Poster exhibited at GPSC Student Showcase, November 7th, 2014, University of Arizona. This research has been presented at the 2014 Annual Student Showcase, where first prize recognition in the College of Humanities was received. An earlier version was presented at the 24th Annual Graduate and Professional Symposium on Hispanic and Luso-Brazilian Literature, Language and Culture. Recognition as the first undergraduate poster presented at the graduate symposium was received, as well as an award for Best Paper. Special recognition is due primarily to Dr. Katia Bezerra, head of the Department of Spanish & Portugese, for extending an offer for me to present, to Edgard Ore-Giron for private mentorship of my work, and to Akeem Flavors in the Department of Art History for willingly assisting me practice my presentation skills. / No amount research need be referenced to justify the consensus that a power differential exists among women and men. The outcome that this power differential has created, however, varies from one society to another. The role of women in male-dominated societies is deconstructed through two films, each situated in the drug trafficking industry—one set in Latin America and the other in the United States-Mexico border. While substantial literature explores the gender power differential in the United States and developing countries, little attention is given to the impact of gender participation in the developing world. Each of these countries has diverse expectations with gender politics; that is, some countries have women as leaders in suffrage reforms and corporations, while women in other countries are not even granted the right to divorce. This paper examines the relationship between gender participation of women and their defiance of the power differential as depicted in the Brazilian film City of God and the American film Traffic. While no evidence is independently presented that economic development provides a basis for equal participation, the most important factors such as gender violence and civil liberties provide a means of understanding the gender gap from a sociopolitical perspective.

Politics and Church in Saeculum – History and Political Theology in Oliver O’DonovanThis essay explores the relation between church, history and politics in the theology of Oliver O’Donovan. It asks the question of how O’Donovan’s political theology and understanding of the church is shaped by his view of history and how God acts within history. It shows how O’Donovan, following Augustine, stresses the tension between the two cities within history – the City of God and the City of Man – and uses this as a paradigm in which to understand the secular political authority. As a provisional ordering in saeculum, the earthly City of Man has a temporary function, awaiting God’s final reign in eschaton, in which it will hand over its authority to Christ. The church, though being a political community already prefiguring the reign of God in Christ, it still lives, in this age, under the secular rule. Awaiting the coming Kingdom its primary occupation is that of witness, inviting society and its ruler alike to accept the kingship of Christ. As a successful example of this mission O’Donovan gives a significant focus to the era known as Christendom, in which the western civilization, following the conversion of the Roman emperor Constantine, is understood as a Christian society with Christian rulers. In discussing O’Donovan’s political theology, the essay asks questions about O’Donovan’s reading and usage of Christendom and tries to reason about the application of O’Donovan’s theology in a situation where Christendom no longer defines the western experience (or what has been called a predominantely post-Christendom context). An important question in the discussion is whether O’Donovan stays true to the heritage of Augustine, or if he, in theory as well as practice, tends to follow other voices within the theology of history.

A tese discute os mecanismos de seleção e apropriação dos espaços da cidade e a subsequente construção imagética da favela em Cidade de Deus. A partir da análise da narrativa visual da favela fílmica, o trabalho propõe a denominação da direção de arte realizada como invisível. Tal termo expressa o conceito de um cinema que tem na arte um critério importante de verossimilhança que, por fim, leva o espectador a crer que não houve manipulação do espaço filmado. A proposição da nomenclatura direção de arte invisível ampara-se no entendimento do conceito estético de Cidade de Deus e em uma incursão no modus operandi dos enunciados da arte que se articulam na construção das imagens: cenografia, produção de objetos, figurino e maquiagem. A fim de um maior entendimento formal da favela carioca, Rio, 40 graus e 5x Favela se juntam à análise. Dessa forma, o trabalho faz uma leitura de filmes nos quais a cidade é também um dos personagens. Se Rio, 40 graus e 5x Favela tomam emprestado determinados ícones urbanos e geográficos para estruturar seus roteiros, é através de Cidade de Deus que vamos buscar articular o paradoxo em torno de uma direção de arte que se efetiva ao se fazer invisível. / This thesis concerns the mechanisms of selection and appropriation of urban spaces and the further construction of a slum\'s imagery in the film City of God. From the analysis of the visual narrative of the cinematic slum, this dissertation intends to describe a production design achieved as invisible. The term expresses a concept of filmmaking which carries in the craft significant criteria of verisimilitude, which finally leads the viewer to believe that there was no manipulation of the set. The subject of the term invisible production design is supported by the understanding of the aesthetic concept of the film City of God, and by the study of the modus operandi of the art premises which articulate the construction of images: set design, set dressing, costume design and makeup. For a deeper formal understanding of slums in Rio, the films Rio, 40 Graus and 5x Favela are part of this analysis. Thus, this essay depicts films where the city is also perceived as a character. In the sense that Rio, 40 Graus and 5x Favela borrow certain urban and geographic icons in order to structure their scripts, it is through City of God that we may articulate the paradox around an production design that is effective in making itself invisible.

