Submitted by Marlene Aparecida de Souza Cardozo (mcardozo@pucsp.br) on 2017-01-24T17:12:56Z No. of bitstreams: 1 Raíssa Rocha Bombini.pdf: 1164181 bytes, checksum: 9d807cdf669811c128c64bd242c20505 (MD5) / Made available in DSpace on 2017-01-24T17:12:56Z (GMT). No. of bitstreams: 1 Raíssa Rocha Bombini.pdf: 1164181 bytes, checksum: 9d807cdf669811c128c64bd242c20505 (MD5) Previous issue date: 2016-12-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In the middle of the fourteenth century, Albert of Saxony, master of the faculty of arts of the University of Paris, composed a treatise in the form of Quaestiones commenting on the Aristotelian work De Caelo et Mundo. In the 6th question of the second book from the treatise, Albert proposed to clarify how many spheres would exist in the cosmos, suggesting then that there were ten, two beyond the orb of the stars. In order to support his thesis, Albert cited in his arguments Thabit ibn Qurra, a harranite scholar from the ninth century, to whom it was attributed, during the Middle Ages, the discovery of a movement of the fixed stars called motus accessus et recessus. This motus was used to explain the celestial structure defended by Albert, who attributed it to the orb of the stars, justifying the extra orbs. We consider that the presence of Thabit, in Quaestio 6 from this work, might be explained due to the use of rhetoric - which was fundamental to the construction of the quaestiones -, since its argumentative structure frequently used the quotation of textual authorities, the auctoritas. Therefore, the present study aims to analyze Quaestio 6 in a way to clarify Alberto's argument in defense of the ten celestial orbs, as well as his use of the ideas of Thabit ibn Qurra. Thus, we hope to contribute to the studies on this writing of Albert of Saxony and his role in Cosmology of the late Middle Ages / Em meados de século XIV, Alberto da Saxônia, mestre da faculdade de artes da Universidade de Paris, compôs um tratado em forma de Quaestiones comentando a obra aristotélica De Caelo et Mundo. Na questão 6 do segundo livro desse tratado, Alberto propôs esclarecer quantas esferas existiriam no cosmos, sugerindo, então, que fossem dez, duas além do orbe das estrelas. Para sustentar sua tese, o autor citou em seus argumentos Thabit ibn Qurra, um estudioso harranita do século IX, a quem se atribuiu, durante a Idade Média, a descoberta de um movimento das estrelas chamado motus accessus et recessus. Esse motus ajudou a explicar a estrutura celeste defendida por Alberto, que o atribuiu ao orbe das estrelas, justificando, assim, a existência de esferas extras. Considera-se que a presença de Thabit, na Quaestio 6 dessa obra de Alberto, possa ser explicada pelo uso da retórica – fundamental na construção das quaestiones –, uma vez que sua estrutura argumentativa valia-se com frequência da citação de autoridades textuais, as auctoritas. Portanto, o presente estudo visa analisar a Quaestio 6, buscando melhor esclarecer a argumentação de Alberto em defesa dos dez orbes celestes, bem como seu uso das ideias de Thabit ibn Qurra, a esse respeito. Assim, espera-se contribuir para os estudos sobre esse escrito de Alberto da Saxônia e seu papel na Cosmologia do final da Idade Média

This thesis constitutes the first full-length study of Polish Communists in Canada, a group that provided a substantial segment of the countries socialist left in the early 20th century. It traces the roots of socialist support in Poland, its transplantation to Canada, the challenges it faced within an ethnic community heavily influenced by Catholicism, the complications caused by its links to the Comintern, and its changing strength and decline. It offers a deeper understanding of the ways in which the Communist party was able to appeal to certain ethnic groups, such as through cultural outreach, as well as its complicated and often arguably counter-productive relationship with the Comintern. It also furnishes important information on the efforts of the RCMP and Polish consulates to maintain control over the communists, as well as how generally improved material conditions among Poles, especially following the Second World War, along with the influence of the Cold War, accounted for a rapid decline in support. The thesis is primarily based on sources generated by the Polish Ministry of Foreign Affairs or, more precisely, by the Polish consulates in Winnipeg, Montreal and Ottawa. One the Canadian side, the thesis took advantage of RCMP records, Canadian security bulletins, immigration records and Polish-language newspapers printed in Canada. By utilizing these sources, this study not only analyses the interaction of the Polish Canadian communist movement with other segments of the Polish community in Canada, but it also moves beyond the introverted approach that has characterized most studies of ethnic organizations in Canada by placing the movement within a “Canadian” context to analyze its relations with the government, broader segments of Canadian society, and the Communist Party of Canada (CPC).

