The subject of faith has long been a subject of study for both theologians, whose prime concern has usually been with the nature and object of a particular faith, and philosophers of religion who have been more concerned with the relationship between faith and reason. This thesis differs from both such approaches in that its primary aim is to examine the psychological structure, functions and experience of the general phenomenon of human faith; that need to trust, be loyal to and centre one's life in something outside of oneself, It should not be identified with any one school of psychological theory; rather, its intention is to use a psychological description of faith to enhance the theological understanding of faith. Its methodology is to examine the psychology that underlies three particular theologians' understandings of faith: Paul Tillich, H, Richard Niebuhr and Wilfred Cantwell Smith. In addition to examining the psychology of faith, a second aim is to examine what the present author sees as a practical implication of such a psychological understanding of faith as expounded by W. C. Smith in his proposal for the construction of a universal theology. Chapter One is a general introduction to the thesis, a definition of terms and a brief examination of the place a psychology of faith has in the wider field of the psychology of religion. Chapters Two, Three and Four follow a similar format: each is a separate examination of the psychology that underlies Tillich's, Niebuhr's and Smith's understandings of faith respectively. In the case of Tillich and Niebuhr a differentiation is made between an objective psychological understanding of faith which concerns the functions and structure of faith and a subjective understanding which concerns the experience of faith. Chapter Five is in the form of a conclusion and proposes a uniform understanding of the psychology of faith based on the previous three authors. It also examines the main discrepancy between the authors' understandings of faith in their descriptions of the final object and source of faith. Following Chapter Five is a Postscript which examines W. C. Smith's proposal for the construction of a universal theology which the present author sees as a practical application of understanding faith psychologically.

This thesis explores the relationship between Scotland and the British Empire as depicted in the work of three Scottish writers: Robert Louis Stevenson, R.B. Cunninghame Graham and John Buchan. The aim is to reassess the contribution these three writers made to Scottish literature, a contribution that has been neglected due to their interest and participation in imperial matters. The introduction discusses why their reappraisal within Scottish literary studies matters in relation to an understanding of the effect of Scotland's position within the Empire. Recent post-colonial theory relating to hybridity and the uncanny are shown to be of particular relevance to the Scottish situation in late-nineteenth and early twentieth-century literature. Chapter One examines the work of Robert Louis Stevenson and argues that, far from capitulating to the demands of imperialist literature, Stevenson was able both to work within the discourse of the British Empire and to subvert it. R. B. Cunninghame Graham, discussed in Chapter Two, occupies a similar position. Due to the genre-defying nature of his work Graham has been overlooked as a writer who confuses the boundaries between here and there, the savage and the civilised. Chapter Three provides a critical reassessment of John Buchan and argues that, despite his staunch imperialism, as a Scot within the Empire Buchan shared many thematic concerns with the other two writers in this study. The conclusion draws attention to the similarities between the three writers and argues that a clear break cannot be made between writers associated with the Empire and writers of the Scottish Renaissance.

Made available in DSpace on 2016-08-29T14:11:23Z (GMT). No. of bitstreams: 1 tese_4660_Felipe de Oliveira Fiuza.pdf: 369187 bytes, checksum: 96583c5175d693658068592c041f7efe (MD5) Previous issue date: 2011-03-28 / Tendo em vista a importante contribuição dos estudos culturais e literários para o aprofundamento do debate sobre as narrativas policiais norte-americanas, este estudo pretende levantar singularidades, rupturas e questões de masculinidade(s) associadas à literatura hardboiled, de modo a fundamentar uma investigação de sua reverberação na obra de Rubem Fonseca. Para tal fim, parte-se, principalmente, dos estudos de masculinidade hegemônica empreendidos por R.W. Connell e seus comentadores, e da análise de três dos maiores expoentes fundadores do gênero, Dashiell Hammett, Raymond Chandler e Jim Thompson. Considerando essa fundação da literatura policial norte-americana, serão então analisadas quatro obras protagonizadas pelo personagem Mandrake, ―O Caso F.A‖, ―Dia dos Namorados‖, ―Mandrake‖ e o romance A Grande Arte. Pretende-se, assim, observar como o autor se vale dessa tradição da literatura policial, e de suas implicações com questões de masculinidade(s), para criar uma obra de tamanha potência crítica, estilística e política. / Taking into consideration the important contribution of literary and cultural studies to the deepening of debate about North-American detective narratives, this study intends to assemble singularities, disconnections and contemporary masculinity issues associated with hard-boiled literature, aiming to substantiate an investigation of its influence in Rubem Fonseca‘s work. In order to do so, we take as a starting point the studies of hegemonic masculinities, by R.W. Connell and her commentators, and the analysis of three of the genre‘s founding fathers, Dashiell Hammett, Raymond Chandler and Jim Thompson. Considering the foundation of North-American detective novel, four works which has Mandrake as its main character will be analyzed : ―O Caso F.A‖, ―Dia dos Namorados‖, ―Mandrake‖ and the novel A Grande Arte. Seeking to observe how the author utilizes the hard-boiled tradition and its implications in masculinities issues in order to create a work of enormous critical, stylistic and political potency.

