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The concept of World Music is important for the explanation of various twentieth-century musical phenomena but its application to virtually every genre of music creates an inevitable confusion. In the 1980s, World Music was a term useful for describing popular music in fusion with ethnic music. That fact has lead many to an association of the term exclusively with that new genre. In this study I define World Music in Western art-music---from an historical perspective as well as with regard to musical style, ideology, and aesthetics and give examples of various composers' approaches. In the ideological discussion, the debate over "exotic" music and musical borrowings turns out to have many points of contact with the notions of modernism and postmodernism. I exemplify and test my ideas by using the stylistic development of Swedish-Canadian composer Bengt Hambraeus as a case study and discuss ideological and musical applications to the concept of World Music in relation to Hambraeus's piece Nocturnals for Chamber Ensemble (1990).

This thesis uses Hirsch's dual notion of intention, i. e. conscious, intentional meaning and symptomatic, unconscious meaning, in order to avoid a dead end in the critical assessment of Warhol's work. T.S. Eliot's term "objective correlative" refers to a phenomenon whereby "an inner emotional reality" is evoked by its "external equivalent". (Benet, 1965). Thus, given that no work of art is purely self-referential (as distinct from its being autonomous),Hirsch's notion allows that viewerreconstruction of a painting involves shared values and concerns; that a painting reconstructed by a viewer acquires the status of an icon through which the viewer participates in the artist's sacred cosmos. Sociology of art tends on the whole to extrapolate from actual works to the alleged conditions that gave rise to them. That it cannot predict what specific works will arise from given conditions makes it unscientific. However, its usefulness lies in its ability to reveal what values and concerns are shared by artist and viewer. This is vital for an interpretation of Warhol's work. Warhol's biography leads directly into the meaning of his work. The sickly child of an immigrant steelworker, he grew up in Pittsburgh - an epitome of the technocratic-industrial environment - and was exposed from an early age to a violent and ugly world where the disparity between the super-wealthy and the struggling workers was deeply disturbing. That Warhol himself became a multi-millionaire artistic tycoon is significant, for it means that his works, his icons, were participatory in the very cultural myths and neuroses they appear to display or even despise. That his work has meaning and is open to interpretation there is no doubt. For example, a man-made soup can, as a manifestation and containment of the sacred, is coercive. Here the sacred becomes familiar, affordable and disposable. An electric chair, a man-made instrument of death, gives man supremacy over mortality and the divine prerogative of purging the world of all evil. The essay, however, does not attempt to answer the broader questions raised by Fromm and Roszak about the spiritual emptiness of the twentieth century and the existential crises experienced by those who hunger for meaning and fasten greedily onto anything that seems to proffer a glimpse of something beyond. The essay, nevertheless, strives within this context to elucidate the valid in Warhol's work

This thesis focuses upon the writings of the contemporary North American feminist theologian Mary Daly. It takes the form of a critical study of Daly's thought in terms of five tributary influences. It represents a contribution to two areas of research: the history of feminist ideas, and the ongoing methodological debate within feminism as to the possible relationship between feminist theory and 'conventional' theory. In chapter one Daly's political thought is introduced through a discussion of the influence of the tradition of radical feminism. The principle aim of this chapter is to clarify, as far as possible, the dual process of influence that exists between her thinking and the work of certain radical feminist theorists. In chapter two the influence of Beauvoirian existentialism upon Daly's thought is examined in the wake of the claim that in drawing from Simone de Beauvoir's feminist existentialist analysis of women's situation, in The Second Sex, Daly assimilates Sartrean existentialist assumptions which are problematic from a feminist perspective. In chapter three turn to address Daly's philosophical- theological debt to Thomas Aquinas and the Thomist tradition. I trace the history of Daly's dealings with Thomism, including her criticism, and briefly evaluate her continued feminist engagement with its ontology. In chapter four Daly's utilisation of Peter L. Berger's sociological theory is explored. I discuss Daly's feminist criticism of Berger's theory of 'worldbuilding' and proceed to evaluate her subsequent attempts to use Berger's work as the starting-point for a new feminist sociology of knowledge. In the fifth and final chapter the abiding influence of Christianity to Daly's 'revolutionary' theological agenda is highlighted and explored with reference to the contemporary division of theological labour between so-called 'reformists' and 'revolutionaries'. The thesis ends with a few concluding remarks about Daly's methodology with regard to 'conventional' theory.

