Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-16Bitstream added on 2014-06-13T19:59:50Z : No. of bitstreams: 1 costa_lt_me_sjrp.pdf: 699751 bytes, checksum: c4fe64ac82cd3b95acb3c51f8c99990b (MD5) / O dramaturgo Nelson Rodrigues é considerado pela crítica brasileira o introdutor do teatro moderno no Brasil desde a estréia de Vestido de Noiva, em 1943. Se a crítica literária e teatral brasileira realizou a legitimação da glória de Nelson Rodrigues a partir deste ano de 1943, o oposto ocorreu em 1946, quando público e crítica repudiaram a peça Álbum de Família, que permaneceu censurada por, aproximadamente, vinte anos. Esta pesquisa centra-se em estudar a fortuna crítica das duas peças mencionadas, e a escolha de se trabalhar com a recepção destas peças específicas dá-se devido ao contraste de opinião crítica suscitado por elas. Abrangendo a crítica literária e teatral de parte do século XX, nosso estudo focalizará a forma como a recepção de uma obra trabalha com os valores dominantes de um sistema social e artístico, tendo o poder de legitimar um artista como bom ou desconsiderável / Playwright Nelson Rodrigues has been viewed by Brazilian critique as the introducer of modern theatre in Brazil since the premiere of his play Vestido de Noiva (Wedding gown), in 1943. If Brazilian theatrical and literary critics have legitimated the glory of Nelson Rodrigues since the year of 1943, the opposite occurred in 1946, when public and critique rejected the play Álbum de Família (Family álbum), which has remained censored for about twenty years. This research centres in the study of the critical fortune of both mentioned plays, and the choice of working with these specific plays is due to the contrast of critical opinions generated by them. Comprehending theatrical and literary critique of part of the 20th century, our study focusses on how the reception of an art piece works with the prevailing values of a social and artistic system, being able to legitimate an artist as worthy or unworthy

Esta dissertação intenta investigar como a condição de vida da escritora Higuchi Ichiyô vai modificando o seu pensamento literário levando-a à criação do universo da obra Nigorie (Enseada de águas turvas) tentando desvendar seus ideais sociais. A partir de sua visão perspicaz sobre as condições sociais do país, Ichiyô foi a primeira escritora da época a expressar de forma tão direta a tristeza das mulheres abandonadas por uma sociedade desumana. Considerando a importância da vivência pessoal de Ichiyô, um estudo sobre sua vida faz-se necessário para compreender a trajetória percorrida pela autora até a obra em questão. Ichiyô viveu nos arredores dos bairros de prostituição e manteve contato direto com o mundo das meretrizes, e essas experiências serviram-se de subsídios para a sua criação literária. Nigorie descreve a limitada e infeliz vida das mulheres socialmente degradadas que trabalham em um bairro de prostituição clandestina e os homens que o freqüentam. Sente-se em Nigorie um desejo velado de Ichiyô em denunciar ao mundo essa triste realidade e protestar contra a pobreza e o sistema social japonês de sua época. / This dissertation intends to investigate how the condition of life of writer Higuchi Ichiyô starts to modify her literary thought leading her to the creation of the universe of her work Nigorie (Troubled Creek) attempting to reveal her social ideals. From her talented vision on the social conditions of the country, Ichiyô was the first writer of her time to express in such a direct way the sadness of the women abandoned by an inhuman society. Considering the importance of the personal experience of Ichiyô a study upon her life becomes necessary to understand the trajectory the author went through as far as her work inherently. Ichiyô used to live in the outskirts of the prostitution quarters, keeping in touch with the world of prostitutes. These experiences turned into subsidies for her literary creation. Nigorie describes the limited and unhappy life of socially degraded women who work in a quarter of clandestine prostitution as well as the men who frequent it. It is felt in Nigorie a hidden desire of Ichiyô in denouncing this sad reality to the world, and besides, her intention to protest against the poverty and the Japanese social system of her time.

