Made available in DSpace on 2016-08-03T12:20:32Z (GMT). No. of bitstreams: 1 TESE DOUTORADO ALZIR SALES COIMBRA.pdf: 1993916 bytes, checksum: a7f383b4035d7299e14c689eb23ad04a (MD5) Previous issue date: 2007-12-11 / This research is concerned with the scientific discussion about the writing and composition of Amos Book and aims primarily to present and criticize some hypotheses about the literary layers, which could belong to the prophet himself, and the later additions. As a first step, in order to approach on the writing problem, this study examines some contributions of both foreign experts and Brazilian scholars, and attempts to criticize their hypotheses concerning the final writing of Amos Book. The writing question of Amos Book has been indeed subject of an exciting discussion among many scholars. Secondly, the diachronic reading is fulfilled with the synchronic study of Amos Book, namely with the debate about the structure not only of the composition at Amos 6,1-14, but also of the whole book. Then, from the evaluation of the outcome of the investigation, this study employs the historicalcritical method and analyses the composition at Amos 6,1-14 as a meaningful literary unit. For such analysis, some previous considerations concerning the literary gender of lamentation, the prophetic indictment of the social injustice, and the institution of the marzeah feast are undoubtedly very important. So forth, an analysis of the literary phenomenon of the prophetic pamphlets and of the social organization, which could be behind their authorship, is made as well. Therefore, and considering the challenge of the recent methodological proposals, this research aims at giving an specific contribution to the study of Amos. It strives to demonstrate that in respect to Am 6,1-14 the reader is in front of a collective creation. In fact, the above-mentioned composition results not only from the oral preaching of Amos himself but also on the grounds of its composite form from the prophetic voices of the people, which on the impulse of the Spirit have confirmed Amos severe indictment and even have fulfilled it with their own experiences and sufferings. Finally an unpretentious excursus examines Amos Book in a wider literary context, in order to give a survey of the debate about the writing process of the Book of the Twelve as a whole, particularly from its eschatological perspective through the theological category of the Day of the Lord.(AU) / Esta pesquisa se dedica ao debate em torno da redação e composição do livro de Amós, e pretende, primeiramente, apresentar e criticar algumas hipóteses sobre as camadas literárias, que poderiam pertencer ao próprio profeta, e os acréscimos tardios. Como primeiro passo para uma abordagem do problema redacional, este estudo examina algumas contribuições de especialistas estrangeiros e de estudiosos brasileiros, e tenta fazer um julgamento crítico de suas hipóteses sobre a redação do livro de Amós. A questão do processo redacional do livro de Amós tem sido, na verdade, objeto de uma animada discussão entre muitos estudiosos. Em segundo lugar, a leitura diacrônica é complementada com o estudo sincrônico do livro, isto é, com o debate em torno da estrutura não só da composição em Amós 6,1-14, mas também do livro todo. Em terceiro lugar, a partir da avaliação do resultado da pesquisa e com a utilização do método histórico-crítico, a composição em Amós 6,1-14 é analisada como uma unidade literária de sentido. Para tal análise são, indubitavelmente, relevantes algumas considerações prévias sobre o gênero literário da lamentação, a denúncia profética da injustiça social e a instituição do banquete do marzeah. Em seqüência, esta tese analisa o fenômeno literário dos panfletos proféticos e da organização social, que poderia estar por detrás de sua autoria. Por isso, e levando em conta o desafio de novas propostas metodológicas, esta pesquisa visa dar uma contribuição específica ao estudo de Amós. Ela se empenha em demonstrar que, em relação a Amós 6,1-14, o leitor está diante de uma criação coletiva. De fato, a mencionada composição é o resultado não só da pregação oral do próprio profeta, mas também, em razão de sua forma compósita, das vozes proféticas de pessoas oprimidas, que, impulsionadas pelo Espírito, confirmaram a denúncia severa de Amós e até a completaram com suas próprias experiências e sofrimentos. Finalmente, um despretensioso excursus examina o livro de Amós em um contexto literário mais amplo, para dar uma visão geral do debate em torno do processo redacional do Livro dos Doze Profetas, particularmente a partir de sua perspectiva escatológica mediante a categoria teológica do Dia do Senhor.(AU)