A tese discute os mecanismos de seleção e apropriação dos espaços da cidade e a subsequente construção imagética da favela em Cidade de Deus. A partir da análise da narrativa visual da favela fílmica, o trabalho propõe a denominação da direção de arte realizada como invisível. Tal termo expressa o conceito de um cinema que tem na arte um critério importante de verossimilhança que, por fim, leva o espectador a crer que não houve manipulação do espaço filmado. A proposição da nomenclatura direção de arte invisível ampara-se no entendimento do conceito estético de Cidade de Deus e em uma incursão no modus operandi dos enunciados da arte que se articulam na construção das imagens: cenografia, produção de objetos, figurino e maquiagem. A fim de um maior entendimento formal da favela carioca, Rio, 40 graus e 5x Favela se juntam à análise. Dessa forma, o trabalho faz uma leitura de filmes nos quais a cidade é também um dos personagens. Se Rio, 40 graus e 5x Favela tomam emprestado determinados ícones urbanos e geográficos para estruturar seus roteiros, é através de Cidade de Deus que vamos buscar articular o paradoxo em torno de uma direção de arte que se efetiva ao se fazer invisível. / This thesis concerns the mechanisms of selection and appropriation of urban spaces and the further construction of a slum\'s imagery in the film City of God. From the analysis of the visual narrative of the cinematic slum, this dissertation intends to describe a production design achieved as invisible. The term expresses a concept of filmmaking which carries in the craft significant criteria of verisimilitude, which finally leads the viewer to believe that there was no manipulation of the set. The subject of the term invisible production design is supported by the understanding of the aesthetic concept of the film City of God, and by the study of the modus operandi of the art premises which articulate the construction of images: set design, set dressing, costume design and makeup. For a deeper formal understanding of slums in Rio, the films Rio, 40 Graus and 5x Favela are part of this analysis. Thus, this essay depicts films where the city is also perceived as a character. In the sense that Rio, 40 Graus and 5x Favela borrow certain urban and geographic icons in order to structure their scripts, it is through City of God that we may articulate the paradox around an production design that is effective in making itself invisible.

Syftet med denna uppsats är att ta reda huruvida filmklippning kan spela en avgörande roll i filmens berättelse med hjälp av olika verktyg och konventioner. De utvalda filmproduktionerna är Memento (2000), City of God (2002) och 12 Years a Slave (2013). Med hjälp av tre olika teoriböcker skall uppsatsen undersöka hur klippning skapar mening, vilka klipptekniker som används samt om de följer några historiska eller samtida konventioner. Det är en både teknisk och estetisk analys avfilmerna. Vi ska ta reda på om det framgår några tendenser i klippningen som kan appliceras i dagens filmproduktion. Filmklippning är ett ämne som inte får tillräckligt med uppmärksamhet inom filmvetenskapen, men trots det är filmklippning en av de allra viktigaste delarna av en filmproduktion – den bygger upp filmen och regissörens vision och är det vi som åskådare ser på bioduken. En kvalitativ analys av ämnet kan ge oss ett större inblick i hur en klippare arbetar men också vilka effekter det får på berättelsen i sin helhet. Idag studerar man film utifrån regissörens och auteurens vision och avtryck på berättelsen och det är lätt hänt att alla individer som arbetar med produktionen hamnar i skuggan, allt från musiker, produktionsdesigner, projektledare till filmklippare. Klipptekniker idag ser helt annorlunda ut än hur det var på 50-talet i och med att nya lösningar har utvecklats, och detta påverkar indirekt berättelsen. Nya tendenser och omfattningar inom yrket har gjort att klipparrollen blivit allt viktigare, och urvalet av vem som skall klippa vilken film kan få stora konsekvenser.

