The subjects of grief and of the afterlife are ones that have been discussed and analyzed for centuries, with no conclusive answers as to where we go or how we should go on. In “Alchemy of Desire/ Dead Man’s Blues”, Caridad Svich continues this discussion through a narrative, centered around a group of women dealing with the aftermath of a loss. She uses the term alchemy as an allegory for one’s ability to transcend and transform, and in turn, come to know the meaning of life…and death. This paper serves as a documentation of the SIUC Theater Department’s process and results in bringing this conversation to the stage, and this story to life.

The dissertation deals with the usability of alchemy in chemistry education at secondary schools - especially grammar schools. In the research part it monitors the differences in educational outcomes for pupils who performed the same experiment with the alchemical approach and those who did it in the classical manner. The basic objective was to confirm or refute the benefits of a completely different approach to the experiment - an alchemical way. The starting point of the paper is alchemy itself. First, it was necessary to describe it and then find and define what is useful in teaching. I chose its spiritual dimension. This phenomenon is then transformed into the framework of pedagogical-psychological speech in order to set a certain didactic method on that basis that will be accessible to pupils, realizable at schools and efficient. The theoretical part focuses on the definition of alchemy in particular. It is based on the research available in Czech and world literature. It monitors the evolution of alchemy from its ancient beginnings to the 20th century because the development of this doctrine is as important as its foundations themselves for its definition. Given that there is currently no clear view of alchemy in terms of its true objectives, the paper watches both physical and contemplative...

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The artist discusses Float In Float Out, his Master of Fine Arts exhibition held at The Slocumb Gallery, East Tennessee State University, Johnson City, Tennessee from March 19, 2012, to March 23, 2012. The work consists of paintings on canvas, panel, and paper and employs a variety of media ranging from traditional materials to spray paint. The painting sizes vary from 20x24 inches up to 48x96 inches and all hang directly on the wall, framed and unframed. Topics discussed in this thesis paper include the influences of the artist's military experience and travelling abroad as well as the influences of alchemy, Freemasonry, and Surrealism. The work is inspired by the concept of a parallel dimension populated by unseen creatures that float in and out of our world. Included are images of the artist's earlier work as well as a completed catalogue of the Float In Float Out exhibition.

Wrought from clay and hardened by fire, the narrative sculptures which comprise this body of work are dualistic symbols of life’s brutality and nobility. The philosophical import of the opus is manifested through the convergence of material, process, and form—to instantiate truth and initiate analysis. In my interdisciplinary research, I have come to understand leviathan as an exceptional, universalizing symbol of life's duality and the locus of Man's potential for honorable distinction. I invoke the name in order to instigate reflection upon the concept of the world serpent as a symbolic representation of existential nuance.

While many of Shakespeare's alchemical allusions are noted for their language of positive regeneration and healing, the playwright's departures from these conventional uses of alchemy deserve further attention. This essay presents an examination of inversions in the redemptive alchemical paradigm of Othello, a play whose connections to alchemy are not announced by obvious references to gold making, the philosopher's stone, or other key terms relating to the discourse of the opus that a modern audience is likely to recognize. I argue that in Othello, alchemical allusions are more subtly deployed in the language that describes Othello and Desdemona's marriage, in the metaphorical speech of Othello's self-doubt, in Desdemona's characterization, and in Iago's references to medicine. My reading of the alchemical context of the play shows the following: Othello and Desdemona's marriage, a figurative manifestation of the hermaphroditic union in which man and woman consistently appear as equals, counters representations of patriarchal dominance in the early modern period; Othello's capacity for rhetorically gifted expression remains intact instead of disintegrating, as evidenced by the alchemical metaphors in his lamentations of the "loss" of Desdemona's purity; Desdemona's role in the tragedy is illuminated by her characterization which is reminiscent of dual Mercury; and Iago's own alchemical language offers insight into his role as the instigator of tragic events. Taken together, these alchemical associations suggest that Shakespeare found in alchemy a fitting framework in which to present the drama of destabilization.

Cet élaborât veut donner un nouvel approche à l’étude du corpus jābirien, en prenant compte de la littérature et des études précédents et des problématiques inhérentes à ce particulier corpus (synonymie, polysémie, dispersion du savoir, citations d’autres auteurs, hypertextualité). Grace aux nouvelles technologies d’analyse computationnelle ce travail vise à la digitalisation de textes édités (Muḫtār Rasāʾil, Tabdīr al-iksīr al-aʿẓam, Kitāb al- ahjār), pour créer un corpus numérique annoté selon le Text Encoding Initiative (TEI), le système d’annotation le plus utilisé dans le Natural Language Processing (NLP). La première section de la thèse comprend une introduction historique, prenant compte de la figure de Jābir et de son travail, de la querelle sur son existence et de l’histoire de la science Arabe médiévale ; et méthodologique, qui explique les outils utilisés pour l’analyse. La deuxième section est opérationnelle : le travail est expliqué dans tous ses détails et où les choix de numérisation et analyse sont exposés. Les problématiques présentées dans la première section trouvent ici des réponses pour ce qui concerne leur analyse. Le noyau de ce travail est représenté cependant par les Appendices, divisées en quatre parties : Les Appendices A, B et C sont des extraits bruts de la numérisation, qui donnent une idée du processus d’annotation selon le standard TEI. Les trois textes édités sont représentés par le premier livre de l’édition. L’Appendice D est un échantillon de concordances qui se base sur la lemmatisation des deux premiers livres du Tadbīr. L’Appendice E est une liste de fréquence du même échantillon utilisé pour la création des concordances. / This work presents a novel approach to the study of the Jābirian corpus while taking into consideration the existent works and literature and the problems of this peculiar corpus (synonymy, polysemy, dispersion of the knowledge, quotes od other authors, hypertextuality). Thanks to the modern technologies of computational analysis, this thesis aims to the digitalization of edited texts (Muḫtār Rasāʾil, Tabdīr al-iksīr al-aʿẓam, Kitāb al- ahjār) in order to create a digitalized corpus tagged following the Text Encoding Initiative (TEI), the most used annotation in Natural Language Processing (NLP). Section I is an introduction on the historical setting and remarks of the subject of the texts studied, comprising also an excursus on the figure of Jābir Ibn Hayyān and the querelle on his existence; and an explanation of the methodological setting in which this work is settled. Section II is the operational part, where are shown the compromises used in the realization of the digitalized corpus, as well as the strategies used so as to render the various issues presented in Section I. Section II presents the set of choices that tried to aswer to the questions made in Section I. The core of the work is represented by the Appendices, divided in four parts: Appendix A, B and C are extracts of the digitalized corpus, it was decided to include the first section of all the three source books, in order to represent every detail of the digitalization strategies and processes. Appendix D comprise a sample of concordances based on the lemmatization of the edition of the first two books of the Tadbīr. Appendix E is the frequency list of the same sample used for the concordances.

