Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-02-07T11:40:47Z No. of bitstreams: 2 Dissertação - Fabíola Guimarães Melo - 2017.pdf: 18557790 bytes, checksum: 55376e3fea0e8e50dfc365dbcb715200 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-02-07T11:44:31Z (GMT) No. of bitstreams: 2 Dissertação - Fabíola Guimarães Melo - 2017.pdf: 18557790 bytes, checksum: 55376e3fea0e8e50dfc365dbcb715200 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-02-07T11:44:31Z (GMT). No. of bitstreams: 2 Dissertação - Fabíola Guimarães Melo - 2017.pdf: 18557790 bytes, checksum: 55376e3fea0e8e50dfc365dbcb715200 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-10-18 / The present work aims to present Feast of the Divine Holy Spirit in Campo Alegre - GO, through the dimension of the oral tradition of its revelers, passed on by the memory of the voice of those who sing their hymns, or in the photographic images made by the participants themselves this manifestation. In this sense the work was developed in three parts. In the first one we present a discussion about the oral dimension of the culture expressed in the folia's songs, which mark the whole accomplishment of the ritual. In the second part we use the photos from the collection of the folio José Dourado, which records all the moments of the revelry and all parts of its ritual. We analyze these images trying to describe the steps of the revelry through the photographer's gaze. In the third part we present, in annex, a booklet with the description of the hierarchy, symbols and ritual moments of Folia to be used as teaching material in the 5th grade of elementary school. The aim is for this material to bring children closer to local history and traditions. / O presente trabalho tem como objetivo apresentar a Folia do Divino Espírito Santo em Campo Alegre – GO, por meio da dimensão da tradição oral de seus foliões, repassadas pela memória na voz dos que cantam os seus hinos, ou nas imagens fotográficas realizadas pelos próprios participantes desta manifestação. Nesse sentido o trabalho foi desenvolvido em três partes. Na primeira delas apresentamos uma discussão sobre a dimensão oral da cultura expressa nos cantos da folia, que marcam toda a realização do ritual. Na segunda parte utilizamos as fotografias do acervo do folião José Dourado, que registra todos os momentos da folia e todas as partes do seu ritual. Analisamos estas imagens procurando descrever os passos da folia por meio do olhar do fotógrafo. Na terceira parte apresentamos, em anexo, um livreto com a descrição da hierarquia, dos símbolos e momentos rituais da Folia para ser utilizado como material didático na 5.ª série do ensino fundamental. O objetivo é que esse material sirva para aproximar as crianças da história e das tradições locais.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-17T11:37:51Z No. of bitstreams: 1 diegosantosbarbosa.pdf: 5719146 bytes, checksum: 63d87a929d1342c9bb855aab14f3d4c5 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T14:33:50Z (GMT) No. of bitstreams: 1 diegosantosbarbosa.pdf: 5719146 bytes, checksum: 63d87a929d1342c9bb855aab14f3d4c5 (MD5) / Made available in DSpace on 2016-07-13T14:33:50Z (GMT). No. of bitstreams: 1 diegosantosbarbosa.pdf: 5719146 bytes, checksum: 63d87a929d1342c9bb855aab14f3d4c5 (MD5) Previous issue date: 2016-02-25 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / A festa do Divino Espírito Santo ocorre em várias regiões do Brasil, em cada região de ocorrência a festa tem suas particularidades. Em Paraty a festa é realizada desde o século XVIII, e contêm vários elementos distintos, como as bandeiras, as danças e shows com artistas da atualidade. Esta dissertação tem como objetivo analisar, principalmente, os preparativos da festa, com o intuito de conhecer e reconhecer sua organização e importância, preocupando-se em entender o significado de ritos e símbolos envolvidos na cultura popular, especificadamente a Festa do Divino Espírito Santo em Paraty, cidade onde se encontra o recorte do presente estudo, localizada no Sul do Estado do Rio de Janeiro, sendo o município limite com o Estado de São Paulo. Neste sentido, apresentar uma reflexão sobre as dinâmicas e interações dos diversos atores sociais que participam do processo de construção social desta celebração em uma dada localidade, particularmente nos dez dias de festa, onde ocorrem: novenas, missas, entrega das lembrancinhas e uma grande procissão pelas ruas da cidade e também as festividades no espaço público, mas não somente neste período, pretendo participar da análise de todo processo da construção da festa desde a sua concepção e a escolha dos organizadores e colaboradores deste evento. Sendo assim, contribuir para a discussão acerca do debate sobre rito e símbolo religioso que se dará com a análise e as configurações que a festa do Divino Espírito Santo oferece ao espaço e à sociedade de Paraty, onde ela se realiza. / The Festival of the Holy Spirit occurs in various regions of Brazil, at each occurrence region the party has its peculiarities. In Paraty the party is held since the eighteenth century, and contains religious and secular elements, such as flags, dances and concerts with today's artists. This dissertation aims to analyze mainly the backstage party, in order to know and recognize its importance and organization, being concerned with understanding the meaning of rites and symbols involved in popular culture, specifically the Festival of the Holy Spirit in Paraty, city where the clipping of this study is found, located in the southern state of Rio de Janeiro, being the boundary city with the State of São Paulo. In this sense, present a reflection on the dynamics and interactions of the various social actors participating in the process of social construction of this celebration in a given locality, particularly in the ten-day festival, where occurs: novenas, masses, delivery of souvenirs and a large procession through the city streets and also the festivities in the public space, but not only in this period, I intend to participate in the analysis of the whole party construction process from its conception and the choice of the organizers and contributors to this event. There for et, contributing with the discussion about the debate on ritual and religious symbol that will come into being with the analysis and the settings that the Festival of the Holy Spirit offers to space and society of Paraty, where it takes place.