Made available in DSpace on 2016-06-02T19:36:02Z (GMT). No. of bitstreams: 1 6798.pdf: 6632847 bytes, checksum: f51cec4aa73151aa1ea8e47524612e99 (MD5) Previous issue date: 2015-02-26 / Financiadora de Estudos e Projetos / The PhD research with the title Highlighting the debate between tradition and modernity in pedagogical ideas during the 1920-1930 decades: the sketch of a conflict is an investigation about pedagogical press and pedagogical ideas. The main source of this research is the Serie Atualidades Pedagógicas, linked to the Collection Biblioteca Pedagógica Brasileira, edited by Fernando de Azevedo, one of the leaders of Brazilian Progressive Education Movements. We delineate the sources over the period from 1931 to 1939 in which the Serie had published the majority of titles linked to Biology and Psychology Sciences, due to the projections of these sciences for innovation of Education by Progressive Education Movements. The research question can be describe in the next questions: How did the aspects of tradition and modernity constituted the pedagogical ideas in Progressive Education Movement in Brazil? What is the contribution of Biology and Psychology in the discussion about the old and new in Education among the titles published in the Serie Atualidades Pedagógicas? . The main aim is to apprehend and analyse the relation between tradition and modernity in the clash of the pedagogical ideas in the first part of the XXth century from the analysis corpus. The specific objectives can be described as in the next points: (a) Comprehend the clash between the tradition and modernity in the Azevedo Pattern in the Serie Atualidades Pedagógicas (1931 to 1939); and, (b) Reveal the contributions of Biological and Psychological Sciences to innovate the pedagogical ideas, considering the concepts of school, teacher and children. The theoretical framework to support our analysis is based on the Cultural History, highlighted theories by Marc Depaepe and Michel de Certeau. The doctoral research was organized in introduction, three chapters and conclusion. The first chapter has the main aim to discuss the theoretical framework used in our source s analysis. The second chapter has the main objective to present the historical, social, economical and cultural context in which is developed the society, the education and Fernando de Azevedo s reforms and his educational discourse. The historical time let us observe a double relationship between social-cultural and educational aspects in concern with the modernization of society and educational reform among the politics, intellectuals and educators in this time. The Azevedo´s viewpoint as journalist, reformer, editor and intellectual let us to comprehend the ways as him organize the titles and authors to compose his Series Atualidades Pedagógicas. The third chapter has the objective to point out the homogeneous and heterogeneous ideas from Progressive Education Movement, the role of Biology and Psychology in the educational thought and analysis of the sources from analytical categories: school s, teacher s and children s conception. In this sense, we can observe that some questions, in circulation during this time, it were common and result in a homogenous ideas among the pedagogical discourse. However, these ideas, representing different ways to interpret, translate, appropriate and uses in the educational field, that is, heterogeneous ideas. The build and development of the sciences occurred pari passu with the appropriations and results in a vary among the scientific filed. The biological and psychological sciences conducted to discovery and review of child´s, teacher´s and school´s concepts. In summ, it is important to observe the demithyfication of intellectuals and hegemonic pedagogical discourse to find the aspects of continuum and disrupt in the educational practices. / A pesquisa de doutorado intitulada Notas