Made available in DSpace on 2017-06-01T18:24:24Z (GMT). No. of bitstreams: 1 dissertacao_betania_silva.pdf: 3348387 bytes, checksum: 8eefb4ab41d3a138519d44f5678f240d (MD5) Previous issue date: 2008-12-01 / Luiz Gonzaga has become one of the most important composers and interpreters of Brazilian popular music of his time. His voice, his clothing, his particular way of talking and his intonation made him become a great national symbol, a representative of a regional identity. Luiz Gonzaga is considered one of the most active men who spread out culture, costumes and beliefs of the Brazilian Northeast, and his songs try to portrait the socio-cultural and sociopolitical context of the Northeast. This very day, some researchers consider his songs as a genuine mar k that also keeps alive cultural and folkloric roots of the region. After reading part of the literature on his work, we realized that there were few linguistic critical studies based upon Social Semiotics. This study investigates the way Luiz Gonzaga.s songs contribute to establish a Brazilian northeastern people identity. This approach becomes relevant while it helps to improve the knowledge on the processes of construction of that identity, through a critical reading of the songs opposite to those discursive practices which tend to favor the creation of stereotypes related to Brazilian northeastern people, and so to the unification of a cultural identity in the region. We chose at random twenty songs by Luiz Gonzaga, which were analyzed according to Critical Discourse Analysis (CDA), and based upon the threedimensional model proposed by Norman Fairclough (2001). The categories for the analysis were: transitivity - according to Systemic Functional Linguistics (SFL), Ethos/Cultural identities, intertextuality and interdiscourse. In the songs, it.s possible to see a connection between cultural aspects of the region, nature and its regional elements, what confers meanings to the construction of a social reality. The drought, in those songs, appears as the only big problem in the Brazilian Northeast. Thus, Luiz Gonzaga represents the discursive practice of the society of that time and adheres to the discursive order that surrounds him. Then, he reinforces a stereotyped point-of-view which reduces Brazilian northeastern people identity to those of who suffered with the drought. In addition, Luiz Gonzaga.s songs represent the social order of the time he lived. His songs in a certain way incited the Government to send more and more supplies to help people in the region, an attitude that generated the Brazilian drought industry . Brazilian Northeastern people are represented as slaves and economically dependent on the Government, unable to perceive hegemonic struggles of the region and to combat them. / Luiz Gonzaga tornou-se um dos maiores intérpretes e compositores populares de sua época. Sua voz, sua vestimenta, seu modo particular de falar, sua entonação fizeram com que se transformasse em um grande ícone nacional, o representante de uma identidade regional. Considerado um dos maiores divulgadores da cultura, costumes e crenças do Nordeste, suas canções tentam representar o contexto sociocultural e sociopolítico da região Nordeste. Alguns pesquisadores consideram suas canções, até hoje, como uma marca legítima e mantedora das raízes culturais e folclóricas da região. Após leitura parcial da literatura sobre a sua obra percebemos uma carência de estudos críticos lingüísticos vistos numa perspectiva da Semiótica-Social. Este estudo investiga de que maneira as canções de Luiz Gonzaga contribuem na constituição de uma identidade nordestina. A relevância dessa abordagem, consiste em colaborar para a construção do conhecimento acerca dos processos de constituição da identidade nordestina, através de uma leitura crítica das canções, rompendo com as práticas discursivas que favoreçam a criação de estereótipos nordestinos e conseqüentemente a unificação de uma identidade cultural regional. Foram escolhidas, de forma aleatória, vinte canções da obra musical de Luiz Gonzaga, as quais foram analisadas numa perspectiva da Análise Crítica do Discurso (ACD), segundo o modelo tridimensional de Norman Fairclough (2001). As categorias utilizadas na análise foram: Transitividade na perspectiva da Lingüística Sistêmica Funcional (LSF), Ethos/Identidade culturais, Intertextualidade e a Interdiscursividade. Nas canções observam-se articulações dos traços culturais da região com a natureza e seus componentes particularmente regionais, instituindo sentidos à construção de uma realidade social. A seca, nessas canções, transforma-se no único grande problema do Nordeste. Dessa maneira, Luiz Gonzaga reproduz a prática discursiva estabelecida pela sociedade da época, aderindo à ordem do discurso do seu entorno. Assim, contribui para reforçar uma visão estereotipada, reduzindo a identidade nordestina ao flagelado da seca. As canções de Luiz Gonzaga além de reforçar esse estereótipo nordestino, reproduzem a ordem social da época em que viveu Luiz Gonzaga. Suas canções, de certa forma, faziam com que o Governo mandasse cada vez mais subsídios para socorrer a região, o que gerou a indústria da seca . O nordestino é representado como um povo escravizado e dependente economicamente do Governo, incapaz de perceber as lutas hegemônicas da sua região e reagir a elas.

La préoccupation prédominante de notre thèse est de mettre en évidence la contribution de Bernard Hàring au renouveau de la théologie morale, par une triple démarche historique, philosophique et théologique des contextes et des contenus de cette contribution spécifique. Partant des auteurs qui sont à la source de la pensée morale de Bernard Hàring, depuis Thomas d'Aquin jusqu'à Max Scheler, nous analysons les concepts clés qui servent à l'élaboration du discours moral du Magistère, notamment celui de la loi naturelle qui est au coeur des débats entourant la morale conjugale, en particulier dans l'encyclique Humanae viiae. En un second temps, nous analysons la période du concile Vatican II, où la pensée morale de Bernard Hàring a eu une grande influence, en particulier par le plus grand enracinement biblique et christologique de la réflexion morale, mais également pour une ouverture plus marquée aux problèmes éthiques contemporains. Cette influence s'est cependant butée à une sorte d'échec, autour des questions d'éthique biomédicale, et Hàring fut soupçonné de trahir l'enseignement du Magistère. Notre thèse entend montrer que, au coeur de son immense travail et des controverses qui l'ont accompagné, Bernard Hàring demeura un moraliste catholique libre et fidèle, soucieux de protéger la conscience éthique du croyant, et désireux de maintenir une profonde solidarité avec son Église.

