Hindu religious culture has a rich and long-standing performance tradition containing many genres and regional types that contribute significantly to an understanding of the living vitality of the religion. Because the field of religious studies has focused on texts, the assumption exists that these are primary, and performances based on them are mere enactments and therefore derivative. This thesis will challenge this common assumption by arguing that performances themselves can be constitutive events in which religious worldviews, social histories, and group and personal identities are created or re-negotiated. In this work, I examine the history of performance cultures (understood both as genres and the groups that develop and perform them) in the Telugu-speaking regions of South India from the sixteenth century to the present in order to elucidate the cross-fertilization among various performance spheres over time. / My specific focus is on the figure of Satyabhama (lit. True Woman or Woman of Truth), the favourite wife of the god Kṛṣṇa. Satyabhama represents a range of emotions, which makes her character popular with dramatists and other artists in the Telugu-speaking regions of South India where poets composed hundreds of performance-texts about her, and several caste groups have enacted her character through narrative drama. / The dissertation is composed of four substantive parts - text, context, memory, and mimesis. The first part explores the figure of Satyabhama in the Mahabharata and in three Sanskrit Puraṇic texts. The second examines the courtly traditions of poetry and village performances in the Telugu language, where Satyabhama is innovatively portrayed through aesthetic categories. The third is based on ethnographic work with women of the contemporary kalavantula (devadasi) community and looks at the ways in which they identify with Satyabhama and other female aesthetic archetypes (nayikas). The final section is based on fieldwork with the smarta Brahmin male community in Kuchipudi village, where men continue to perform mimetic representations of Satyabhama through a performative modality known as stri-veṣam ("guise of a woman").

This thesis uses archetypal theory as explained by Carol Pearson in The Hero Within: Six Archetypes We Live By to illustrate the heroic journey undertaken by the protagonist in Edna St. Vincent Millay's poem "Renascence." Feminist archetypal theory is a useful lens for gaining the reader access to the underlying paradigms of struggle experienced by the female literary character because it exposes the parallels that exist in separate female experiences. By applying Pearson's theory to Millay's work, readers are able to elucidate more clearly the methods used by the poet to create commonality and continuity with her female audience. Throughout the poem, the protagonist hero recursively circles through the Innocent, Orphan, Martyr, Wanderer, Warrior, and Magician phases. This essay utilizes a close reading strategy to illustrate its argument and provide evidence to its conclusions.

This master thesis aims to put an abstract view on culture and leadership in China considering the context of a Chinese society, which is adapting and transforming within the age of globalization and a rapid economic development. The goal of our research is to investigate on influences, trends and manifestations, which help to characterize the foundation and exercise of leadership in China. In order to be able to answers our research questions, we travelled for six weeks to China to conduct in-depth interviews with 15 Chinese leaders in Shanghai and Beijing in order to draw conclusion from the utterances we were able to grasp. Many researchers try to oversimplify the Chinese culture and society as well as its approach to leadership. For this reason we tried to underline the complexity of conducting business in China, and what factors need to be taken into consideration in order to have a successful encounter. The key findings of our thesis are that it is hard to simplify the phenomenon leadership in China, since it highly depends upon the observed company, and also the generation of the leader or follower one is dealing with. Furthermore, it is important to keep in mind the complex and rich culture of China, which goes several hundreds of years and has still a huge impact on behavior of today’s Chinese.

