After scholars started conducting research on the medieval Sheela-na-gig carvings, a number of theories regarding the purpose and origin of the figure have been suggested. The question has been tackled through many different approaches, but still remains unfinished as there are no written records explaining what the Sheela-na-gig figure actually is. Scholars have divided into different areas, approaching the discussion from different disciplines: art history, medieval social history, and religious history (both Christian and pre-Christian) to name a few. As the figure is usually found on Christian buildings but is distinguished by very sexual imagery, it leaves the door open for many interpretations. This thesis looks at two common theories on what the Sheela-na-gig is; one which is viewing her as a Romanesque warning against lust and sin, and one which argues that the figure is a folk deity used as an amulet for childbirth, symbolising both life and death. By using discourse theory and a comparative method, this thesis compares the descriptions and arguments of the different theories, and studies the intention behind them. The thesis then shows how the theories choose to focus their search for evidence in order to support their own perspective, while also excluding information which does not serve their particular agenda.

Studiens syfte är att undersöka hur Jacques Werup förhåller sig till platsen i diktsamlingarna 48 dikter från Österlen och Septemberljus. Undersökningen utgår från Werups tydliga förankring i den skånska poesitraditionen, där Lawrence Buells ekokritiska platsbegrepp utgör ett ledsagande perspektiv för analysen. Werup gör upp med en skånska pastoral tradition genom att belysa senmodernitetens följder i sin poesi, vilket leder honom mot en poesi där samhällets mobila karaktär kommer till uttryck på ett mer autentiskt sätt. Genom sin icke-idylliserande poesi försöker Werup gestalta en upplevelse av platsen som svarar mot vårt senmoderna samhälle. / The aim of the study is to investigate how Jacques Werup relates to place in the poetry collections 48 dikter från Österlen and Septemberljus. The investigation is based on Werup's clear connection with the Scanian poetry tradition, where Lawrence Buell's ecocritic concept of place leads the analysis. Werup makes up with a Scanian pastoral tradition by highlighting the consequences of late modernity in his poetry, which leads him towards a poetry where the mobile nature of society is expressed in a more authentic manner. Through this non-idyllic poetry Werup tries to portray an experience of place in line with our late modern society.

The primary research strategy of this study was to elicit meaningful answers from viewers by means of a focus-group procedure; this is a method associated with qualitative research (see Creswell, 1998; Berg & Lune, 2011) The group consisted of ten adults, whose visual literacy in terms of narrative films, was described as high (they frequently watch films at home, or in the theatre). The researcher acted as the moderator; and a set of semi-structured questions, based on meanings attached to camera-angle codes as defined by Mascelli, were answered by the participants. The codification scheme of Mascelli was applied to the unconventional camera angles in Avatar and The English Patient. These were compared with the viewers’ responses. Finally, the results were interpreted, in order to establish whether a meaningful relationship exists between the viewers’ responses and the interpretation of unconventional camera angles by such a seminal figure as Joseph V. Mascelli. The literature study focused on a media aesthetic explanation of cinematography, which included media aesthetics theory, framing, and composition, as well as the general codes and conventions relevant to cinematography. The literature overview includes a study of books, academic articles, internet sources, legislation, and training videos. A Nexus and EbscoHost search (Academic Search Premier and Jstor) was conducted on cinematography in general, and on camera angles in particular. Chapter 5 indicates the viewers’ overall interpretations of the unconventional camera angles used in Avatar and The English Patient. The graphs in Chapter 5 indicate that the viewers found the unconventional camera angles used in the films to represent the meaning of the shots appropriately, and that they understood why each unconventional camera angle had been used. The viewers’ responses correspond with the meanings of the unconventional camera angles, as stated by Mascelli. To ensure the effectiveness of a film and the accurate representation of the meanings of camera angles and camera sizes, the way it is described by Mascelli should ideally be taken into consideration by all future producers. Mascelli’s descriptions of camera angles and camera sizes, combined with the media aesthetics, as described by Zettl – when successfully applied – could lead to the production of a good quality film and images within the film. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

