This thesis seeks to expand the self-critical resources of contemporary theological economic ethics by bringing the method of a pre-modern theologian and social commentator, Martin Luther (1483-1546), into interaction with that of a modern contribution to social ethics, the Swiss theologian Arthur Rich (1910-92). This thesis is the first substantial treatment in English of Rich’s magnum opus, Wirtschaftsethik. The demonstration of the thesis is undertaken by a close engagement with a selected publication of Luther (his 1519/20 Großer Sermon von dem Wucher) and of Rich (his masterwork, Wirtschaftsethik, published in two volumes in 1984 and 1990 respectively). The thesis does not simply describe Luther’s and Rich’s economic ethics, but demonstrates the way in which they operate, that is, their method. An introduction sets out the thesis, and defends its method. Chapter 1 introduces Luther’s sermon on usury, and situates it in its context. It then gives a commentary on Luther’s method, discussing its genre, the way in which Luther deploys Scripture and exploits doctrines with respect to ethics, and his concept of the twofold government of God. It analyses how Luther brings these theological motifs to bear on a particular economic question. Chapter 2 sketches Arthur Rich’s life and work, and presents Rich’s method as set out in Wirtschaftsethik. It discusses his understanding of ethics, his approach to Scripture, and his adoption of the thought of Max Weber and John Rawls. Chapter 3 brings our study of Luther to bear on Rich’s approach, noting strengths and weaknesses of Rich’s method. It questions some of Rich’s assumptions, and notes ways in which a more self-critical approach could have made his project more successful. A conclusion then summarises the argument, and makes tentative suggestions as to the wider applicability of the critical questions posed to Rich’s method by the analysis of Luther.

The problem with which this investigation is concerned is that of ascertaining whether or not A. C. Pigou led to the development of a modern school of Welfare Economics. This study has a threefold purpose. The first is to examine the welfare criterion of the classical tradition. The second is to examine the welfare criterion of the neoclassical tradition. The third is to develop a synthesis of classical and neoclassical into a modern welfare criterion. This study concludes that A. C. Pigou has founded a modern school of Welfare Economics. Pigou accomplished this by synthesizing the welfare doctrines of the classical tradition with that of the neoclassical tradition.

The role of the director in the contemporary theatre is constantly evolving in relationship to the art form. This thesis explores the process of directing Arthur Miller's American Tragedy All My Sons . Produced on the campus of Virginia Commonwealth University in December 2006, the role of the director is explored as it relates to this university community. The examination focuses on challenges surrounding script selection, casting, rehearsal, and ultimately production. By exploring the process of directing this production of All My Sons, larger revelations are discovered about the changing role of leadership in academic theatre.

This study focuses on the relation between the picareque genre and the way in which guilt is processed in literature. André Brink’s Inteendeel (On the contrary) was used in this examination and also, for a wider perspective than merely the South African situation, Arthur Japin’s De zwarte met het witte hart (The two hearts of Aquasi Boachi). The possibilities offerd by the picaresque in order to investigate the manifestation of guilt in literary texts were explored with the theories of, inter alia, Wicks, Ricoeur and Todorov. Tracing the origins of the picaresque reveals that this type of text exhibits specific characteristics, e.g. an unethical attitude that is usually imposed on the individual by a society in crisis – “guilt” and a confessional tone are therefore intrinsically part of the picaresque. Using Wicks’s modal-generic approach, the two novels are examined with the purpose of determining their degree of “picaresqueness” to test the validity of the hypothesis, i.e. that the more a text displays picaresque characteristics, the more the issue of guilt would be a central theme to that text. In the two novels relevant to this study, colonial guilt is the main form of guilt examined. / Prof. W. Burger