sobre o debate entre a modernidade e a tradição nas ideias pedagógicas durante as décadas de 1920 e 1930: esboço de um conflito é uma investigação teórica sobre a imprensa pedagógica e as ideias pedagógicas. A fonte primária da pesquisa é a Serie Atualidades Pedagógicas, ligada a Biblioteca Pedagógica Brasileira, editada por Fernando de Azevedo, porta-voz do Movimento da Escola Nova no Brasil. Delimitamos as nossas fontes sobre o período entre 1931 a 1939 devido a incidência dos títulos publicados vincularem-se a Biologia e a Psicologia, ciências estas que foram fundamentais para a renovação pedagógica dentro do Movimento da Escola Nova. A problemática da pesquisa pode ser descrita nas seguintes questões: Que aspectos da tradição e da modernidade constituem as ideias pedagógicas na Pedagogia das Escolas Novas no Brasil? Qual a contribuição da psicologia e da biologia na discussão da nova e da velha educação no Brasil, por meio da serie Atualidades Pedagógicas? O objetivo geral da pesquisa é apreender e analisar a relação entre a tradição e a modernidade no embate das ideias pedagógicas na primeira metade do século XX a partir do corpus de análise. Assim, como objetivos específicos estipulados para a investigação foram: (a) Compreender o embate entre a tradição e a modernidade no padrão azevediano na Serie Atualidades Pedagógicas, da Coleção Biblioteca Pedagógica Brasileira, no período de 1931 e 1939; e, (b) Revelar a contribuição da biologia e da psicologia para a renovação das ideias pedagógicas, considerando a representação de criança, de professor e de escola, uma vez que estas categorias foram centrais na discussão das ideias pedagógicas e no discurso científico. O referencial teórico metodológico que deu suporte as nossas análises está baseada na História Cultural, com destaques aos teóricos Marc Depaepe e Michel de Certeau. A pesquisa foi organizada em introdução, três seções e considerações finais. A primeira seção tem como objetivo discutir o referencial teórico metodológico utilizado para a análise das fontes. Já a segunda seção tem como objetivo descortinar o contexto socioeconômico, cultural e educacional nas décadas de 1920 e 1930 e que refletiram sobre a sociedade, a educação e a produção de Fernando de Azevedo. O contexto histórico permite observar uma correlação entre os aspectos socioculturais e os aspectos educacionais frente a preocupação dos políticos, dos intelectuais e educadores em geral em modernizar a sociedade e reformar a educação. A visão de Fernando de Azevedo sob esses aspectos e a sua trajetória como jornalista, reformador, editor e intelectual permitem compreender os modos como ele procurou organizar os títulos e autores para compor a Serie Atualidades Pedagógicas. Por fim, a terceira seção, tem o objetivo de discutir as relações entre homogeneidade e heterogeneidade presente nas ideias da escola nova, o papel da biologia e da psicologia no pensamento educacional e análise das fontes de pesquisa a partir das categorias de análise: concepção de escola, concepção de professor e concepção de criança. Neste aspecto, podemos perceber algumas questões/ideias centrais e comuns em circulação nesse período permitindo observar certa homogeneidade no discurso pedagógico, elas refletem diferentes modo de interpretação, de tradução, de apropriação e de usos na educação que revelam a sua heterogeneidade. A própria construção e desenvolvimento da ciência pari passu a sua apropriação revela a sua variedade dentro dos campos científicos da biologia e da psicologia que foram responsáveis por uma descoberta e revisão dos conceitos de escola, de professor e de criança. Em suma, é importante observar a importância da desmistificação dos protagonistas e do discurso pedagógico hegemônico e homogêneo sobre as ideias pedagógicas desse período, para desvelar as suas continuidades e rupturas dentro do discurso pedagógico produzido nesse contexto histórico.