Thesis (MA)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: During the nineteenth century, Charles Darwin published The Origin of Species, inciting debate surrounding the validity of the Christian creation narrative. Prior to this, the Adam and Eve creation narrative was the central narrative around which Christian families modelled their own family structures – with the father as the head of the household. In this thesis I discuss the effect that Darwin’s publication had on the restructuring of families in the nineteenth century. I do this through analysis of Henrik Ibsen’s Ghosts and August Strindberg’s Easter, two domestic dramas that chronicle the effect of a society redesigning their religious philosophies owning to the toppling of the patriarchal structures of authority. I argue that Ibsen and Strindberg stand in polar relation to one another in terms of the debate surrounding the religiosity of the family and the position of the (F)ather within this framework (borrowing from Ross Shideler’s term conflating the notion of the divine Father and the earthly father). Relating the debate to the contemporary Afrikaner culture, the research aims to create a family drama (...van ons vaders) that addresses the decline of Afrikaner Calvinistic religious constructs in a similar manner to that of Ibsen and Strindberg, but in through a contemporary aesthetic approach. / AFRIKAANSE OPSOMMING: Gedurende die negentiende eeu is debat ontlok rondom die geldigheid van die Christelike skeppingsverhaal wanweë die publikasie van Charles Darwin se The Origin of Species. Voor dit, is die Adam-en-Eva verhaal die sentrale narratief waarvolgens Christelike families hulself gestruktureer het – met die vader as die hoof van die huishouding. In hierdie tesis bespreek ek die effek wat Darwin se publikasie gehad het op die herstrukturering van families gedurende die negentiende eeu. Ek doen dit aan die hand van Henrik Ibsen se Ghosts en August Strindberg se Easter – twee familiedramas wat sentraal in die debat staan rondom die herontwerp van geloofsfilosifieë en omvorming van patriargale gesagstrukture. Ek argumenteer dat Ibsen en Strindberg in polêre verhouding met mekaar staan in terme van die debat rondom die godsdienstigheid van die familie en die posisie van die (V)ader binne hierdie raamwerk. Hier leen ek Ross Shideler se term wat die idee van die goddelike Vader en die aardse vader saamsmelt. Dit word later in verband gebring met die kontemporêre Afrikaner kultuur om ten einde ‘n nuwe familiedrama (…van ons vaders) te skep, wat fokus op die hedendaagse hervorming van Afrikaner Calvinistiese geloofstrukture, in ‘n wyse soortgelyk aan dié van Ibsen en Strindberg, maar deur om gebruik te maak van ‘n kontemporêre estetiese benadering.

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

第一章：採討山西傳統的教育概況，以甲午戰役為界線。前期的山西教育場所除書院 略具教育功能外，儒學、社學及義學辦理成績不佳。自光緒二十八年以後，各級新式 學堂積極籌辦，在有限的經費下，山西撫衙做了最大的努力。 第二章：首述民國早期山西的政治領導者─閰錫山的政治生涯，次論他本人的教育思 想。 第三章：民國早期山西的初等教育最發達，尤其是義務教育最具特色。中等教育所辦 的成績平平。高等等教育中大學一所、專門學校四所，均能發揮培養高級專業人才的 功能。 第四章：清末山西的實業教育並不發達，至民國以後經過政府的整頓，亦迅速發展起 來，尤其重視一般人民謀生技能的訓練。師範教育仍偏重在短期師範傳習所的辦理。 留學教育中，以留日學生最多，同時政府亦積極鼓勵之。社會教育在民國早期頗具特 色，一方面增加人民的識字能力，一方培養人民良好的道德。 第五章：民國早期山西的教育受到政治環境的影響，經費極不充裕，因此一方面靠省 政府的支持，另一方面則靠各界人士的贊助。

Sun Yat-sen used six propaganda techniques in the United States to help overthrow the Ching Dynasty in 1911: (a) individual propaganda to gain supporters through personal contact and individual persuasion; (b) propaganda of deed to solicit donations and to mobilize his supporters for military actions; (c) travel propaganda to broaden the base of revolutionary support; (d) newspaper propaganda to publicize and explain his revolutionary program; (e) debate propaganda to refute antirevolutionary criticism through speeches and pamphlets; and (f) missionary propaganda to seek sympathy and support from American missionaries and Christians.