The purpose of this dissertation is to examine and evaluate Arthur Schopenhauer’s aesthetic as it relates to the concept of Sabbath in order to see how and to what extent this aspect of his thought might correspond to a Christian view of Sabbath and thereby inform a Christian aesthetic. Chapter 1 sets the context for the discussion of art and Sabbath within the framework of Christianity and the Arts. Chapter 2 offers an overview and analysis of Schopenhauer’s metaphysic, placing his thought in the context of transcendental idealism and explaining his concept of Sabbath. Chapter 3 demonstrates the significant role that Schopenhauer’s aesthetic plays in his philosophy, explaining how the arts provide a “Sabbath” rest for Schopenhauer. Chapter 4 analyzes the empirical evidence that seems to affirm a sabbatical aspect of the arts. The chapter focuses on the fields of music and art therapy in order to provide examples of the positive effects that the arts have on the emotional and physical well-being of individuals, thereby suggesting that at least part of Schopenhauer’s aesthetic theory seems to correspond to real life in measurable ways. Chapter 5 compares and contrasts Schopenhauer’s concept of Sabbath with a biblical concept of Sabbath. The chapter concludes that while the scriptural and the Schopenhauerian Sabbaths have several points of similarity, major distinctions exist between them. Thus, a biblical approach to understanding the arts through a sabbatical lens will significantly diverge from Schopenhauer’s system. Chapter 6 highlights various Christian thinkers who have spoken of the arts in a manner consistent with a sabbatical approach to the arts. The chapter focuses on Augustine, Martin Luther, Jonathan Edwards, Karl Barth, Dietrich Bonhoeffer, and C. S. Lewis. Moreover, the chapter examines several biblical passages that seem to affirm that the arts serve a rehabilitative function. Chapter 7 demonstrates how the arts can function in a manner consistent with a biblical Sabbath. The chapter also notes the limitations of viewing art as Sabbath. Chapter 8 summarizes the main points of the dissertation and reiterates the value of Sabbath in a Christian aesthetic. The chapter also offers some areas for additional research.

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Esta pesquisa teve no debate teórico sobre ready made, pop art e arte conceitual, sua motivação inicial, surgida da crítica ao fechamento intelectual e estético presente nos cânones exigidos pelos currículos escolares no Brasil. As implicações destes conceitos são discutidas em paralelo à elaboração de uma visão crítica das classificações europeias e norte-americanas como matrizes adequadas para a compreensão da criação de artistas como Arthur Bispo do Rosário, Brasil (1919-1988) e de Georges Adéagbo, Benin (1942). De forma complementar, o percurso do pesquisador-artista participa do processo de compreensão e análise. O foco recaia de um lado no material e matéria dos objetos do cotidiano, utilizados na obra de Arthur Bispo do Rosário e nos itinerários das obras de Georges Adéagbo, artista autodidata que expõe suas ideias e narrativas em forma de objetos escultóricos, ocupações de espaços públicos. Eles têm ainda em comum, as metodologias e os processos que espelham conceitos próprios e arqueologias de saberes ligados às suas próprias culturas e sociedades, além de constante construção de suas identidades. Esses processos de pensamento envolvem a ação mental (conceituação ou projeto mental) e a execução das ideias que se reflete em seus trabalhos de arte. O interesse principal de ambos está na análise do cotidiano representado por objetos de origem endógena e exógena que são fundidos e geram aspectos diferentes à materialidade, à narrativa, à desconstrução do próprio objeto como fenômeno (logia) da metamorfose a ele impressa, retirado de seu espaço de significação original, resignificado e ambientado no espaço-ser da arte como pensamento a partir do objeto de Bispo e, na auto-arqueologia inversa de Adéagbo. / This research had its initial motivation the theoretical debate on ready-made, pop art and conceptual art, which comes up from criticism of intellectual and aesthetic closure present in the canons required by the school curriculum in Brazil. The implications of these concepts are discussed in parallel with a critical view of the European and American statements of these matrices for understanding the creation of Arthur Bispo do Rosário, Brazil (1919-1988) and Georges Adéagbo, Benin (1942). In addition, the path of the researcher-artist himself, participates on the understanding and analysis proposed. The focus lies on the one hand, in the everyday objects materials used in the work of Arthur Bispo do Rosário and in the routes of Georges Adéagbo, who is a self-taught artist that exposes his ideas and narratives shaped objects \"sculptural\" and public spaces interventions. They still have in common, their methodology that mirror their own concepts and archaeologies of knowledge linked to their own cultures and societies as well as constant construction of their identities. These thought processes involve mental action (concept or mental project) and implementation of the ideals reflected in his works of art. Both have as their main concern the everyday life presented by fused endogenous and exogenous objects that generate different materiality, narrative and even the deconstruction of the object itself as phenomenology of its metamorphosis, once it was removed from its place of original of meaning, reframed in space-being for Bishop, or in reverse self-archeology for Adéagbo.

