930s, I explore how various women embraced, subverted, and negotiated the gendered identity of the "woman writer" (joryû sakka) while creating their own spheres of literary production through women's literary journals. Central to this investigation are issues of media, translation, canonization, and the creation of literary histories as Japanese literature became institutionalized within the new cosmopolitan notion of world literature. The first chapter explores how the image of the woman writer formed around the key figure of Tamura Toshiko (1884-1945) within the interrelated discourses of Naturalism, the New Woman, and decadence in the 1910s. As the New Woman became a social phenomenon alongside ongoing debates about women's issues, feminist women inaugurated the journal Seitô (Bluestocking, 1911-16) as a venue for women's literature. While this category renders their writings marginal to mainstream literature, it was a progressive, political position that marked their place within the literary world. I examine Toshiko's ambivalent position within this feminist project, and the instability of the media image of the New Woman that was always on the verge of slipping into the decadent figure of femme fatale. The second chapter examines the canonization of the late 19th-century prominent writer Higuchi Ichiyô (1872-96) at the turn of the century as a model woman writer and an embodiment of Japan's past tradition, which cast a threatening shadow on the women of Seitô. Tamura Toshiko's rejection of the New Woman identity and increasing association with aesthetic decadence also came to be at odds with their feminist mission. Seitô women's rejection of both Ichiyô and Toshiko was thus a necessary act in self-proclaiming the birth of the New Woman. As the number of women writers gradually increased in the late 1910s, various types of literary expression emerged beyond gendered expectations, paving the way for the mass expansion of women's writing in the 1920s. As the notion of world literature formed alongside various national literatures during the vast expansion of the publishing industry and translation culture in the 1920s, women began to envision their own alternative genealogy alongside dominant literary histories. The third chapter explores the envisioning of women's literary history by the Seitô writer Ikuta Hanayo (1888-1970) and the British modernist Virginia Woolf (1882-1941), whose feminist imaginations came together through the canonization of the English translation of The Tale of Genji, originally an 11th-century work written by a woman. As the growth of translations created a sense of global simultaneity, I further examine how the rhetoric of gender was central to Japanese literary modernism through the reception of two major British modernists, James Joyce and Virginia Woolf, in Japan.

Orientador: Prof. Dr. Daniel Pansareli / Dissertação (mestrado) - Universidade Federal do ABC, Programa De Pós-Graduação em Ensino, História, Filosofia das Ciências e Matemática, 2014. / A dissertação trata das relações entre a epistemologia e a estética de Gaston Bachelard, filósofo que, em movimento ímpar, dedicou-se ao ensino e à problematização de questões atinentes às ditas disciplinas científicas clássicas, mas, em contrapartida, tendo herdado de seus compatriotas surrealistas o gosto pelo onirismo, concebeu uma obra voltada à valorização do que chamou de lado noturno da alma, i.e., dos produtos emanados dos sonhos, dos devaneios, da imaginação. Acintoso crítico do racionalismo - uma vez que entendia ser este um dos maiores entraves ao progresso do espírito humano - Bachelard recorreu à poética com a intenção de favorecer o próprio desenvolvimento do espírito humano face à natureza: seu surracionalismo aspirava criar uma razão instável, movediça, disposta a dar um passo adiante na direção do sem se preocupar em amparar opiniões ou preferências secundárias. Estudaremos, deste modo, justamente por Bachelard conceber as ciências como meios incapazes de nos colocar diante da plenitude da matéria (nessa perspectiva, a única feição fértil do pensamento corresponderia ao aproximacionalismo, caminho pelo qual obteríamos apenas dados preambulares do real), as possíveis influências exercidas pelo inconsciente na orientação do consciente, pelas artes na edificação do conhecimento científico. / The dissertation discusses on the relations between the epistemology and the esthetic of Gaston Bachelard, a philosopher who, in a singular movement, dedicated himself to the teaching and the problematization of issues pertaining to the considered classical scientific disciplines, however, in contrast, having inherited from his surrealistic countrymen the taste for the oneirism, conceived a piece of work on the valorization of what he called the nightly side of the soul, i.e., the emanating products from the dreams, the daydreams, the imagination. Inciting critic of rationalism - once that he understood being this one of the greatest obstacles to the progress of the human spirit - Bachelard resorted to the poetics with the intention of favoring the own development of the human spirit face to nature: its surrationalism aspired the creation of an instable reason, unsteady, willing to take a step forward without worrying about supporting opinions or secondary preferences. We will study, this way, precisely for Bachelard to conceive the science as incapable means of putting us before the fullness of the matter (in this perspective, the only fertile feature of the thought would correspond to the approximation, path through which we would obtain just preamble data from the real), the possible influences exercised by the unconsciousness in the orientation of the consciousness, by the arts in the building of the scientific knowledge.