Le nom d’Adélard Lambert n'occupe certes pas une grande place dans le Panthéon de nos grands hommes. Il n'en mérite pas moins d'être connu de tous ceux qui s 'intéressent aux collections de folklore franco-canadien et franco-américain, ainsi qu'aux col¬lectionneurs de Canadiana. Ce simple artisan a su préserver de l'oubli tant de traditions de toutes sortes, il a compilé et recueilli une si grande part du patrimoine collectif (oral et écrit) que son oeuvre mérite d'être mieux étudiée et son nom plus appré¬cié. Homme du peuple, peu favorisé par les études régulières dans des institutions, il a su quand même faire fructifier, en le fixant par écrit, un trésor personnel et familial de traditions orales qui, sans lui, serait irrémédiablement perdu. De plus, un goût inné de collectionneur l'a mis sur la piste de maints Imprimés rares qu'il a rassemblés avec une grande piété. Les unes et les autres forment la Collection Lambert, l'une des plus importantes de la Bibliothèque de l'Institut Canado-Américain de Manchester. C'est l'analyse de cette collection et de cette oeuvre folklorique qui fera l'objet de la présente étude bio-bibliographique. / Québec Université Laval, Bibliothèque 2014

LIMA NETO, Ildefonso Rodrigues. Escrita subversiva: O Democrata (1946-1947). 2006. 283 f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2006. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-25T15:48:39Z No. of bitstreams: 1 2006_Dis_IRLNeto.pdf: 1577781 bytes, checksum: 3f7d034ecb339604f7da2f87f02afd8d (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-06-25T16:02:20Z (GMT) No. of bitstreams: 1 2006_Dis_IRLNeto.pdf: 1577781 bytes, checksum: 3f7d034ecb339604f7da2f87f02afd8d (MD5) / Made available in DSpace on 2012-06-25T16:02:20Z (GMT). No. of bitstreams: 1 2006_Dis_IRLNeto.pdf: 1577781 bytes, checksum: 3f7d034ecb339604f7da2f87f02afd8d (MD5) Previous issue date: 2006 / This study approaches an analysis of the communist newspaper "O Democrata" (in English "The Democrat"), during 1946 and 1947, in Fortaleza-CE, Brazil. It is aimed to recover paths of the transgressing press in the State of Ceará, from the beginning of the 19th century. It is shown the relation between traditional and subversive written press. This study also approaches documents from interference perspectives and public places where they were sold in Fortaleza. From the main source of the research, it is intended to amplify the comprehension of the speech by the use of oral sources and documents during the years of 1946 and 1947. It is also evaluated the contribution of the written press during the election period and the importance of the evening newspaper in order to diffuse the communist ideas. / Este estudo compreende a análise do jornal comunista O Democrata, no período de 1946 e 1947, na cidade de Fortaleza-Ceará (Brasil). Procuro recuperar o trajeto da imprensa transgressora no Estado, a partir do final do Século XIX, e mostro a relação do impresso com a tradição da escrita subversiva. Neste trabalho, abordo o documento dentro da perspectiva das interferências e a circularidade do mesmo nos espaços públicos da cidade. A partir da fonte principal de pesquisa, tento ampliar a leitura da escrita fazendo uso das fontes orais e documentos relativos ao período da temática. Avalio, ainda, a participação do impresso nas eleições e mostro a importância do vespertino para difusão das práticas e idéias comunistas.