Made available in DSpace on 2016-04-28T19:34:18Z (GMT). No. of bitstreams: 1 Rosangela Garcia Medeiros.pdf: 522225 bytes, checksum: ad3721d471e525e7f2ab10b6aab221c8 (MD5) Previous issue date: 2007-10-10 / Language has as principal function to transmit information among the speakers. Besides that, it's a way to provide the members of a community different acts and behavior, considering the functioning and the established rules for the social group in which they are inserted. The objective of this work is to verify the present characteristics on the interacional process between the characters of the play Os sete gatinhos and the elements that compete for the establishment of relations on linguistic interaction, so present on spoken language, pointed out on a theater text. The present study begins from a small sample of international elements in the play and showing how the characters face the problems, for example, the use of pronouns, the "ready sentences" and the relations of knowledge that each one introduces, the diminutive and the intentionality that the use of this words can suggest in the context; the choice of a slang vocabulary and a lot of relations possible among the speakers that feel the need to preserve the face in front of these situations. The emotions, feelings and opinions present on the character's conversations reflect, in the text, marks of the speech / A linguagem tem como principal função transmitir informações entre os interlocutores. Além disso, é uma forma de propiciar aos membros de uma comunidade diferentes atos e comportamentos, levando-se em consideração os funcionamentos e regras estabelecidas pelo grupo social em que estão inseridos. O objetivo deste trabalho é verificar as características presentes no processo interacional entre as personagens da peça Os sete gatinhos e os elementos que concorrem para este estabelecimento, marcados em um texto teatral. O presente estudo parte de uma pequena amostra de elementos interacionais presentes na peça no intuito de demonstrar como as personagens se posicionam diante das estratégias no momento da conversação. Para isso, alguns elementos foram destacados, como por exemplo, o uso dos pronomes, as frases formulaicas (frases feitas) e as relações de conhecimento que cada uma apresenta, os diminutivos e a intencionalidade que o uso dessas palavras pode sugerir no contexto, a escolha de um vocábulo gírio e as muitas possibilidades de relações entre os interlocutores que sentem a necessidade de preservar a face diante de uma situação. As emoções, os sentimentos e as opiniões presentes nas falas das personagens refletem, no texto, marcas da oralidade

過去學者討論僧人與國家之關係，多強調來自國家的制度規定，忽略了僧人的主觀能動性。本文則從護僧榜文出發，嘗試以自下而上的視角去探討僧人與國家的關係。此類榜文在有清一代多地出現，看似係皇帝聖旨，強調國家對僧人的優待政策，被不少僧人隨身攜帶。更有甚者，榜文被張掛、勒石記錄或刻板刷印以擴大影響。而事實上，清帝從未頒行過護僧榜文，所謂的護僧榜文是僧人為維護自身利益製造出來的。 諸多普通民眾難以判斷榜文的真假，而地方官紳大多對這類民間文本並不關心，認為其無關緊要。也有佞佛官紳利用此類榜文來鼓吹佛教，幫助維護寺廟與僧人的利益。通過對護僧榜文的研究，可以看到僧人並非只是國家規定的被動接受者，他們借用國家的名義，製造、傳播并利用符合自身利益的"國家規定"。 / Most previous research on relations between monks and the state focused on the state regulations, and ignored the monks’ subjective initiative. In Comparison, this thesis centers on the various Official Placards of Protecting Monks in the Qing dynasty and tries to discuss the relationship between monks and the state from a bottom-up perspective. Those placards, taken by not a few monks, were similar to imperial edicts in format, emphasizing the state’s amiable position toward monks. Occasionally, people posted these placards on the wall, or carved them on the stele, or printed them out, in order to expand influence. As a matter of fact, Qing emperors had never issued such a kind of edict. Therefore, the so-called Official Placards of Protecting Monks were counterfeited by certain monks for their own sakes. On the one hand, it was difficult for many commoners to tell the authenticity of these placards. On the other, the majority of local officials and elites did not bother themselves with these placards. Nevertheless, a few local elites took advantage of these very placards to promulgate Buddhism and protect monks and their temples. In sum, the Official Placard of Protecting Monks throws light on another aspect of the relationship between the state and the monks, revealing that monks were by no means passive receiver of state regulation. On the contrary, by manipulating the credit of the state, they were able to produce, spread and capitalize on the so-called "state regulations" in their own interests. / Detailed summary in vernacular field only. / 伍金菊. / "2014年10月"--Title page. / "2014 nian 10 yue"--Title page. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 133-148). / Abstracts also in English. / Wu Jinju.