This project will track and explain the development of the Doctrine of Divine Immutability from early mythological and scriptural source material that seems to indicate that divine entities are changeable into metaphysical systems that demand a perfectly consistent deity. The Doctrine of Divine Immutability is a philosophical and theological postulate that has long been a staple of systematic metaphysics and theology, but its function in robust and fully formed systems is different than its function when it is first generated in Ancient Greece and Judah. Methodologically mostly primary sources are studied and compared with interpretive help from relevant secondary sources. Once the generation and evolution of this doctrine is understood, a more holistic understanding of the relationship between religion and philosophy will be evident. Additionally a more robust understanding of Middle Platonism and 1st and 2nd century Christianity and their relationship to Roman Stoicism will be achieved. Of particular importance to contemporary scholarship this work will allow us to understand the doctrine in its context and will shield us from anachronistic readings of the arguments that are bound to cause fundamental errors in scholarship.

The primary purpose of this thesis was to discover whether two classical modes of persuasion, which Paul used in the letter to the Galatians, are really useful tools for effective preaching. This study consists of seven chapters. The introductory chapter provided a problem posing and formulation of the study, a clear study goal and hypothesis and delimitation and definition, and indicated the methodology to be used to accomplish this thesis. In chapter two, a historical review of classical rhetoric was presented. A brief history of classical rhetoric and the relationship between rhetoric and preaching as communication were explained to serve as general background to classical rhetoric and the relationship between rhetoric and preaching. In chapter three, some basic concepts of classical rhetorical theories for this thesis were considered to explain how these terms are used and related in this thesis. Chapter four was devoted to two parts. First is an investigation of Paul in an attempt to determine whether he used classical rhetorics. Galatians is a strong echo of Paul’s actual oral preaching so that the level of Paul’s rhetorical awareness and the nature and characteristics of his letter can be grasped. Second is an examination of the rhetorical situation in which the original communication was accomplished. To understand the kinds of rhetoric, and Paul’s main purpose in Galatians, the particular historical situation and rhetorical problems have to be understood, as well as the literary structure of Galatians, the purpose of Galatians and Paul’s intent in the letter as a whole. In chapter five, the modes of persuasion (ethos, and pathos) in Galatians were analysed. This chapter showed the reader how Paul used and developed Aristotles’ two modes of persuasion in his preaching to persuade audiences effectively to actions. In chapter six, the implications for effective preaching was discussed in terms of the twin modes of persuasion in Galatians. This study set the important strategies for effective contemporary preaching. Chapter seven presented and an overview and sermon outline of the four elements of persuasion for effective preaching and contributions to persuasive preaching for the effective preacher. In the final chapter, a summary of the contents was presented in the Conclusion, which arrived at a concrete argument in terms of which the hypothesis presented in the Introduction can be tested. / Thesis (PhD (Practical Theology))--University of Pretoria, 2005. / Practical Theology / unrestricted