Bibliography: leaves 221-234 / This research explores the humour and laughter in Howard Barker's Theatre of Catastrophe in the light of Mikhail Bakhtin's theory of the carnivalesque against the backdrop of the postSecond-World-War British (post-WWII) society and cultural tendencies and problems thereof. In this research, which explores the different stages of Barker's work – namely plays written in the seventies, the eighties and early nineties – I argue that comedy and laughter are pivotal to Howard Barker's theory for theatre which ultimately shaped his Theatre of Catastrophe as a tragic theatre. Howard Barker forged the appearance of a unique theatrical practice, the Theatre of Catastrophe, not only through the revival of pain, death and tragedy but also through the juxtaposition of the carnivalesque and death/tragedy. This research therefore, studies transformation in Barker's art of theatre in a period of twenty years and demonstrates how the playwright deviates from tenets he set for his tragic theatre without necessarily betraying its tragic spirit. It is worth highlighting the observation that, the marriage of catastrophe and the carnivalesque remains the most significant achievement of Barker's art of theatre. Chapter Two of the research explores Bakhtin's theory of the carnival through the elaboration of crucial concepts such as the grotesque imagery, laughter and the marketplace. Bakhtin's thoughts on laughter root in Henri Bergson's theory of laughter. Definitely the realm of laughter somewhere in between art and life, both Bergson and Bakhtin also emphasise on the negative aspect of laughter. The engagement of individuals in the marketplace creates the concrete presence which is crucial to the carnivalesque. Taking into account the tenets of the Bakhtinian carnivalesque, this second chapter also concisely studies the challenges posed to the carnival theory by philosophers such as Umberto Eco and Terry Eagleton. The chapter finally investigates the revival of the concept of the carnival in the post-war British drama by studying David Edgar's advocacy of Augusto Boal's thoughts on the theatre and the necessity of the carnival. Chapters Three and Four offer close analyses of the plays written by Barker in the seventies, eighties and early nineties with the primary aim to show the turns and shifts that he takes in the development of his career as an oppositional playwright in search of a remedy to the cultural malaise of his day. The plays selected for these chapters are the ones which the playwright has categorised as his best plays, namely, Claw (1975), Stripwell (1975), The Love of a Good Man (1978), The Power of the Dog (1984), The Castle (1985), The Europeans (1987), (Uncle) Vanya (1992). Chapter Five sums up the findings on the research and concludes that Barker's comic sense goes beyond the comic sense ascribed to many tragic playwrights. The comedy which permeates his theatre of catastrophe shares affinities with the carnival leading to a carnivalisation of catastrophe in Barker's tragic theatre despite the claims by the Barker and his downplaying of the comedy which exists in his oeuvre. / English Studies / D. Litt. et Phil. (English Studies)

Call number: LD2668 .T4 1933 L31

Call number: LD2668 .T4 1937 T81

This essay explores the idea of revelation of two French philosophers, Jean-Luc Marion and Paul Ricoeur. Ricoeur and Marion are very important figures not only in contemporary continental philosophy, but also in their contributions to the discussion of religion, or what some may call the "theological turn." Marion contends that revelation is the saturated phenomenon ' par excellence', free from the constraints of reason and metaphysics. For Ricoeur, a longer route in approaching the phenomenology of religion through the detour of hermeneutics is much needed. Such a longer path serves to concretely ground the discussion of revelation in a historic, linguistic, and textual milieu. Therefore, while Marion thinks that revelation is immediate and unconditionally given, Ricoeur maintains that revelation as manifestation names the possibility for biblical Scripture, and through hermeneutic interpretation, is able to open a world into which one might project one's ownmost possibilities.