Jan Amos Komenský is a great figure of the Czech nation. However, despite his fame, he is a much more significant thinker than he is generally regarded to be. Labyrinth of the World and Paradise of the Heart has no equivalent in its time or in older Czech literature. Even if Komenský wrote nothing else, this book would guarantee him a prominent place in Czech literature. In Labyrinth, Komenský shows himself as a great believer who exactly uncovers human pride, uncovers imaginary and untrue independence of man and shows exactly and aptly the futility and true face of many human endeavours. Labyrinth is a merciless criticism of man. It is never nihilistic, though {--} it is always based on a deep and realistic sense of purpose, a deep feeling for the ethical. That is why Komenský{\crq}s irony {--} which is the essential accord of Labyrinth {--} is irony of sadness. Some of Komenský{\crq}s ideas are close and understandable to us; however, some are much more distant. It remains a question if what seems to us to be old, outdated or naive in Komenský, is a basis without which it is not possible to understand well and realize what we are no longer willing to identify with. Is the ``critic of rationalism{\crqq} and great believer in Komenský, so distant to us, his most important basis that gives viability and future to his own ideas as well as to all human endeavours? This work briefly describes the ideas and storyline of Komenský{\crq}s Labyrinth. Each chapter of this thesis attempts to find what is most important in the mass of text of Labyrinth and thus to briefly point out the significance of each part of the book. Sometimes exact quotations are used which should show the real sense of Komenský{\crq}s ideas in a better way. Quotations from the Bible which could be a base of Komenský{\crq}s ideas are matched to individual chapters. The attempt is to find those ideas of Komenský which could be used and could be useful in our society. On the basis of an elaboration on the book, this work attempts to point out the importance of real belief and keeping to its rules for the life of a man and a society as a whole.

Diploma thesis Philosophy in the work of John Amos Comenius is focused on demarcation main points in the work of John Amos Comenius, great thinker, philosopher, pedagogic and theologic authority. I deal with philosophy and with influences of most important people, atmosphere of 17th century, significant finding and inventions and his live on his work. Comenius was great thinker of education and pedagogue in praxis and metodology. This is another part of my work, I focused on education in praxis and of course his work in books. I mention ODO - Opera didactica omnia, huge work of pedagogic metodology and Obecná porada o nápravě věcí lidských - his masterpiece. This work have to unify his work in one big complex. Than I am trying to compare it with our today reality and find similar problems in our school and education proces.

Cette thèse par article présente une étude de cas sur le pensionnat autochtone de Saint-Marc-de-Figuery au Québec, ouvert de 1953 à 1973 pour les jeunes autochtones de l’Abitibi (Algonquins) et du Lac-Saint-Jean (Attikameks). Elle porte principalement sur trois curriculums présents au pensionnat, soit le curriculum officiel, le curriculum enseigné et le curriculum caché. Cette thèse s’inspire du paradigme de la critique transformative pour expliquer les relations de la politique colonisatrice et dominatrice au sein du système des pensionnats autochtones. Il s’agit d’une recherche qualitative fondée sur la méthode historique à partir d’une analyse de sources écrites et orales. Pour ce faire, j’ai consulté et analysé des documents (sources primaires et secondaires) disponibles et accessibles. Les résultats se divisent en trois grands points. Le premier étant ce qui a été fait pour le pensionnat en tant que curriculum officiel par le gouvernement fédéral et les Pères oblats. Le second point touche la vie au pensionnat. C’est le point le plus long, car les trois curriculums y sont abordés. Du curriculum officiel et enseigné du gouvernement québécois découlent les programmes d’études, l’horaire et les matières enseignées. Pour cette étude, seule l’histoire a été retenue avec son programme et ses manuels scolaires. Le curriculum caché décrit les aspects dissimulés et indirects comme la perte d’identité, la honte d’être un autochtone et la langue obligatoire de la majorité de la province où se trouve le pensionnat. Le troisième point traite des conséquences ainsi que des effets négatifs et positifs en dehors du pensionnat. Le curriculum caché n’a pas seulement été vécu par les pensionnaires, mais aussi par leurs familles et leur entourage. Néanmoins, il ressort des aspects positifs une implication des pensionnaires dans la communauté et pour certains la poursuite d’études postsecondaires. À la lumière des résultats, nous pouvons soutenir que le pensionnat de Saint-Marc-de-Figuery, comme institution scolaire des autorités canadiennes, fut à la fois assimilateur, acculturateur et formateur en voulant régler la problématique autochtone au pays.