Resumo: A presente dissertação tem como objetivo a análise do monarca D. João V enquanto personagem do romance Memorial do convento (1982) de José Saramago e na sua apropriação para a História de Portugal (1879) do historiador português Oliveira Martins, partindo da semelhança com que os dois autores tratam esse rei. Embora a maior parte das interpretações do Memorial seja no sentido de privilegiar os oprimidos, aqui se trilha o caminho inverso, pois se acredita que, embora D. João V seja um personagem secundário, ele se faz onipresente e onipotente durante todo o enredo, determinando as ações dos demais personagens. Isso pode ser explicado a partir da teoria de Ernst Kantorowicz, Os dois corpos do rei (1957), surgida na Idade Média, mas de que se encontram resquícios bem mais tarde, e segundo a qual um rei tem em si dois corpos: ora se atribui a ele um corpo natural e outro político, ora um corpo natural e um corpo místico. Ainda de acordo com a proposta de Kantorowicz, esse corpo político/místico abarca a totalidade da nação, sendo que o rei se constitui como cabeça e os súditos como membros. A existência desses corpos não naturais e dessa corporificação do reino pode ser percebida tanto no texto de Martins como no de Saramago, mas servem de motivo para a crítica dos dois autores, uma vez que reflete o absolutismo e a beatitude com que D. João V conduziu o seu reinado. Por outro lado, o estudo desses textos à luz da teoria de Kantorowicz comprova a continuidade da concepção dos dois corpos do rei já no século XVIII português. A partir dessa análise será possível também evidenciar de que forma o discurso de Oliveira Martins e sua História de Portugal inspiraram José Saramago na composição do Memorial do convento.

Tese (Doutorado em Estudos Comparados sobre as Américas)—Universidade de Brasília, Instituto de Ciências Sociais, Centro de Pesquisa e Pós-Graduação sobre as Américas, 2012. / Submitted by Tania Milca Carvalho Malheiros (tania@bce.unb.br) on 2013-01-10T15:25:15Z No. of bitstreams: 1 2012_MárciaMachado_Parcial.pdf: 1809628 bytes, checksum: 156ab03d89c2858d0bda742b89ed6a0c (MD5) / Approved for entry into archive by Marília Freitas(marilia@bce.unb.br) on 2013-01-21T11:28:13Z (GMT) No. of bitstreams: 1 2012_MárciaMachado_Parcial.pdf: 1809628 bytes, checksum: 156ab03d89c2858d0bda742b89ed6a0c (MD5) / Made available in DSpace on 2013-01-21T11:28:13Z (GMT). No. of bitstreams: 1 2012_MárciaMachado_Parcial.pdf: 1809628 bytes, checksum: 156ab03d89c2858d0bda742b89ed6a0c (MD5) / O exercício aqui proposto é a leitura de dois discursos narrativos que se contrapuseram aoprojeto “modernizador” ou “civilizador”, mais precisamente, colonizador e imperialista deeuropeus e norte-americanos, como de intelectuais e das classes dirigentes dos países daAmérica Ibérica que adotaram os modelos e as teorias raciais européias para justificaremos processos de colonização, dominação e exploração da região. Nesta perspectiva, volto omeu olhar para a produção de José Martí e José Carlos Mariátegui, procurando apreendersuas concepções de pátria, nação em formação, unidade de Nuestra América e o papel doautóctone nos processos de nation-building na América Hispânica. Como tais autores nãoapresentaram nenhuma definição do que compreendiam por nação, raça e indígena, buscoapreender tais concepções através do contexto intelectual, político e econômico, deveiculação de suas produções, da configuração estética de suas escrituras e do rastreamentode suas interpretações em suas obras, que abordam as mais diferentes temáticas, problemáticas e contradições de seus contextos, as últimas décadas do século XIX e iníciodo XX. Busco desenvolver a proposição de que suas reflexões críticas às concepçõespolíticas, intelectuais e científicas hegemônicas se constituem em importantes reflexões,subsídios e ferramentas teórico-ideológicas para repensar, no sentido de provocartransformações em nossa maneira de perceber, os processos colonizadores e de raça comoinstrumento e justificativa de extermínios, de diferentes formas de servidão, violência emiséria a que as populações indígenas foram submetidas historicamente. / The exercise proposed here is the reading of two narrative discourses that opposed theproject of "modernizing" or "civilizing", more precisely, colonizer and imperialistic of theEuropeans and North-Americans, as intellectuals and dominant classes of the IberianAmerica countries that adopted European models and racial explanations to justify theprocesses of domination and exploitation of the region. In this perspective, I look into theproduction of José Martí and José Carlos Mariátegui, trying to comprehend their conceptsof homeland, nation formation, unit of Nuestra América and the role of indigenous peoplesin the processes of nation-building in Hispanic America. As these authors did not presentany definition of what they understood by nation, race and indigenous, I try to comprehendthese concepts through the intellectual, political and economic context, the circulation oftheir productions, the aesthetics of their work and tracking their interpretations in theseworks which deal with various subjects, issues and contradictions of their contexts, the lastdecades of the nineteenth century and beginning of the twentieth century. I try to developthe proposition that their hegemonic critical thinking to the political views, intellectual andscientific constitute important reflections, subsidies and ideological-theoretical tools torethink, with the purpose of creating changes in our way of perceiving the processes ofcolonization and race as a way of justifying the extermination of different forms ofviolence, servitude and misery to which indigenous people have been historicallysubjected.