Diss.--Berlin--Humboldt-Universität, 2001. / Bibliogr. p. 247-266. Index.

The drole de roman gathers works by Marcel Ayme, Albert Cohen and Raymond Queneau, French novelists who belong to the same generation, share common readers and inspiration and, most of all, a specific vision: the nonserious. Their novels draw from the most obvious manifestations of the comical tradition (farce, burlesque) to its most subtle (irony, parody). In their works, laughter does not occupy a secondary position nor does it simply provide some reading impressions. In fact, laughter is often expressed by the characters and narrators themselves, whose sense of mischeviousness demonstrates the Rabelaisian joy of body and soul. / Besides, the drole is not restricted to its usual comical characteristics. In the prospect of literary history, it also refers to what stands apart from the realistic conventions inherited from Balzac and Zola. In other words, the drole is made of antirealism, merveilleux and fantasy. Thus, Ayme, Cohen and Queneau put forward their own response to the mimetic function of the 19th century realistic novel. Instead of renouncing the power of fiction, as Gide and Valery will often suggest, instead of denouncing its falseness, the three novelists give fiction even greater powers. / Based on the conclusions of the history of the novel and on studies concerning various aspects of its construction (the relation between reality and fiction, the conception of character and of its place in the community, the forms of the plot), this thesis wishes to shed light on the role and value of laughter through the study of three major themes: comedy, community and enchantment.

Much public historical mythology asserts that Chief Albert Luthuli, the onetime leader of Africa's oldest liberation movement, launched an armed struggle on the very eve he returned to South Africa after receiving the Nobel Peace Prize. This profound irony engenders what is arguably one of the most relevant and controversial historical debates in South African as some recent scholarship suggests Luthuli did not countenance the armed movement. Today, Luthuli remains a figure of great contestation due to his domestic and international prominence and impeccable moral character. Icons of the liberation struggle, political parties and active politicians understand their justification for past actions and their contemporary relevance to be dependent upon a given historical memory of Luthuli. Often that memory is not compatible with the archival record. Contrary to a nationalist inspired historical perspective, this investigation concludes that Luthuli did not support the initiation of violence in December 1961. Evidence suggests that Luthuli only reluctantly yielded to the formation (not the initiation) of an armed movement months before the announcement in October 1961 that he would be awarded the Nobel Peace Prize in December 1961. After the announcement, Luthuli vociferously argued against the use of violence until April 1962. From April 1962 to his death in 1967, Luthuli only advocated non-violent methods and did not publicly support or condemn the use of violence. Congregationalism imbedded within Luthuli the primacy of democracy, education, multiracialism and egalitarianism, propelling him to the heights of political leadership prior to 1961. Following 1961 these same seminal emphases rendered Luthuli obsolete as a political leader within an increasingly radicalised, desperate and violent environment. The author argues that not only did the government drastically curtail Luthuli's ability to lead, but so did his colleagues in the underground structures ofthe Congresses' liberation movement, rendering him only the titular leader ofthe African National Congress until his death. While Luthuli's Christian faith provided the vigour for his political success, it engendered the inertia for his political irrelevance following the launch of violence. By not supporting the African National Congress' initiation of the violent movement, Luthuli's political career proved to be 'bound by faith'. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2008.