The primary research strategy of this study was to elicit meaningful answers from viewers by means of a focus-group procedure; this is a method associated with qualitative research (see Creswell, 1998; Berg & Lune, 2011) The group consisted of ten adults, whose visual literacy in terms of narrative films, was described as high (they frequently watch films at home, or in the theatre). The researcher acted as the moderator; and a set of semi-structured questions, based on meanings attached to camera-angle codes as defined by Mascelli, were answered by the participants. The codification scheme of Mascelli was applied to the unconventional camera angles in Avatar and The English Patient. These were compared with the viewers’ responses. Finally, the results were interpreted, in order to establish whether a meaningful relationship exists between the viewers’ responses and the interpretation of unconventional camera angles by such a seminal figure as Joseph V. Mascelli. The literature study focused on a media aesthetic explanation of cinematography, which included media aesthetics theory, framing, and composition, as well as the general codes and conventions relevant to cinematography. The literature overview includes a study of books, academic articles, internet sources, legislation, and training videos. A Nexus and EbscoHost search (Academic Search Premier and Jstor) was conducted on cinematography in general, and on camera angles in particular. Chapter 5 indicates the viewers’ overall interpretations of the unconventional camera angles used in Avatar and The English Patient. The graphs in Chapter 5 indicate that the viewers found the unconventional camera angles used in the films to represent the meaning of the shots appropriately, and that they understood why each unconventional camera angle had been used. The viewers’ responses correspond with the meanings of the unconventional camera angles, as stated by Mascelli. To ensure the effectiveness of a film and the accurate representation of the meanings of camera angles and camera sizes, the way it is described by Mascelli should ideally be taken into consideration by all future producers. Mascelli’s descriptions of camera angles and camera sizes, combined with the media aesthetics, as described by Zettl – when successfully applied – could lead to the production of a good quality film and images within the film. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

Diese Arbeit untersucht Genese, Struktur und Legitimation der Spendengewinnung bei den deutschen Glaubensmissionen von ihren Anfängen bis zum Ausbruch des Zweiten Welt-krieges. Den Untersuchungsgegenstand bilden die drei ältesten Glaubensmissionen in Deutschland: die Neukirchener Mission, die Allianz-China-Mission und die Liebenzeller Mission. Als besonderes Merkmal der Glaubensmissionen wird in der Literatur das soge-nannte Glaubensprinzip bezeichnet, das einen bewussten Verzicht auf Spendenwerbung beinhaltet. Die historische Entwicklung des Glaubensprinzips von Anthony Groves über George Müller auf Hudson Taylor wird nachgezeichnet. Eine leitende Frage der Untersu-chung ist, inwieweit die deutschen Glaubensmissionen dieses Glaubensprinzip tatsächlich übernehmen und umsetzen. Bei der Analyse von Spendentheorie und -methodik der drei genannten Missionen kristallisiert sich heraus, dass von einem Verzicht auf Spendenwer-bung bei den drei ältesten der deutschen Glaubensmissionen nicht die Rede sein kann. Im Falle der Allianz-China-Mission wird das Glaubensprinzip erst gar nicht ernsthaft adap-tiert, die Liebenzeller Mission gestaltet es ihr entsprechend um, und die Neukirchener Mis-sion muss sukzessive eine Erosion des Glaubensprinzips miterleben. Die Untersuchung beinhaltet ebenso ein Interpretationsmodell zur Bestimmung der Schlüsselfaktoren, die tatsächlich relevant für die Spendengewinnung der Glaubensmissionen sind. Die Legitimi-tät des Glaubensprinzips wird aus theologischen und grundsätzlichen Überlegungen in Frage gestellt. / Christian Spirituality, Church History and Missiology / (D.Th (Missiology))

本研究針對紀登斯（Anthony Giddens），探討其對於現代社會的結構特性、作為能動者的人類主體之構成，以及建構合乎現代人性需求政治制度的思想，並推演其在教育上可以有的發展。研究發現：一、紀登斯將主體重建為兼具身體與人格、意識與無意識、論述與實踐、自我與共在、源流與變化、例行性與創造性的能動者；二、意識可分為三個層級但其與行動層級並非一一對應關係；三、本體安全感除透過擱置之外，仍須透過生活政治學反思性地處理本體安全感的需求；四、結構概念具有多項特性，並與人類的能動性呈現雙重性及二元性兩種關係；五、系統與結構的區分應從組合式及聚合式之間的差異來瞭解。六、高度現代性社會有不同於以往的制度、動力、後果與特性。七、生活在高度現代性之下人們有更多自我決定的空間與必要性。八、針對高度現代性的各種特性，政治治理必須有不同以往的思考，並秉持烏托邦現實主義、世界主義，調和懷疑與獻身，使每個人都能對社會有所貢獻。依據上述發現，筆者在教育方面針對個人、結構、現代性、政治治理，與社會學研究方面進行衍釋，作為教育方面的啟示。 / This dissertation study Anthony Giddens’s thoughts about Structuration theory, modernity and politics, and try to find the implications in education. The author find that Giddens reconstructed subjects as agents by 6 pairs of concepts, pointed out 8 relative characters about structure, and contrasted structure with system as paradigmatic with syntagmatic. The author also find that Giddens’ stratification model of personality did not simply correspond to his stratification model of action. And the existential questions which are bracketed by the ontological security should be answered by life politics. Radical Modernity is different from tradition in institutions, dynamics, consequences and properties. People living in this era have more space and necessities to make decisions for themselves. To avoid the possible risks, people should hold the utopian realism, cosmopolitanism, balance the doubts and commitments. Implications in education are addressed on these findings.