Anton Rubinstein was primarily recognized as one of the greatest pianists of his time. However, Rubinstein yearned for recognition as a composer and worked prodigiously to realize that goal. Unfortunately, Rubinstein's works were virtually unknown today. One of Rubinstein's finest compositions, the Piano Concerto in D Minor, op. 70 has been the most frequently performed. It is one of the first "Russian" concertos that was written by a Russian composer, and was performed in Russian concert halls instead of the homes of Russian aristocracy. It is also considered the most successful and harmonious convergent of various musical styles which influenced Rubinstein. However, there is no formal, detailed analysis of the Concerto in the entire music literature. Therefore, the main purpose of this dissertation is to provide a thorough study of the Concerto from an analytical and historical standpoint. Rubinstein was also one of the most eminent educators in Russia. The St. Petersburg Conservatory of Music, which Rubinstein helped found in 1862, has to this day produced some of the most influential musicians in Russia. The other purpose of this dissertation is to evaluate Rubinstein's role as music educator. An overview of Rubinstein's works for piano and orchestra offers a general idea of his compositional style. Literature on Anton Rubinstein currently available is limited. The two most valuable primary sources are Rubinstein's Autobiography of Anton Rubinstein, and Rubinstein's A Conversation on Music. Jeremy Norris's The Russian Piano Concerto, Volume I: The Nineteenth Century provides an insightful but short analysis on the Concerto. Sources discussing Anton Rubinstein as a pianist and an educator are relatively plentiful. Larry Sitsky's Anton Rubinstein: Annotated Catalog of Piano Works and Biography is an excellent work on Rubinstein's piano works. This dissertation includes four chapters: Chapter 1 - Introduction Chapter 2 - Rubinstein's works for piano and orchestra Chapter 3 - Piano Concerto No. 4 in D Minor, Op. 70 Chapter 4 - Conclusion.

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This dissertation explores how emerging understandings of science and religion impacted the formation of the modern field of literature in Japan. I argue that many modern Japanese writers “enchanted” literature, giving it a metaphysical value that they thought might stand firm in the face of modernity’s “disenchantment of the world,” to use the famous phrase of Max Weber. To do so, writers leveraged new anti-materialistic, pantheistic, and mystical ontologies that emerged around the globe in the late nineteenth and early twentieth centuries in philosophy, theology, and new fields of knowledge like religious studies. These worldviews were appealing alternatives to “religion,” which many Japanese intellectuals understood mainly as orthodox forms of Christianity and Buddhism, and which had been widely rejected by the early twentieth century under the influence of new scientific and historical hermeneutics. At the same time though, influential voices in the emerging critical discourse of Japanese literature were skeptical of purely materialistic accounts of reality and especially of art, turning instead to new notions of the spirit, the ideal, and the transcendental. I argue that the foundations of literary value and of the social position of the author in modern Japan are rooted in these new ideas about what might be experienced and represented outside the bounds of both scientific materialism and traditional religious dogma. The texts I examine consist of literary and aesthetic treatises, debates on philosophical and theological issues, and biographical and fictional works, all of which were pivotal to the theorization of Japanese literature and the artist, ranging from early efforts in the 1890s and extending through the tumultuous first half of the 20th century. The first chapter of my dissertation explores how canonical writers like Kitamura Tōkoku (1868–1894), Mori Ōgai (1862–1922), and Natsume Sōseki (1867–1916) wove emerging theories of religion and reality into their view of the capacity of poetry and fiction in the 1890s and 1900s. I show how their idea of the genius, or, drawing from Thomas Carlyle, of the “hero,” ascribed to the modern author the same capacity to perceive beyond the five senses as that identified in the prophets of the world religions. This understanding was based on a shared premise that religious texts were products not of divine revelation, but of a universal, non-empirical type of experience of the “inner heart,” the “ideal,” or the “World-soul,” defined as the essence