If, as author Toni Morrison believes, we tell stories about what we find most terrifying, then our cultural narratives suggest an overwhelming preoccupation with the murderous mother ??? the monster in our minds. This dissertation examines some of the most powerful and enduring stories told about the murderous mother and considers how these stories are shaped by the unconscious fears and fantasies that dominate the cultural psyche. Revolving around the idea of infanticide as an ???imaginary??? crime, this dissertation uncovers the psychoanalytic foundations of the obsessive telling and consumption of stories of maternal child-murder in Western culture and contends that infanticide narratives can be read as symptoms of psychocultural dis(-)ease. Underlying all stories about the murderous mother is an unconscious fear of infanticide and fantasy of maternal destructiveness that is repressed in the individual psyche. These fears and fantasies are expressed in our cultural narratives. Chapter 1 examines fairytales as the literary form that most clearly elaborates individual fears and psychic conflict and locates the phantasmic murderous mother within psychoanalytic narratives of individuation. Chapter 2 shows how individual fears and fantasies of maternal monstrosity are transferred to society and revealed in the myths through which our culture is transmitted. Chapters 3 and 4 focus on the particular neuroses of ancient Greek society and early modern culture and consider stories of the murderous mother that most powerfully reflect anxieties of maternal origin and fantasies of maternal power. Chapters 5 and 6 shift to a contemporary setting and consider stories that reveal, in differing ways, how the murderous mother haunts the cultural psyche. Examining a variety of texts and drawing material from a spectrum of disciplines, including law, literature, criminology, theology, philosophy, and medicine, this dissertation concludes that it is only by exposing the underpinnings of our cultural stories about the murderous mother that we can hope to break free from the unconscious attitudes that imprison us. Emerging from this study is an original and important theoretical framework concerning conceptualisations of infanticide, the ways in which we imagine maternal child-murder and the limits of that imagination, and how we might escape the murderous maternal monster buried deep in the labyrinths of the mind.

Thesis (M.A.), Memorial University of Newfoundland, 1999. / Bibliography: p. 90-98.

La ferme attire une nouvelle population. Pour manger sainement, pour des vacances rurales ou même pour qu’elle devienne le lieu de vie et de travail. Souvent, cette visite ou ce séjour ne laissent pas les personnes qui les vivent indifférentes. « Que se passe-t-il ? » et « comment ça se passe ? » quand la ferme accueille deviennent la problématique de cette recherche. L’épistémologie dans laquelle elle s’inscrit est celle d’un rapport au monde, énacté, qui autorise la conception de la co-émergence du perçu et du percevant alliée à l’incomplétude. Ainsi « s’accueillir » s’apparente à une mise en mouvement, comme pour une danse de la corporéité. Le corpus qui sert de support à l’étude empirique est au départ une situation d’accueil à la ferme dont l’auteure est aussi paysanne. La méthodologie de traitement, essentiellement en première personne, et intégrant le jeu de l’analogie et des hiérarchies enchevêtrées, aboutit à la proposition d’une étoile à cinq brancjes comme modèle de l’accueil mosaïque. Cette modélisation d’un « s’accueillir » par et dans une sensibilité renouvelée intègre relaxation et intensité des pratiques. La contribution de cette modélisation interroge la mise en œuvre de dispositifs d’accueil à la ferme et hors la ferme, et incite à l’ouverture des champs du possible. / Farms attract new populations. They come in search of healthier food, for rural holidays and even to live and work. A visit rarely leaves people indifferent. “What is happening?” and “How does it work?” when a farm hosts visitors has become the problem of this research. The epistemology to which it belongs comes from the enactment of a relationship with the World that allows the development of co-emergence of the perceived and the perceiver, allied with incompleteness. “Hosting oneself” is therefore akin to setting in motion, a dance of corporeality. The body that serves as support for the empirical research is a situation of hosting at the farm where the author is also the farmer. The methodology adopted is essentially from the perspective of the first person, integrating rules by analogy and intricate hierarchies. The result is the proposition of a five-pointed star model of mosaic hosting. This modelisation of a “host oneself” - by and with a renewed sensitivity - integrates relaxation and the intensity of acts. The modelisation itself puts into question the implementation of hosting facilities on farms, but also outsideof farms, and encourages the field of possibilities to be opened. / Jende berri bat erakartzen du laborantza etxaldeak. Sanoki jateko, baserri munduan opor hartzeko edo berdin, bizi eta lan lekua bilakatzeko. Ardurenean, bisita edo egonaldi horrek, bizi izan duten jendeak hunkiturik uzten ditu. Etxaldea batzarri egile denean, « Zer gertatzen ote da? » eta « nola doaz gauzak? » galdeak aztertu nahi ditu ikerlan honek. Munduarekiko harreman enaktatu batean datza bere epistemologia; hautemana eta hautemailea batera agertzea baimentzen duen kontzeptuaren harremana, osatugabetasunari loturik. Ondorioz, « nork bere burua errezibitzea », mugimenduan jartzea bezala da, gorpuztasunaren dantza baten gisan. Hastapenean, ikerketa enpirikorako erabili korpusa, idazlea laborari daukan etxaldean egin errezibitze egoera bat da. Azterketa metodologia, nagusiki lehen pertsonan, analogia eta hierarkia nahasien jokoa sartuz, bost adarreko izar baten egitera heltzen da harrera mosaikoaren eredu gisa. Sentiberatasun berpiztu batez « nork bere burua errezibitze » hori moldatzeak bere baitan dakar, praktiken lasaitasuna eta bizitasuna. Moldatze horren ekarpenak etxaldeko eta etxaldetik kanpoko harrera baliabideen plantan ematea galdezkatzen du, eta aukeren zelaiaren irekitzera bultatzen.