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Thesis (MPhil (Music))--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis represents an attempt to explore the use of metadiegetic film sound and its connection with qualities displayed by human physiology. Metadiegesis is chosen as the focus of this study, in order to point out the potential of film sound to be representative and not to slavishly imitate its visual counterpart. Therefore, because metadiegetic sound is deictic in nature, the first hurdle to clear was to navigate through a terminological minefield, allowing a clear glimpse of its true meaning and its connection with the filmic image. The researcher attempts to create hypothetical scenarios in order to analyse and discuss metadiegetic examples from films, convincingly utilised and less-convincingly so. The intention was to understand, clarify and disambiguate terminological uncertainties and inaccuracies. An exploration of asynchronous metadiegetic sound follows as refinement of the first step. This is done by resorting to existing examples in the form of extracts from films for demonstration purposes. As a result, the use of metadiegetic film sound is clearly defined and its use explained by attaching it to three concepts: a ‘story within a story’, external story space, and internal representation. It is argued that through these concepts, sound can be amalgamated with image to create a different realm, where sound and image tell more than an audio-visual story. / AFRIKAANSE OPSOMMING: In hierdie tesis poog die navorser om die gebruik van “metadiegetic” film-klank, en die verband wat dit met die menslike fisiologie hou, te verken. “Metadiegesis” vorm dus die fokuspunt van die navorsingstuk. Hierdie fokus beklemtoon film-klank se verteenwoordigende potensiaal, en die feit dat dit nie net ʼn slaafse nabootsing van die visuele aspek van film is nie. Aangesien “metadiegetic” klank dus deikties van aard is, is die eerste uitdaging om ʼn weg te vind deur ʼn terminologiese mynveld. Dit word gedoen in ʼn poging op ʼn duidelike begrip van die ware betekenis van “metadiegesis” te ontwikkel, en om die verband wat film-klank met die visuele aspek van film het, duidelik te maak. Die navorser poog in die eerste plek om hipotetiese scenario’s te skep om sodoende “metadiegetic” voorbeelde in films te analiseer en te bespreek. Die doel is om terminologiese onsekerhede en dubbelsinnighede te verstaan en te verklaar. Dan volg die verkenning van asinchroniese “metadiegetic” klank as verfyning van die eerste stap. Dit word gedoen deur gebruik te maak van film-uittreksels ter verduideliking van die bogenoemde stappe. Na aanleiding hiervan, is die gebruik van metadiegetiese film-klank duidelik gedefinieer, en die toepassing daarvan gekoppel aan drie konsepte: ʼn “storie binne-in ʼn storie”, “eksterne storie ruimte” en “interne verteenwoordiging”. Deur middel van hierdie konsepte kan klank saamsmelt met beeld om ʼn ander dimensie te betree, waar klank en beeld meer vertel as ʼn oudiovisuele storie.

Kūrybinio darbo ašis – tai sakralusis žmogaus tapatybės virsmas kūrybinio akto procesuose. Simbolių kalboje asmenybės evoliucijos raidą įkūnija Gyvybės Medžio samprata. Tarsi dieviškasis augalas, tarp dvasios ir materijos pasaulių, žmogus savo šaknimis stiebiasi į dangų, o šakomis leidžiasi žemyn. Būties tobulumo siekiamybė yra kopimas šiuo medžiu į centrą, sugrįžimas į pirmapradę, nedalomą ir amžiną Būtį. Daugiaprasmiai simboliai – tai suvokimo pakopos, vedančios tiesos ieškotoją dieviškojo pažinimo link. Gyvybės Medžio simbolika įprasmina Būties dualumo sampratą, atskleidžia žmogaus ir kosmoso santykius, jų tarpusavio vienovę ir saitus. Tai Dangiškosios Jungtuvės tarp dvasios ir materijos pasaulių, tarp vyriškojo ir moteriškojo pradų, tarp to, kas regima mirtingosiomis akimis, ir to, kas dar nepažinta. / The axis of creative work - is sacred transformation of human identity in the process of creative act. Symbolism of the Tree of Life gives gives meaning to the concept of duality of existence, reveals relationships between human and space and the unity of these links.