Dissertação (mestrado)—Universidade de Brasília, 2008. / Submitted by Allan Wanick Motta (allan_wanick@hotmail.com) on 2011-05-05T19:41:06Z No. of bitstreams: 1 2008_RodrigoOliveiraMarquez.pdf: 1025977 bytes, checksum: 8fcf8f04967bed26d4b82e41ff330f29 (MD5) / Approved for entry into archive by Luanna Maia(luanna@bce.unb.br) on 2011-05-11T14:31:46Z (GMT) No. of bitstreams: 1 2008_RodrigoOliveiraMarquez.pdf: 1025977 bytes, checksum: 8fcf8f04967bed26d4b82e41ff330f29 (MD5) / Made available in DSpace on 2011-05-11T14:31:46Z (GMT). No. of bitstreams: 1 2008_RodrigoOliveiraMarquez.pdf: 1025977 bytes, checksum: 8fcf8f04967bed26d4b82e41ff330f29 (MD5) / A dissertação apresenta os quatro principais livros de Hayden White: "Meta-História" (1973), "Trópicos do Discurso" (1978), "O Conteúdo da Forma" (1987) e "Realismo Figural" (1999). Os quatro primeiros capítulos levam, respectivamente, o título de cada um dos livros de Hayden White e são apresentados em obediência ao critério cronológico dos anos das suas respectivas publicações. Ao final de cada um dos quatro capítulos são apresentadas críticas de alguns autores as possíveis conclusões que Hayden White chega em cada um dos seus livros. O quinto capítulo, intitulado "Quatro Polêmicas com Hayden White", apresenta quatro debates diretos que ele trava com quatro dos seus muitos críticos, apresentados também em obediência à ordem dos diferentes anos em que essas discussões ocorreram: Roger Chartier (1993), Arthur Marvick (1995), George Iggers (2000) e Dirk Moses (2005). _______________________________________________________________________________ ABSTRACT / The dissertation presents the four main books of Hayden White: "Metahistory" (1973), "Tropics of Discourse" (1978), "The Content of the Form" (1987) and "Figural Realism" (1999). The first four chapters were named, respectively, after the titles of each one of Hayden White's books, and are presented according to the chronological criterion of the years of their respective publication. By the end of each one of the four chapters, some reviews of other authors over Hayden White's conclusions in his books are presented. The fifth chapter, entitled "Four Polemics with Hayden White", presents four direct debates that he wages against four of his many critics, also presented in order respecting the different years in which these discussions took place: Roger Chartier (1993), Arthur Marvick (1995), George Iggers (2000) and Dirk Moses (2005).

Dissertação (mestrado)-Universidade de Brasília, Faculdade de Direito, 2005. / Submitted by Guimaraes Jacqueline (jacqueline.guimaraes@bce.unb.br) on 2011-05-11T15:06:09Z No. of bitstreams: 1 2005_OdimBrandaoFerreira.pdf: 8143079 bytes, checksum: 1111437095472453cb76b902cf4718a7 (MD5) / Approved for entry into archive by Daniel Ribeiro(daniel@bce.unb.br) on 2011-05-12T01:16:37Z (GMT) No. of bitstreams: 1 2005_OdimBrandaoFerreira.pdf: 8143079 bytes, checksum: 1111437095472453cb76b902cf4718a7 (MD5) / Made available in DSpace on 2011-05-12T01:16:37Z (GMT). No. of bitstreams: 1 2005_OdimBrandaoFerreira.pdf: 8143079 bytes, checksum: 1111437095472453cb76b902cf4718a7 (MD5) / This work concerns the notion of proportionality in law under a cultural perspective. It’s based, therefore, on Wolfgang Fikentscher’s theory, mainly on the “modes of thought” concept and the “synepeics” metatheory. It reveals that, despite widespread opinion, the proportionality concept is not an universal one. On the contrary, it is a typical idea of a few given contemporary law systems called “structured” in the above mentioned theory. Proportionality brings together essentials – and almost always conflicting – elements of these law systems, and tries to balance them: on one hand, measures concerning the common good democratically imposed by majority, and on the other, the fundamental rights. Proportionality looks forward, thus, to conciliating the rational ethics from the Greek philosophy with jewish-christian value of human dignity, which is secularized in modern constitutions. Proportionality aims to harmonize both “ethic extraposition” species. __________________________________________________________________________ ZUSAMMENFASSUNG / Die Verhältnismäßigkeitsvorstellung im Recht wird in der vorliegenden Dissertationsarbeit unter dem kulturellen Gesichtspunkt untersucht. Sie begründet deshalb auf der Theorie von Wolfgang Fikentscher, insbesondere anhand des Begriffs von “Denkart” und der “Synepeik” als Metatheorie. Die Untersuchung zeigt, dass die Verhältnismäßigkeit, trotz weit verbreiteter entgegengesetzter Meinungen, keine universelle Rechtskategorie bildet. Es handelt sich dagegen um einen typischen Begriff einiger gegenwärtiger Rechtsordnungen, die in der genannten Theorie als “strukturiert” bezeichnet werden. Die Verhältnismäßigkeit verknüpft wesentliche – und fast immer widersprechende – Merkmale dieser Rechtsordnungen und versucht, sie in Einklang zu bringen: auf der einen Seite die in demokratischen Mehrheitsbeschlüssen durchgesetzten Forderungen des Gemeinwohls und auf den anderen die Grundrechte. Die Verhältnismäßigkeit bezweckt also das Zusammenleben zwischen rationalistischem Ethikmodell aus der griechischen Philosophie und dem jüdischchristlichen Wert der Würde der Person, der in modernen Verfassungen säkularisiert wurde. Die Verhältnismäßigkeit versucht beide Arten “ethischer Extraposition” im gegenwärtigen strukturierten Staat zu harmonisieren.