Submitted by Jean Medeiros (jeanletras@uepb.edu.br) on 2017-02-16T19:01:20Z No. of bitstreams: 1 PDF - Marcus Vinícius de Oliveira Régis.pdf: 3463669 bytes, checksum: 2227dbed4b424c26cde8c6df215906f9 (MD5) / Approved for entry into archive by Secta BC (secta.csu.bc@uepb.edu.br) on 2017-03-07T16:48:16Z (GMT) No. of bitstreams: 1 PDF - Marcus Vinícius de Oliveira Régis.pdf: 3463669 bytes, checksum: 2227dbed4b424c26cde8c6df215906f9 (MD5) / Made available in DSpace on 2017-03-07T16:48:16Z (GMT). No. of bitstreams: 1 PDF - Marcus Vinícius de Oliveira Régis.pdf: 3463669 bytes, checksum: 2227dbed4b424c26cde8c6df215906f9 (MD5) Previous issue date: 2016-12-22 / In recent years, Information Technology has played a crucial part in the evolution of diagnosis, treatments and health care management. Diagnosis Technologies based on images and their use to plan advanced therapies have assumed a protagonist position in t he field of biotechnology. In this scenario the 3D Laboratory of Nucleus of Strategic Technologies in Health (NUTES) - LABTEC 3D / NUTES – afiliated to Universidade Estadual da Paraíba (UEPB) has been pioneering in the production of biomodels for surgical planning of polytraumas. Biomodels are high precision 3D reproductions of specific part of the human anatomy built up from an image exame of the patient. The current manufacturing process requires improvments on how its production stages are managed, so as to unify the information regarding both the biomodel manufactured and the toolset used throughout the different steps executed. In addition, properly registrating the proccess execution might be of a valuable use in subsequent research and treatment, either for LABTEC 3D / NUTES or in joint efforts with local and international partners. This work presents a semi automed solution to enhance the workflow currently executed to manufacture biomodels at LABTEC3D / NUTES, which makes it possible to electronicall y register and control the steps of production. The solution makes use of an interoperability technological framework that scales to a 3D Labs federation, with the purpose to register and miner relevant information on treatments and research in the medical and dental areas. / Nos últimos anos as Tecnologias de Informação vêm se tornando mais determinantes na evolução de diagnóstico, tratamentos e gestão em saúde. Tecnologias de diagnóstico por imagem e seu uso no planejamento de terapêuticas avançadas têm assumido uma posição d e destaque no ramo da biotecnologia. É neste cenário que o Laboratório de Tecnologias 3D do Núcleo de Tecnologias Estratégicas em Saúde (NUTES) – LABTEC 3D/NUTES – da Universidade Estadual da Paraíba (UEPB) vem fabricando com pioneirismo biomodelos para planejamento cirúrgico de politraumatismo. Biomodelos são reproduções em 3D, com alta precisão, de parte específica da anatomia humana a partir de uma imagem do paciente. O atual processo de fabricação é a origem da necessidade de se gerir a etapas de produç ão, unificar as informações referentes ao biomodelos e ferramentas utilizadas nos diferentes passos executados, garantindo ainda o devido registro para pesquisas e tratamentos posteriores, internos ou em conjuntos com parceiros locais e internacionais. Este trabalho apresenta uma solução de automação da gestão e workflow na fabricação de biomodelos no LABTEC 3D/NUTES, que possibilita registrar e controlar por meio eletrônico as etapas de produção, além de criar uma estrutura que possibilite a interoperabilidade entre as informações clinicas referente ao biomodelo. Estrutura no qual visa posteriormente a extração de informações relevantes para tratamentos e pesquisas nas áreas médica e odontológica.