Este trabalho de pesquisa investiga o uso da fotografia como ferramenta de trabalho para o urbanismo a partir da análise de um estudo de caso: a atuação do urbanista e fotógrafo gaúcho Luiz Arthur Ubatuba de Faria (1908-1954), cuja relevância de sua atuação profissional em muito contribuiu para a constituição e consolidação do urbanismo no Rio Grande do Sul como campo profissional, e, de maneira pioneira fez uso sistemático da fotografia em seus trabalhos de urbanismo. Como “recorte serial”, foi estabelecida a série documental do conjunto iconográfico que conforma o Acervo Fotográfico de Luiz Arthur Ubatuba de Faria – Acervo LAUF. Foram analisados grupos de imagens que, através de suas narrativas, puderam contribuir com o seguinte questionamento de pesquisa: de que maneiras Luiz Arthur Ubatuba de Faria fez uso da fotografia como instrumento de trabalho para seu métier de urbanista no Rio Grande do Sul no período de 1926 a 1954? A partir de uma abordagem historiográfica a pesquisa assume como aporte teórico estruturador a indissociabilidade da tríade sujeito (fotógrafo), tecnologia (equipamento) e assunto (tema abordado) descrita por Kossoy. Nortearam a investigação as hipóteses de que Ubatuba de Faria tivesse feito uso de sua técnica de fotografar para o desempenho de seu trabalho enquanto urbanista, e da possibilidade de toda a produção fotográfica de Ubatuba de Faria tivesse contribuído de forma direta ou indireta para sua produção como urbanista. Ainda, considerou-se que o exercício de fotografar pudesse ter aguçado sua leitura do espaço urbano e das relações sociais inerentes ao urbanismo e que esta leitura realizada através de suas lentes, tenha, inclusive, contribuído na construção de seu entendimento do urbano e das questões relacionadas ao urbanismo em um processo de retroalimentação. O método contemplou duas dimensões de aproximação: uma dimensão laboratorial e uma dimensão analítica/ classificatória. A primeira abordou o conjunto de procedimentos técnicos que promoveu a salvaguarda do acervo. A segunda desenvolveu um quadro analítico constituído pela articulação das estratégias de análise de conteúdo e semiótica de imagens, através de uma abordagem qualitativa. Foram objetivos da pesquisa contribuir para o conhecimento do trabalho e da trajetória de Luiz Arthur Ubatuba de Faria enquanto urbanista com ênfase na sua produção fotográfica, bem como identificar as formas de uso da fotografia como ferramenta de trabalho para o urbanismo praticadas pelo urbanista. Por fim, objetivou-se dar visibilidade ao vasto acervo fotográfico identificado, visto que o trabalho de pesquisa empreendido apresenta e investiga um acervo inédito, com significativo valor documental e artístico. / This research investigates the use of photography as a work tool for urbanism from the analysis of a case study: the performance of the Gaucho urbanist and photographer Luiz Arthur Ubatuba de Faria (1908-1954). The relevance of his professional activity contributed greatly to the constitution and consolidation of urbanism in Rio Grande do Sul as a professional field, and he, in a pioneering way, made a systematic use of photography in his endeavors of urbanism. As a "serial clipping", the documental series of the iconographic set that constitutes the Photographic Collection of Luiz Arthur Ubatuba de Faria (LAUF Collection) was established. Groups of images were analyzed, who, through their narratives, could contribute to the following research inquiry: in what ways Luiz Arthur Ubatuba de Faria made use of photography as a working tool for his urbanist métier in Rio Grande do Sul in the period of 1926 to 1954? From a historiographical approach, the research assumes as a theoretical and structuring contribution the indissociability of the triad: entity (photographer), technology (equipment) and subject (subject matter) described by Kossoy. The investigation was based on the hypotheses that Ubatuba de Faria made use of his photographic technique for the performance of his work as an urbanist, and the possibility of all his photographic production to have contributed directly or indirectly to his production as a city planner. In addition, it was considered that the exercise of photographing could have sharpened his reading of the urban space and of the social relations inherent to urbanism, and that this reading realized through his lenses could have contributed to the construction of his urban understanding and of the issues related to urbanism in a feedback process. The method contemplates two dimensions of approach: a laboratorial dimension and an analytical/classificatory one. The first dealt with the set of technical procedures which promoted the safeguarding of the collection. The second one developed an analytical framework constituted by the articulation of the strategies of content analysis and semiotics of images, through a qualitative approach. The objectives of the research were to contribute to the knowledge of the work and of the trajectory of Luiz Arthur Ubatuba de Faria as an urbanist with an emphasis on his photographic production, as well as to identify his ways of using photography as a work tool for urbanism. Finally, it was aimed to give visibility to the vast photographic collection identified, as the research undertaken presents and investigates an unpublished collection, with significant documental and artistic value.