Ce travail a pour objectif d’étudier certaines représentations – écrites et imagées – des exécutions capitales en France, dans la seconde moitié du XVIe siècle et les premières décennies du XVIIe siècle. Ces exécutions sont nombreuses à une époque marquée par d’importants troubles politiques et religieux. Elles ont lieu en place publique, se veulent édifiantes et exemplaires pour les spectateurs, et affirment l’autorité du souverain, qui restaure l’ordre dans le royaume. Cette étude s’organise autour des trois figures fondamentales de la punition : le roi, le peuple et le condamné. La punition entretient toujours un lien très étroit avec l’autorité qui châtie. Nous verrons que les réflexions de Foucault autour du supplice se vérifient dans certaines sources, mais que les écrits et les images ne font pas obligatoirement de ce spectacle une affirmation de l’autorité royale, ni de la justice divine, parfois problématiques. Dans les sources écrites, les spectateurs réagissent souvent à l’exécution capitale, et il arrive que les auteurs expliquent les violences populaires dans un cadre extra-judiciaire, comme une tentative de rétablir l’ordre et la justice. Le condamné, lui, est à la fois « acteur » du supplice par son comportement sur l’échafaud et « victime ». Un certain nombre de constantes se dégage de la représentation du condamné, liées à son sexe et son âge, à la religion des auteurs et aux types de textes et d’images dans lesquels il est dépeint. Ce travail, qui envisage des contextes politiques et religieux différents et compare des sources très diverses, entend montrer que la littérature et l’iconographie construisent une image complexe du spectacle de l’exécution capitale, en particulier à travers les motifs de l’ordre et du désordre qui les traversent.

No description available.

The photographer Rodney Smith shows us images of real things and people, but real things and people that aren’t positioned in real ways and places people would actually be. Instead, he uses something very familiar to each of us–the human body–and consistently puts it in very unfamiliar situations. By using something so intimately familiar to each of us as the body in weird ways, he automatically jars our own experienced sensations. And this jarring of familiar sensations, this defamiliarization of something so familiar to us, is what typically results in what literary critics term the feeling of the uncanny. What the uncanny does, in its defamiliarizing of the familiar, is to jar viewers from their sense of the familiar. It displaces them from where they normally are. In Rodney Smith’s photographs, our bodies, unfamiliar with the bodily experiences of his subjects, are dislodged from where they are. Yet the feeling produced by Smith’s photography is not uncanny; rather, it has a sort of reverent, almost sacred, effect. His background as a graduate of the Yale School of Divinity makes him deeply interested in truth beneath the surface, and so he uses photography to get at that sort of truth through his use of the body in ways that would typically produce an uncanny effect, yet don’t. The settings in which he places bodies, as well as the way he uses the bodies themselves, help to shift the feeling of the uncanny into the feeling of the divine or sacred. His ability to do so is highly contingent upon his use of bodies: because we, the viewers, all have bodies, our bodies resonate with those we see in his photography. We are connected to the subjects of his works in a fundamental and profound way because of our embodiedness. And using this connection, Rodney Smith takes our now displaced bodies and transports them with his bodies to somewhere beyond the surface, somewhere sacred. Through his use of techniques typical of the uncanny, he shifts the effects of the uncanny from simple displacement of the self to meaningful replacement of the self within the greater context of our unique and, in his eyes, beautiful world we live in.