Nas escusas veredas da Luanda contemporânea edificada no romance Os transparentes (2013), de Ondjaki, todos os caminhos, desde o começo, parecem apontar para uma única solução possível: a destruição. Analisaremos por que a cidade do romance deve ser destruída, a começar pela construção histórica desse arquétipo, de acordo com Northrop Frye. A ocorrência estética desse temário poderá ser constatada na forma romanesca, consoante as formulações de Bakhtin, evidenciando o caráter vivo e moderno do romance em questão, bem como a categoria de cronotopo ocupada pela cidade. Esse caminho será percorrido, com um recuo para investigar o lugar deste livro no pós-Independência, até chegar às causas da destruição presentes nos subterrâneos da sociedade, que enfraquecem os alicerces de Luanda na narrativa, e fazem-na ser consumida pelo fogo quase impiedoso ateado pelas mãos daqueles que estão às voltas com o poder político-econômico e que fazem da cidade viva da narrativa um lugar de embates, uma zona de contato, como será discutido nas considerações finais. / Considering the misleading paths in a contemporary Luanda built in Ondjaki\'s novel Os transparentes (2013), all the ways, from the very beginning, seem to point to a single possible solution: destruction. We will analyze why the city in the novel \"has to\" be destroyed, beginning with the historical construction of this archetype, according to Northrop Frye. The aesthetic occurrence of this subject can be verified in the romanesque form, according to the formulations of Bakhtin, which highlights the living and modern character of the novel to be considered as well as the category of chronotope occupied by the city. This path will be taken by using a retreat to investigate the place of this book in the so-called post-Independence moment, until the reasons for the destruction present in the essence of the society are known, being these very same destructions the ones that weakened the structures of Luanda in the narrative, and that made it to be consumed by the merciless fire fought by the hands of those who are dealing with political-economic power and who make the living city of the narrative a place of clashes, as well as zone of contact, as it will be discussed in the final considerations.