O século XIX retoma, por meio de narrativas literárias e pictóricas, o enredo de Antão, personagem da religião católica que teria se exilado no deserto em busca da dedicação às suas orações e à leitura bíblica. A representação de Antão do deserto, do Santo Antão, é revista no texto literário de Gustave Flaubert e na pintura de Paul Cézanne. Flaubert, nas três versões de sua La Tentation de saint Antoine (1849, 1856 e 1874), reconstruiu o enredo do santo por meio do discurso da alucinação, articulado a suas leituras, estudos e observações do quotidiano, como se notam em seus relatos de viagem e em seus manuscritos. O escritor busca na construção do erótico e da ciência a base para o questionamento da fé do santo, atormentado por imagens invocadas dum sem-número de relações interdiscursivas. Cézanne, por sua vez, busca nas referências pictóricas, em especial em pinturas do século XIX, a produção de sua La Tentation de saint Antoine, estabelecendo, sobretudo na versão definitiva (1877), relações com a obra de Flaubert. / The 19th century recovers, through literary and pictorial narratives, the story of Anthony, a character from the catholic religion whose legend says that he exiled himself in the desert in search of full dedication to his prayers and biblical readings. The representation of Anthony, or Saint Anthony, in the desert is revised on Gustave Flauberts literary text and Paul Cézannes painting. Flaubert, in the three versions of his The Temptation of Saint Anthony (1849, 1856 and 1874), reconstructed the story of the saint through the discourse of hallucination, articulating to his readings studies and quotidian observations of hallucination, as shown in his travel reports and in his manuscripts. The writer searches in the construction of the erotic and of the science the basis for the questioning of the saints faith, who was tormented by images invoked from an infinite number of inter-discursive relations. Cézanne, on the other hand, searches in the pictorial references, specially in 19th century paintings, the production of his The Temptation of Saint Anthony, establishing, particularly in the definitive version (1877), relations to Flauberts work.

Esta dissertação discute os protagonistas do romance Laranja Mecânica, de Anthony Burgess, e dos filmes Laranja Mecânica e Vinyl, de Stanley Kubrick e Andy Warhol, respectivamente, comparando como tais personagens representam o indivíduo em sociedade. Para tanto, se apóia nas teorias de Joseph Campbell, Antonio Candido e Paulo Emílio Sales Gomes, sobre as personagens, e de Ítalo Calvino sobre a Leveza. São analisadas as três obras, para o entendimento das peculiaridades presentes em cada uma das narrativas, bem como a trajetória do protagonista nas três narrativas, até que estas atinjam o desfecho. Os conceitos de bem e de mal, mantidos sob concepções estabelecidas na nossa sociedade, são ameaçados quando o protagonista é submetido à Técnica Ludovico, tratamento que tem o objetivo de diminuir a quantidade de presos nas prisões e que, para isso, retira o poder de escolha do indivíduo, que passa a ser capaz de praticar somente atos de bondade, já que toda a exposição ao mal o leva à dor e ao incômodo insuportável. / This M.A. thesis discusses the protagonists in Burgess’ A Clockwork Orange and the films A Clockwork Orange and Vinyl, directed by Stanley Kubrick and Andy Warhol, respectively, comparing how such characters represent the individual in society. The thesis draws on the theories by Joseph Campbell, Antonio Candido, and Paulo Emílio Sales Gomes, concerning the characters, and by Italo Calvino, concerning Lightness. The three works are analyzed aiming at the understanding of the peculiarities present in each one of the narratives, as well as the trajectory of the protagonist in the three narratives, until they reach the end. The concepts of good and evil, maintained under conceptions established in our society, are threatened when the protagonist is subjected to the Ludovico Technique, treatment that has the objective of reducing the quantity of prisoners in jails. For that, it eliminates the power of choice of the individual, who happens to be able to practice acts of kindness only, since all exposure to evil brings him to pain and to unbearable discomfort.

Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2016-10-18T10:49:20Z No. of bitstreams: 1 2016 - Jorge Gabriel Rodrigues de Oliveira.pdf: 1803407 bytes, checksum: 14d3e313e5d9cd8d6206d683acccc3ca (MD5) / Made available in DSpace on 2016-10-18T10:49:20Z (GMT). No. of bitstreams: 1 2016 - Jorge Gabriel Rodrigues de Oliveira.pdf: 1803407 bytes, checksum: 14d3e313e5d9cd8d6206d683acccc3ca (MD5) Previous issue date: 2016-04-20 / This research aims to demonstrate the process of developing a martyr stereotype for the hermit Copts monks, through which we believe we can analyze the hagiographic representation drawn to these religious, from textual traces found in primary sources Vita Antonii (357) and Vita Pauli (374-379), written, respectively, by Athanasius of Alexandria (296-373) and Jerome of Stridon (347-420), about the desert monks Anthony the Great (251- 356) and Paul of Thebes (228-330). We understand that the martyrdom of the content is present in this stereotype monastic hermit Copt, introduced by the authors of the sources, this will allow us greater strength in proving our hypothesis about the development of a patristic representation, which aimed to raise the monks as the authentic successors of the martyrs and establishes guidelines and patristic models defined for these religious and those who followed them. / Nesta pesquisa pretende-se demonstrar o processo de elabora??o de um estere?tipo de m?rtir para os monges eremitas coptas, atrav?s do qual acreditamos ser poss?vel analisar a representa??o hagiogr?fica elaborada para esses religiosos, a partir de vest?gios textuais encontrados nas fontes prim?rias Vita Antonii (357) e Vita Pauli (374-379), de autoria, respectivamente, de Atan?sio de Alexandria (296-373) e Jer?nimo de Estrid?o (347-420), acerca dos monges Ant?o do deserto (251-356) e Paulo de Tebas (228-330). Entendemos que se o conte?do do mart?rio estiver presente neste estere?tipo mon?stico erem?tico copta, introduzido pelos autores das fontes, isto nos permitir? maior solidez na comprova??o de nossa hip?tese acerca da elabora??o de uma representa??o patr?stica, que visava al?ar os monges como os aut?nticos sucessores dos m?rtires, al?m de estabelecer diretrizes e modelos patr?sticos definidos para esses religiosos e aqueles que os seguiam.

The work examines the antislavery writings of Francis Wayland (1796-1865). Wayland pastored churches in Boston and Providence, but he left his indelible mark as the fourth and twenty-eight year president of Brown University (1827-1855). The author of numerous works on moral science, economics, philosophy, education, and the Baptist denomination, his administration marked a transitional stage in the emergence of American colleges from a classically oriented curriculum to an educational philosophy based on science and modern languages. Wayland left an enduring legacy at Brown, but it was his antislavery writings that brought him the most notoriety and controversy. Developed throughout his writings, rather than systematically in a major work, his antislavery views were shaped and tested in the political and intellectual climate of the antebellum world in which he lived. First developed in The Elements of Moral Science (1835), he tested the boundaries of activism in The Limitations of Human Responsibility (1838), and publicly debated antislavery in Domestic Slavery Considered as a Scriptural Institution (1845). The political crisis from the Mexican-American War through the Kansas-Nebraska Act heightened Wayland’s activism as delineated in The Duty of Obedience to the Civil Magistrate (1847), his noncompliance with the Fugitive Slave Law, and his public address on the Kansas-Nebraska Bill (1854). In 1861 he became a committed Unionist. I argue that Francis Wayland was a mediating figure in the controversy between abolitionists and proslavery apologists and that his life was a microcosm of the transition that many individuals made from moderate antislavery to abolitionism. Wayland proved unique in that he was heavily coveted by Northern abolitionists who sought his unconditional support and yet he was respected by Southerners who appreciated his uncondemning attitude toward slaveholders even while he opposed slavery. I argue that Wayland’s transition from reluctant critic to public activist was not solely due to the political sweep of events, but that his latter activism was already marked in his earlier work. Most importantly, his life demonstrated both the limits and possibilities in the history of American antislavery.