Amos Daragon est une œuvre de fantasy jeunesse québécoise relatant les aventures d'Amos, Béorf, Lolya et Médousa. Ces derniers ont pour mission de rétablir l'équilibre entre le bien et le mal en éliminant les dieux qui perturbent l'harmonie sur la Terre avec les guerres qu'ils se livrent par l'intermédiaire des mortels. Notre étude s'intéresse principalement à ces personnages, qui acquièrent, au fil de leurs aventures, de nombreux attributs extraordinaires les rapprochant des dieux. Il semble que les protagonistes soient des êtres complexes qui possèdent des caractéristiques contradictoires. Notre mémoire cherche à prouver que la nature de ces personnages est incertaine, puisque d'un côté ils ressemblent aux dieux, alors que de l'autre, ils se rapprochent davantage des humains. Alors que cette dualité laisse présager l'échec de la mission des quatre amis, notre recherche montre qu'elle est plutôt essentielle à sa réussite. L'approche narrative que nous proposons avec cette analyse montre que si le cycle de Bryan Perro recourt aux règles de la fantasy, c'est pour amener son jeune lecteur à faire face aux paradoxes et aux contradictions de la vie sociale et personnelle.

This thesis deals with gay identity politics and its relation to the Zionist ethos as it is portrayed in several Israeli films. It primarily analyzes two different points of view of two film directors whose homosexuality plays a central role in their cinematic work – Amos Gutman and Eytan Fox – and examines the way they perceive their gay lived experience. Analyzing Gutman’s Drifting (1983), Bar 51 (1985), and Himmo, King of Jerusalem (1987), I show how he encloses himself in his own queer universe and demands to be acknowledged as such, practicing his authenticity separately from the hegemonic discourse. On the other hand, the sexual politics in Fox’s Yossi & Jagger (2002) and Yossi (2012), suggests that homosexual men should join the national hegemonic space while ignoring their otherness. Since the films in question use the Zionist narrative and the national identity of their protagonists as points of reference, these two approaches are discussed in relation to the Zionist ethos. Several other films with similar points of reference are analyzed as well, including Fox’s Time Off (1990), Walk on Water (2004) and The Bubble (2006), Dan Wolman’s Hide & Seek (1979), Ayelet Menachemi’s Crows (1987), Nadav Gal’s A Different War (2003), Yair Hochner’s Good Boys (2005), and Mysh Rozanov’s Watch over Me (2010). Discussing the Zionist ethos, I emphasize Daniel Boyarin’s concept of the parallel between Jewishness, queerness, and abnormality. I show how the Zionist yearning for normalcy (the wish ‘to be like all nations’) and the identification of the homosexual as abnormal are embodied in the cinematic representations. The analysis in this thesis is mainly based on queer theory, as it strives to deconstruct and destabilize the traditional binaries of heterosexuality and show how the hegemonic discourse is based on those limited binaries. It challenges any political discourse that by naturalizing heterosexuality enforces heteronormative practices. By highlighting queer marginality in the cinematic text and linking it with elements of post-colonial theory and its analysis of the other, I show how gay identity politics discourse subverts or yields to the Zionist ethos. / text