of the world’s religions yet untethered to any one religious faith and fully accessible to the modern genius. The second chapter argues that similar ideas penetrated notions of the modern novel and the author through the early 1910s. A new generation of young writers who launched their careers after Japan’s victory in the Russo-Japanese War, including Yanagi Muneyoshi (1889–1961) and Mushanokōji Saneatsu (1885–1976), imagined Japanese artists as equal members of a global community of artists by identifying universal truths and beauty as the object of all art, religion, and science. In justifying the universal nature of art, writers argued that figures from Tolstoy to Rodin, and from Jesus to the Buddha, were all engaged in the same creative process. I show that these views provided a basis for Japanese authors to claim equality with their Western counterparts, just as it allowed prominent Japanese feminist Hiratsuka Raichō (1886–1971) to claim equality with male writers, since both nationality and gender were seen as unrelated to one’s ability to experience and represent the non-material aspects of reality. Similar views of art were employed to imagine the sociopolitical role of the writer within Japan. The third chapter begins with analysis of two leftist intellectuals, Kōtoku Shūsui (1871–1911) and Ōsugi Sakae (1885–1923), who were both eventually killed for their political activity. Both argued that myths, defined by them as both as religious texts and the great works of modern artists, could lead to individual enlightenment, bringing moral clarity for Kōtoku and a new means of experiencing reality for Ōsugi, thus creating the type of subject that could spark political change. Aristocrats Yanagi and Mushanokōji were unsympathetic with the left, but I argue that these two writers similarly attempted to repurpose religious texts to affect social change. By following in the footsteps of the mystics and prophets of the past, while also never directly addressing the existence of the supernatural, they believed that they could create change while also avoiding the pitfalls of religion. I argue that each of these writers drew from religious traditions in their definition of the author’s continuing social and political legitimacy in the midst of the rapid expansion of both leftist movements and of Japanese imperial power in the 1910s and ‘20s. In the fourth chapter, I argue that across his career, writer Akutagawa Ryūnosuke (1892–1927) balanced a critique of traditional religion with an interest in non-religious forms of spiritual experience. Akutagawa cast the Christian Church as a colonial organization concerned with accumulating power, yet at the same time drew on the transnational discourse connecting the supernatural to both psychological disorder and to the colonial idea of “primitivity” in order to create ambiguous portrayals of inexplicable experiences and phenomena. Akutagawa also identifies the possibility for “poetic” literature to open the door to a type of extraordinary experience described almost exclusively in religious language, which I argue also influenced his own experiments with aphoristic writing. This chapter provides a new understanding of this canonical author’s views of religious experience and of literature, while also positioning his work as one part of a discursive current with deep roots in modern Japan and across the globe. In the epilogue, I consider the afterlife of these currents in the 1930s, ‘40s, and ‘50s. I first discuss how the metaphysical and aesthetic positions analyzed in previous chapters laid the groundwork for some authors to shift toward support for the Japanese state’s embrace of authoritarianism and colonialism. However, even if the emphasis on intuitive knowledge and the deeds of heroic individuals within these forms of knowledge led some towards right-wing politics, the fictional and critical texts of Ishikawa Jun (1899–1987) written in this period provide an excellent example of an alternative path. In Ishikawa’s work, traditional Buddhism and Christianity are objects of incessant yearning, representing an absolute moral and conceptual authority that no longer exists in the grimy wartime and postwar reality. But I argue that parallel to his critique of absolutism, Ishikawa’s characters continue to yearn for something more, and Ishikawa himself identifies a potential for salvation within literature. Ishikawa’s work shows that the idea of an enchanted potentiality within writing continued to undergird literary discourse in Japan even in the face of the massive sociopolitical upheaval of WWII.

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