Submitted by Geyciane Santos (geyciane_thamires@hotmail.com) on 2015-10-07T14:59:40Z No. of bitstreams: 1 Dissertação_Luiz Henrique Barreto de Moura Costa.pdf: 3264094 bytes, checksum: 959234a4848c63538fbaa47ef74f7668 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-08T14:35:48Z (GMT) No. of bitstreams: 1 Dissertação_Luiz Henrique Barreto de Moura Costa.pdf: 3264094 bytes, checksum: 959234a4848c63538fbaa47ef74f7668 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-08T14:40:33Z (GMT) No. of bitstreams: 1 Dissertação_Luiz Henrique Barreto de Moura Costa.pdf: 3264094 bytes, checksum: 959234a4848c63538fbaa47ef74f7668 (MD5) / Made available in DSpace on 2015-10-08T14:40:33Z (GMT). No. of bitstreams: 1 Dissertação_Luiz Henrique Barreto de Moura Costa.pdf: 3264094 bytes, checksum: 959234a4848c63538fbaa47ef74f7668 (MD5) Previous issue date: 2015-08-11 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / This research aims to understand the modern practice of shamanism in the rituals of the Holy Daime in Manaus. From the history of this mysticism in their ceremonies and godfather figure of identification, initially seen as a modern shaman, we analyze the meanings that stand out in the symbols and representations of what we identify as myths and archetypes of the doctrine. Using a comparative approach, from the sociological definition of the object of analysis, and supported by imaginary anthropology studies, we find the profiles made by members of the Daime doctrine, specifically the godfather, in the social, mystical and mythical, revealing finally, the current reality of a shamanic system in the city of Manaus symbiotically related to the Amazonian culture. / A presente pesquisa tem por objetivo entender a prática moderna do xamanismo nos rituais do Santo Daime em Manaus. A partir da sua história, do misticismo presente em suas cerimônias e da identificação da figura do padrinho, inicialmente visto como um xamã moderno, analisamos os significados que se destacam nos símbolos e representações daquilo que identificamos como mitos e arquétipos da doutrina. Utilizando-se de uma metodologia comparativa, a partir da definição sociológica do objeto de análise, e apoiada em estudos de antropologia do imaginário, verificamos os perfis assumidos pelos integrantes da doutrina daimista, especificamente o padrinho, nos campos social, místico e mítico, revelando, por fim, a realidade atual de um sistema xamânico na cidade de Manaus simbioticamente relacionado com a cultura amazônica.

A Ópera Mouffe (1958) é um filme inaugural na obra da cineasta Agnès Varda. Um \"documentário-ficcional\" que utiliza diferentes modos expressivos, construído a partir de imagens em fluxo constituídas de forma ficional, a partir de elementos simbólicos, ou registradas em situações observacionais na rua Mouffetard, em Paris. De natureza subjetiva, o filme exibe, ainda, o primeiro registro do corpo de Varda em sua obra, na ocasião grávida de sua primeira filha, Rosalie. Foi a gestação que a mobilizou para a feitura do filme e a maternidade é o foco da narrativa. Varda faz desse pequeno curta uma espécie de manifesto feminista sensorial, ao apresentar, de forma poética, os conflitos reveladores das angústias das mulheres no interior da sociedade patriarcal, através da expressão em consonância dos arquétipos de Vênus e Deméter, respectivamente a Amante e a Mãe, conjugados na personagem central. Em vários de seus filmes posteriores, Varda irá expandir a configuração e combinação destes mitos, através de personagens que apresentam conflitos em relacionamentos, comportamentos, ou traços de personalidades que ecoam esses arquétipos. Essa característica possibilitou a Varda apresentar narrativas que permitem analisar criticamente o papel reservado às mulheres em nossa sociedade. / The Mouffetard Opera (1958) is an inaugural film in the work of French filmmaker Agnès Varda. A \"fictional documentary\" that uses different expressive modes, constructed from a flow of images constituted of fictional form, symbolic elements, and documentary images registered in observational situations at the Mouffetard Street, in Paris. Of subjective nature, the film also shows for the first time Varda\'s body in her work, at the time when she was pregnant of her first daughter, Rosalie. It was the gestation that mobilized her to make the film and motherhood functions as the trigger of the narrative. That short film is as a kind of sensorial feminist manifesto which reveals, in a poetic way, conflicts engendered by the anguish women experience within patriarchal society through the consonant expression of the archetypes of Venus and Demeter, respectively the Lover and the Mother, combined in the central character. In several of her ulterior films, Varda will expand the configuration and combination of those myths through characters that present conflicts in relationships, behaviors, or personality traits that echo those archetypes. Such tools allowed Varda to present narratives that allow a critical perspective over the role offered to women in our society.