This thesis provides an interpretative study of Augustine of Hippo’s City of God, book 14. The introduction explains how the thesis demonstrates that Augustine only partially endorses a model of emotional control through reason, and asserts that the key to his emotions doctrine is not to be found in an affections-passions dichotomy. It also addresses Augustine’s engagement with Platonism in the text, and, using work by Volker Drecoll, explains how the commentary-style project is able to situate City 14 within the Pelagian controversy ca. A.D. 419. The following seven chapters proceed uninterruptedly through City 14, clarifying Augustine’s argumentative aims and making use of secondary scholarship and philological tools to investigate points of fine detail. Chapter 1 explores City 14.1, his recapitulation of City 11-13 and his setting out of the initial two-cities dichotomy. Chapter 2 explores City 14.2-5, in which Augustine critiques Manichean or Platonist positions that the body is bad or evil. Chapter 3 explores City 14.6-9, and Augustine’s explication of the Biblical doctrine of emotions. Chapter 4 explores City 14.10-15, and the theme of the primal Fall and the will being ‘spontaneous’. Chapter 5 explores City 14.16-20, and Augustine’s exploration of the disobedience of the genitals in all forms of sex, including married life. Chapter 6 explores City 14.21-25, in which Augustine discusses the workings of Adam and Eve’s hypothetical sexual experience in the Pre-Fall Paradise. Chapter 7 explores City 14.26-28, in which Augustine recapitulates City 14.10-25, and comments on the workings of Providence, before hurtling towards the final dichotomy about the two cities being separated by their ‘loves’. A conclusion reviews the main points of the thesis. The thesis makes extensive use of German and French scholarship, of the CCL 48 Latin text, and the tools of the CAG 3 Augustine database; it occasionally contests the chapter divisions found in modern editions.

No description available.

The intention of this study is to investigate the role St. Augustine has contributed as a North African Church Historian. In order to archive the intention of this study one of the most significant works that Augustine wrote the City of God is going to be used as a literature review. The City of God is originally written to defend the church against charges of being responsible for the destruction of the city of Rome in 410 CE; the City of God has come to stand as a monument to theological reflection on the history of God’s creation. Though not primarily a historian, Augustine has made a significant contribution to the study of Christian history. He raises scripture to become the source of the meaning of history and defines the only true history as sacred history. This study considers Augustine’s critique of the Church catholic, the meaning of history, the origins of the City of God, Augustine’s views on the philosophy and theology history and the prophetic nature of biblical history. The first part of the study will trace the early life struggle of Augustine in his quest for knowledge and the truth. He learnt rhetoric studies; he examined the Holy Scriptures and found them unworthy. Then he was a follower of the Manicheans, but he was disillusioned when he met their sophistical leader Faustus. Finally, bishop Ambrose of Milan in his allegorical interpretation and explanation of scripture and the influence of Christian Neoplatonism helped Augustine to find an approach to the Bible and to overcome his difficulties with his childhood religion. Ambrose led him to the verge of conversion. Augustine’s impact on Reformation is considered. He is a father of the Church who has exerted an unparalleled influence on more than the thousand years that separated him from the birth of Protestant churches, but that long period is not an empty space because his historical work was influential throughout this period. In a movement to renew and reform the Church the various Reformers of the sixteenth century like Martin Luther and John Calvin studied Augustine in order to challenge abuses within the Catholic Church. The influence and the legacy that Augustine had on other people is discussed as the final conclusion of the study. The ideas, which he phrased with great skill, were to be accepted by almost all the leading thinkers of Europe until after the Enlightenment in the eighteenth century. Augustine had made much of being the Catholic bishop of Hippo. / Dissertation (MTh (Church History))--University of Pretoria, 2008. / Church History and Church Policy / unrestricted