In 1998 I conducted a series of interviews with Zimbabweans who recounted, often using English, their memories of Albert Sumbo-Ncube. From these I have selected and transcribed five interviews with ZIPRA ex-combatants in which they tell the story, as they remember and elaborate on their memories, of Sumbo's escape from Rhodesian police custody at the Victoria Falls in 1977 during the Zimbabwean liberation struggle. The interviews represent Sumbo as a hero and reveal the folk hero creation process at work. This hero figure was created by people who needed an effective figure of oppositional propaganda and who did not have access to the technology and resources of the Rhodesian government. Their narratives were communicated orally and they fused material found in the Rhodesian government-controlled newspapers with an amaNdebele oral tradition. I shall draw on Hobsbawm's (1972) notions of the social bandit and Robens's (1989) study of the folk hero creation amongst post-slavery African-Americans in order to understand the ZIPRA guerrillas' hero creation. The Sumbo folk hero creation served to promote an ideal self for the Zimbabwean guerrillas and their recruits. Sumbo's daring and his ability successfully to defy authority evoked admiration amongst the guerrillas in the 1970s, and in 1998 revives for them the idealism of the struggle. In Zimbabwe the 'hero' has become a contested category, because of the government's will to control the historical representation of the liberation struggle by promoting an official history with official categories of heroes. Working with Barber's notion of popular African arts (1987 and 1997), I argue that a folk hero can be redefined as a 'popular hero' when created by a proletariat and expressed by means of a popular art form. The interviewees use a specific form, the oral historical narrative, to preserve and transmit the Sumbo hero figure. I argue that though this oral historical narrative is less fixed in form and occasion than praise poetry, songs and genealogies, it nevertheless possesses identifiable and recurrent characteristics and I have established a number of criteria for identifying oral historical narrative as a genre. In order to avoid taking a generalised and essentialising approach to the notion of 'African culture', I have drawn on theory that is as specific as possible to the understanding of oral historical narratives within the context of siNdebele speakers in Zimbabwe. I have drawn on research published by Hofmeyr (1993) and Scheub (1975) because they focused on Nguni-speaking societies. Their research is further supported by my own research conducted in the rural area of Tsholotsho in Zimbabwe. The analysis of the oral historical narrative genre used by the interviewees demonstrates that significant formal and performance skills occur in this type of narrative which takes place within apparently informal conversations. / Thesis (M.A.)-University of Natal, Durban, 2000.

Cette thèse étudie la relation intertextuelle entre dix œuvres fictionnelles de trois auteurs français et la Bible. Il s'agit de montrer, en s'appuyant sur les catégories de Gérard Genette, comment la Bible est réécrite par Paul Claudel, André Gide et Albert Camus. Le degré de l'hypertextualité dans les œuvres étudiées va d'une réécriture massive à l'emploi des citations implicites. Chacun des textes fictionnels est aussi en relation paratextuelle avec le récit biblique : ce sont des textes narratifs ou dramatiques dont le titre déjà fait allusion aux Écritures. On examine trois formes du rapport au texte biblique et au christianisme : l'un est celui d'un catholique pratiquant, le deuxième celui d'un incroyant d'origine protestante et le troisième celui d'un incroyant d'origine catholique. La Bible réécrite par Claudel met en scène un christianisme affirmatif alors que les réécritures de Gide et de Camus prennent le contrepied de la religion chrétienne.

Avhandlingen handlar om dynastier eller om familjer som under minst tre generationer ägt och lett företag tillsammans. Vad menar dessa familjeföretagare när de talar om att de har ett arv och en tradition att föra vidare? Boken grundar sig på en studie av familjen Bonniers företagande och diskuterar hur familjen med tiden betraktar företaget som en släktklenod. Klenoden omfattar inte bara ett ekonomiskt arv utan även kulturellt, socialt och symboliskt arv. Likaså belyses hur familjen, ingifta och anställda deltar i generationsskiftet beroende på vilket arv som överförs. Hemmet synliggörs som en arena för familjens företagsledning genom barnafödande, äktenskap, representation och utbildning av nästa generation. Avslutningsvis diskuteras hur nepotism kan förstås som en strategi för att återskapa släktklenoden. / <p>Diss. Stockholm : Handelshögsk. Behandlar även familjen Bonnier</p>

Thèses (M.A.)--Université de Sherbrooke (Canada), 2002. / Titre de l'écran-titre (visionné le 20 juin 2006). Publié aussi en version papier.

Thesis (M.A.)--Miami University, Dept. of French and Italian, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 60-61).