This thesis deals with the cultural efforts of the Swedish labour movement during the periodof 1917-1939. It aims to examine the similarities and differences between social democratsand communists in their approach towards culture.My theoretical guidelines are the dialectic and materialistic view on history as set forth byKarl Marx and Friedrich Engels.I have examined some important individuals in the cultural debate within the Swedish labourmovement, such as Ture Nerman and Arthur Engberg, and I also briefly outline the debate inthe Soviet Union from the classics of Lenin and Stalin.I have found that the social democrats were mainly concerned with a democratic distributionof the existing bourgeois culture rather than working for the creation of a new proletarianculture; the communists on the other hand made considerable efforts to benefit the workers'own culture based on class struggle, but failed to threaten the social democratic ideologicalhegemony among the Swedish working class.

Submitted by Nilson Junior (nilson.junior@unila.edu.br) on 2016-07-14T23:58:54Z No. of bitstreams: 1 SILVA_Jorge Antonio_Arthur Bispo do Rosário_ok.pdf: 51409006 bytes, checksum: e654670b6e130a6459577b46cd83c8e6 (MD5) / Made available in DSpace on 2016-07-14T23:59:23Z (GMT). No. of bitstreams: 1 SILVA_Jorge Antonio_Arthur Bispo do Rosário_ok.pdf: 51409006 bytes, checksum: e654670b6e130a6459577b46cd83c8e6 (MD5) Previous issue date: 1995 / Este trabalho é o resultado de quatro anos de pesquisa sobre a vida e a obra do negro Arthur Bispo do Rosário. Foi realizado com o objetivo de se proceder a um levantamento de dados a respeito da real história do artista, sua trajetória pessoal, e como projeto de análise descritiva de sua obra. Acometido pela loucura em 24.12.1939, após um surto psicótico de origem em delírio auditivo, foi preso e encaminhado ao Hospital dos Alienados, na Praia Vermelha (RJ). Após internações intermitentes, que incluiu passagens por outros hospitais no Rio, passou a organizar formas no princípio da montagem e a realizar bordados nos quais recompunha acontecimentos de seu passado, através da junção da figura com a escrita. Bispo, como é reconhecido, poderia ser tematizado de diferentes formas. Uma delas pelo enunciado de sua loucura que é a sua própria história manicomial. A outra ocorre pela enunciação de sua arte incomum e feita de estranhamento.