The intention of this study is to investigate the role St. Augustine has contributed as a North African Church Historian. In order to archive the intention of this study one of the most significant works that Augustine wrote the City of God is going to be used as a literature review. The City of God is originally written to defend the church against charges of being responsible for the destruction of the city of Rome in 410 CE; the City of God has come to stand as a monument to theological reflection on the history of God’s creation. Though not primarily a historian, Augustine has made a significant contribution to the study of Christian history. He raises scripture to become the source of the meaning of history and defines the only true history as sacred history. This study considers Augustine’s critique of the Church catholic, the meaning of history, the origins of the City of God, Augustine’s views on the philosophy and theology history and the prophetic nature of biblical history. The first part of the study will trace the early life struggle of Augustine in his quest for knowledge and the truth. He learnt rhetoric studies; he examined the Holy Scriptures and found them unworthy. Then he was a follower of the Manicheans, but he was disillusioned when he met their sophistical leader Faustus. Finally, bishop Ambrose of Milan in his allegorical interpretation and explanation of scripture and the influence of Christian Neoplatonism helped Augustine to find an approach to the Bible and to overcome his difficulties with his childhood religion. Ambrose led him to the verge of conversion. Augustine’s impact on Reformation is considered. He is a father of the Church who has exerted an unparalleled influence on more than the thousand years that separated him from the birth of Protestant churches, but that long period is not an empty space because his historical work was influential throughout this period. In a movement to renew and reform the Church the various Reformers of the sixteenth century like Martin Luther and John Calvin studied Augustine in order to challenge abuses within the Catholic Church. The influence and the legacy that Augustine had on other people is discussed as the final conclusion of the study. The ideas, which he phrased with great skill, were to be accepted by almost all the leading thinkers of Europe until after the Enlightenment in the eighteenth century. Augustine had made much of being the Catholic bishop of Hippo. / Dissertation (MTh)--University of Pretoria, 2007. / Church History and Church Policy / MTh / Unrestricted

L'histoire arthurienne, dans le cycle en prose, s'étend de manière linéaire et eschatologique depuis les temps évangéliques jusqu'à la fin du royaume d'Arthur. En reliant ainsi les temps contemporains à ceux de l'Histoire sainte – notamment grâce au motif du Graal – le roman revendique une autorité prophétique qui peut être interprétée à la lumière de La Cité de Dieu : Augustin y mène une lecture exégétique tant des Écritures saintes que de l'histoire profane, cherchant à manifester le dessein salvifique de la Providence. Et c'est bien sur la question du salut que se clôt le cycle puisque, après la chute d'Arthur et la destruction de la chevalerie, le dernier mot du roman revient à la conversion : le salut final de Lancelot fait suite à celui de Gauvain. Le sort ultime des deux plus grands héros de la chevalerie invite à lire La Mort Artu comme une apocalypse non seulement au sens de châtiment – celui du monde arthurien, condamné dans La Queste comme trop terrien – mais aussi comme une révélation : l'héroïsme profane rejoint l'objet ultime du désir chrétien. La présence de Fortune peut être considérée en ce sens : le dernier roman du cycle lui confie le soin d'exprimer le scandale du malheur et en fait un autre relais, avec l'aventure ou la mescheance, du langage de la foi. C'est certes trahir l'héritage d'Augustin, qui bannissait de toute bouche chrétienne Fortune et ses avatars, pour incompatibilité avec la foi dans la Providence. Mais cette même foi est en réalité affirmée dans un langage proprement romanesque, qui assume ainsi le tragique de l'existence humaine – pour le transformer dans le sursaut ultime de la foi ou le laisser au seul horizon de la cité terrestre. / Arthurian history is eschatological : the prose cycle drive it from evangelical times to the end of king Arthur's reign. With the Grail theme, narratives links their contemporary world straight to Sacred History and claims for a kind of prophetical authority. This scheme may be interpreted according to The City of God, where Augustine reads both Scripture and profane history. Through his exegesis he intends to show the action of providence and the process of salvation in human history. The prose romances themselves end in salvation : after King Arthur's fall and the destruction of chivalry, the last word is given to conversion – Lancelot's soul is taken to Paradise, after Gawain's one. For those excellent knights La Mort Artu should be read as an apocalypse, not only in the sense of punishment – La Queste had condemned the Arthurian world as « terrien » – but also as a "revelation" : profane heroism is identified to the highest Christian desire. The well-known presence of Fortune in La Mort Artu takes another sense : in personal or collective calamities, this character points out either the moral scandal or the irrational aspect of their causes. With Fortune, aventure and mescheance also relay Christian language to narrate the unexplainable. Prose romances betray Augustine's precepts : The City of God forbade the use of Fortune or similar terms that contradict the Christian faith. But in Arthurian romances providentialism is nonetheless present and proclaimed. In that "Age of Faith", the proper language of romance expresses the tragical aspects of human existence, and either lead to an eternal destiny, in the act of faith, or stay in the horizon of the terrestrial city.