This dissertation delineates the theological tenets of John Piper's evangelistic ministry at Bethlehem Baptist Church in Minneapolis. In addition to his basic conservative, evangelical presuppositions, there are four theological tenets that drive the evangelistic ministry of John Piper: the sovereignty and supremacy of God, the depraved affections of man, conversion as the creation of a Christian Hedonist, and the glorifying witness of the church. Chapter 1 addresses Piper's role in modern evangelicalism as a recovery theologian. He is one of several pastors and authors calling evangelicals to recover the god-centered theology of the reformers. Piper's unique perspective of Christian Hedonism is his prescribed vehicle for that recovery. The theology of evangelism springing from this perspective is particularly valuable as a remedy for the atheological pragmatism currently driving so many evangelical churches. Chapter 2 is biographical in nature, exploring Piper's life and theological development. In addition to describing the experiences of his conversion and call to ministry, this chapter details the pivotal awakening he experienced at Fuller Seminary that led to the development of Christian Hedonism and his subsequent espousal of Calvinism. This chapter also recounts the theological developments Piper has experienced during his pastorate, including the missiological awakening that took place at Bethlehem Baptist Church during the mid 1980s. Chapter 3 then delineates the four theological tenets and the sub-points that embody the evangelistic aspects of each tenet. His published writings are the primary sources for this chapter, and the material reflects his affinity for Edwards and his God-centered hermeneutic. Chapter 4 examines five facets of Piper's ministry to prove that the theological tenets delineated in chapter three do indeed define and drive the evangelistic ministries of Bethlehem Baptist Church. Preaching, prayer, discipleship, outreach (local and global), and Piper's writing ministry are each examined to show the foundational presence of the four tenets in the evangelistic aspects of each ministry. Chapter 5 closes the dissertation by summarizing the material presented in chapters three and four. The final section of this fifth chapter briefly addresses the strengths and weaknesses of Piper's theology of evangelism and Bethlehem's evangelistic ministries. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

The purpose of this historical study was to demonstrate that public health nurses in the United States have a significant history of successfully organizing, developing, and leading public health services during times of societal change and transition. This study examined the critical role that public health nursing leader Mary Beard played during her 13-year appointment (1925 to 1938) at the Rockefeller Foundation (RF), primarily through an analysis of her work diaries and correspondence. During Beard’s tenure at the RF, she occupied a unique position within the nursing profession by providing expert opinion on nursing and health care matters to the Directors of the RF. During the course of this study, it became apparent that it would not be possible to analyze all the work Beard conducted at the RF because of the vast number of projects in which she was engaged. Therefore, this study focused on three areas of her work: advisory assistance to a national nursing organization; the development of nursing education at the University of Toronto; and the condition and status of nursing in the southern states, with particular emphasis on African American nurses. A review of Beard’s work demonstrated that her overarching goal was to provide quality public healthcare at the national and international level. Beard was cognizant that nursing was integral to achieving this goal. Arguably, Beard held a privileged place in society she was White, Protestant, middle class, and socially connected, and these attributes allowed her to enter an elite school of nursing in New York City. Beard’s work is not as widely known as other American nurses, such as Lillian Wald. This researcher did not find specific details of Beard’s involvement in other social movements such as the rights of women, workers, immigrants, and African Americans. However, the case could be made that Beard’s life’s work was an example of her commitment to public healthcare at home and abroad and her work and actions demonstrated her commitment to female equality in the workplace.

Orientador: Luiz Gonzaga de Mello Beluzzo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-07-13T20:09:48Z (GMT). No. of bitstreams: 1 Schwartz_Gilson_M.pdf: 6395035 bytes, checksum: 61387e131f6385e1674a59ae1103add1 (MD5) Previous issue date: 1985 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em Economia

This dissertation was conceived as an addendum to two self-published catalogs that American artist Chris Burden released, covering the years 1971–1977. It looks in-depth at the formative work the artist produced in college and graduate school, including minimalist sculpture, interactive environments, and performance art. Burden’s work is herewith examined in four chapters, each of which treats one or more related works, dividing the artist’s early career into developmental stages. In light of a wealth of new information about Burden and the atmosphere in which he was working in the late 1960s and early 1970s, this dissertation examines the artist’s work in relation to West Coast Minimalism, the Light and Space Movement, Environments, and Institutional Critique, above and beyond his well-known contribution to performance art, which is also covered herein. The dissertation also analyzes the social contexts in which Burden worked as having informed his practice, from the beaches of Southern California, to rock festivals and student protest on campus, and eventually out to the countercultural communes. The studies contained in the individual chapters demonstrate that close readings of Burden’s work can open up to formal and art-historical trends, as well as social issues that can deepen our understanding of these and later works. Benefitting from access to the artist’s estate, as well as archives collected at various institutions in Southern California, this dissertation is the first authoritative coverage of Chris Burden’s early career.