Orientador: João Wanderley Geraldi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-14T04:30:24Z (GMT). No. of bitstreams: 1 Brito_Beteizabetede_M.pdf: 2326059 bytes, checksum: d1ada8ea9a3bda371c67b146629e1d2c (MD5) Previous issue date: 1992 / Resumo: Neste trabalho são estudados poemas de Zila Mamede, autora paraibana radicada em Natal (RN), utilizando-se conceitos produzidos no interior da Linguística Textual, com o objetivo de verificar a produtividade destes conceitos na caracterização do genero poético. Observou-se que a ausência de marcadores de conexão entre os enunciados constituidores dos poemas soma-se às características da construção esquemática dos objetos estéticos apontada pela teoria da recepção nos estudos literários, contribuindo deste modo para a formação de pontos de indeterminação que demandam um leitor co-enunciador do texto poético ...Observação: O resumo, na íntegra, poderá ser visualizado no texto completo da tese digital / Abstract: Not informed. / Mestrado / Mestre em Linguística

Psychobiography is a qualitative approach to exploring and understanding the life story of an individual through the lens of psychological theory. The application of theory is typically done on the finished lives of well-known or enigmatic people. This study explores and describes the psychological development across the lifespan of Ernesto “Che” Guevara, by applying the Individual Psychology of Alfred Adler. Che Guevara was an Argentine Marxist revolutionary, physician, author, guerrilla leader, and major figure of the Cuban Revolution. Since his death, his image has become a symbol for revolution within popular culture. Extensive data has been examined in this work to ensure an accurate description of Guevara’s life. Alexander’s model of identifying salient themes was used to analyze the data within a conceptual framework derived from the theory. Guevara was fiercely loyal to his cause, at the expense of the lives of many Cuban citizens as well as his own family, whom he spent little time with. He justified this with his firmly held belief that the end justified the means and that he was always fighting for the greater good. He quite literally dedicated his life to his cause, which is the reason that he has become a modern day symbol for revolution. It is however unfortunate that this came at such a great personal expense.

This thesis puts forward the case for a political reading of Thomas Hardy's Wessex Novels. Although the political aspects of these novels cannot be seen as his main preoccupation, it is argued that an awareness of the political motivation of Hardy is necessary for a proper and responsible reading. Through biographical and textual material, and through a comparison of Hardy with Boris Pasternak, it can be shown that a consistent political theme runs through the Wessex novels from the beginning to the end. The main reason why this political theme has not been generally appreciated is attributed to a misconception about Hardy's role as a novelist. For too long Hardy has been popularly described as a defender of the peasant or rustic. In fact, Hardy's interest was with those people who were just above the lowest class. Since he was himself from this slightly higher class, he was naturally sensitive to their difficulties in social improvement. Hardy therefore attacked the systems in society that protected the wealth and power for the middle and upper classes at the expense of the poorer people. The first chapter follows Hardy's early career both as an architect in London, where he developed strong political views that tended towards socialism, and as an aspiring novelist in a market which would not accept expression of those political views. The early novels show evidence of his suppressed political anger as Hardy lapses into outbursts of bitter social satire. The satire disappears after The Hand of Ethelberta when the novels complete a gradual movement towards tragedy. This meant that the discord between the early novels' general optimism and his political anger was eliminated. As a harmonious part of the later novels, Hardy's political attitudes are not so easily discerned. For this reason a special critical approach is needed. The second chapter compares Hardy's novels and political views with those of Boris Pasternak. Pasternak's poetic political novel provides a model for analysing the later more poetic Wessex Novels. Utilising the genre of the "lyrical novel," it is shown how the poet-novelist often pays less attention to narrative development and concentrates on shaping his central concerns within a symbolic structure. The third chapter makes a political reading of Tess of the D'Urbervilles based on the political attitudes established in the first chapter, and on the techniques of the lyrical novel defined in the second. The consistency of Hardy's political views in the Wessex Novels becomes apparent as the same concerns of the early novels are found through an analysis of the novel's symbolic structure. / Arts, Faculty of / English, Department of / Graduate

This thesis concentrates on human relations and the potential for man’s beatitude in Hardy’s major novels through an exploration of suffering, human will, evolutionary meliorism, and Grace, discussed in separate chapters. Chapter I is devoted to an introduction of the major elements of what is here called Hardy’s vision. Relying largely on Florence Emily Hardy’s The Life of Thomas Hardy and on references to some of the novels, a compilation of impressions is arranged into what seems to represent accurately the basic nature of the world and human relations in Hardy’s novels. The emphasis and the thrust of the vision are the ways in which human doings interrelate.