Adapting the concept of the ”popular cultural memory” and its necessary “context knowledge” established by Karin Kukkonen, this bachelor thesis seeks to examine how this memory is “at work” and expresses itself in contemporary fiction, by doing an intertextual reading of the swedish author Amanda Svensson's debut Hey Dolly. Within the intertextual structures of Hey Dolly the reader encounters allusions and references that address almost everything from contemporary popular culture to established authors in the swedish canon, mainly as means for the characters to help them express their emotions and thoughts, by “choosing” from already available content of popular culture to use and modify. The intertextuality alluding to the popular cultural memory does at the same time address the concept of the ideal reader throughout the novel. This ideal reader is addressed by the narrator as one of those “in the know”, as competent enough to see this “popular cultural memory” at work in the novel by “getting” these intertextual allusions and references. Thus any (real) reader has to be equipped with the same expertise of popular culture as the narrator in order to fully understand this intertextuality. The intertextual practices of Hey Dolly should be understood as traits used by the author to express and implicate her/his awareness of the texts “surroundings”, traits indeed found even in the name of Hey Dolly's main protagonist, symptomatically influenced from contemporary, western American commercial culture. Given the premiss where this intertextual framework relies on a heavily contemporary influenced popular cultural context, it potentially would run the risk of not being understood, should future popular culture contexts operate under different premisses. In this regard the high cultural canon memory would have to be regarded as being more stable and “reliable” than the popular cultural memory, as the norms for the canon are more fixed and rarely negotiated.  Arguing that this intertextual reading of Hey Dolly is of an immense value and significant for understanding how the Zeitgeist operates and should be approached, this thesis is still based on the premiss where the intertextual reading of Hey Dolly has largely been nonexistent when looking at how Hey Dolly has been received. Instead in the swedish media we find a consistent dominance of how its reception has been read from almost exclusively a gendered point of view, where Hey Dolly is seen and regarded as the forthcoming of a new representation of the girl/woman ideal. The intertextual reading of Hey Dolly would instead be regarded as “secondary” at best, where the story by itself is self sufficient, even if the reader lacks the necessary context knowledge of how this ”popular cultural memory” is at work in the text.

Indiana University-Purdue University Indianapolis (IUPUI) / In 1854 the United States Congress passed the Kansas-Nebraska bill which left the question of slavery in the territory up to a vote of popular sovereignty. Upon the passage of the bill, New England’s most elite class of citizens, led by Eli Thayer, mobilized their networks of philanthropy in New England to ensure the Kansas-Nebraska territory did not embrace slavery. The effort by the New England elite to make the territories free was intertwined in a larger web of philanthropic motivations aimed to steer the future of America on a path that would replicate New England society throughout the country. The process and goal of their philanthropy in the Kansas-Nebraska Territory was not dissimilar from their philanthropy in New England. Moral classification of those in material poverty mixed with a dose of paternalism and free labor capitalism was the antidote to the disease of moral degradation and poverty. When Missourians resisted the encroachment of New Englanders on the frontier, the New England elites shifted their philanthropy from moral reform to the funding and facilitation of violence under the guise of philanthropy and disaster relief. For six years, until the outbreak of the American Civil War, New England philanthropists facilitated and helped fund the conflict known as Bleeding Kansas.

Thesis (MA (African Languages))--University of Stellenbosch, 2006. / ENGLISH ABSTRACT: The aim of this study is to explore conflict in the two dramas under study. Conflict is one of the cornerstones of drama and it is the most significant element of plot. An investigation is done of the two dramas under study: Inene nasi isibhozo by Mthingane (1965) and Buzani Kubawo by Tamsanqa (1958). Both dramas depict Xhosa cultural properties, and its impact on character portrayal in the dramas. The study has the following organization: Chapter 1: Purpose and aims of the study. Chapter 2: Review of literature on conflict. Chapter 3: Deals with the development of plot within episodes. A critical evaluation of the dramas is undertaken. Chapter 4: Presents culture and conflict in the dramas and an investigation of the portrayal of these aspects is undertaken. Chapter 5: Summary of the findings of the study.

The thesis Project teaching at 1st grade of primary school in the context of regional museum John Amos Comenius, deals with linking subject matter of John Amos Comenius and project teaching, and utilizes the facilities of John Amos Comenius Memorial in Komňa. In the theoretical part are analysed information about the project method, its implementation in the teaching process, the importance and difficulties. The key part is the practical one, which is devoted to the design and realization of the project The footsteps of John Amos Comenius, which was made by pupils of John Amos Comenius Primary School in Komňa. Final projects were exhibited at the Municipal Office in Komňa. The enclosure contains the worksheets, which are intended for further use in the classroom.