There was a long-standing consensus that Ockham was a Divine Command Theorist - one who holds that all of morality is ultimately grounded in God's commands. But contrary to this long-standing consensus, three arguments have recently surfaced that Ockham is not a divine command theorist. The thesis of this dissertation is that, contrary to these three arguments, Ockham is a divine command theorist. The first half of the dissertation is an analysis of the three necessary and jointly sufficient conditions for virtuous action, whereas the second half is a response to the three contemporary arguments that Ockham isn't a divine command theorist. In a way, the first half of the dissertation gives a prima facie case that Ockham is a divine command theorist; the second half concludes so ultima facie.

L’imbrication du divin et du religieux, d’une part, du droit et notamment du droit international d’autre part, est un sujet dont l’actualité frappe l’observateur. Après des décennies pendant lesquelles la sécularisation et la fin de l’histoire ont pu masquer une telle imbrication, cette dernière est brusquement réapparue à l’œil occidental au début du XXIème siècle. Un examen plus attentif démontre que le retrait du divin et du religieux de la sphère juridique était une impression essentiellement ressentie dans l’Occident des deux derniers siècles, sans concerner de manière identique tous les États ni chacun d’entre eux dans l’ordre interne.Si l’accent est mis sur la Bible plutôt que sur les textes sacrés d’autres religions, c’est précisément parce qu’elle a influencé l’Occident, c’est-à-dire l’espace géographique et intellectuel où est né le mouvement de sécularisation. C’est dans cet espace que les concepts d’État et de souveraineté, centraux pour le droit international contemporain, ont vu le jour. L’un comme l’autre sont influencé par la lecture du texte biblique, et la perspective chrétienne est ici présentée en même temps que la perspective juive. Ces deux visions différentes ont nourri des débats, dont l’un opposa de manière fort polémique deux penseurs juridiques majeurs du XXème siècle. Cette polémique illustre les limites du mouvement intellectuel de sécularisation, mouvement qui intéresse au premier chef le droit public interne et le droit international.En réalité, la sécularisation n’empêche pas l’État de figurer comme une nouvelle forme de divinité, dont les bienfaits dispensés aux citoyens se nomment « providence » et dont l’expression principale du contrat social, la constitution, comprend dans de nombreux cas des références explicites au divin et à la religion. Ces dernières sont encore davantage mises en avant dans le cas particulier des relations israélo-pontificales, deux États tributaires de la Bible dans des proportions différentes et dans des interprétations qui ont longtemps empêché la reconnaissance de l’un par l’autre. Là encore, divin et religieux continuent d’imprégner le droit international / The interweaving of divine and religious, on one hand, of law and noticeably of international law on the other hand, is a matter which topicality hits the observer. After decades during which secularisation and the end of History may have hidden such an interweaving, the latter suddenly came back to appear to the Western eye at the beginning of the 21st century. A more careful examination demonstrates that the withdrawal of divine and religious from the law field was an impression mainly felt in the last two centuries West: it did not affect identically all state and, inside, all of the states. If it is insisted in this work on the Bible, more than in the sacred texts of other religions, it is precisely because the Bible influenced the West, which is the geographical and intellectual area where the secularisation movement was born. It is in this area that central concepts of international law, as state and sovereignty, dawned. Both two concepts are influenced by the reading of the Biblical text, and the Christian viewpoint is presented here as well as the Jewish viewpoint. Both those viewpoints have fed debates, of which one opposed controversially two of the major 20th Century law philosophers. This controversy illustrates the limits of the intellectual movement of secularisation, which interests first and foremost national public law and international law. As a matter of fact, secularisation does not prevent state to figure itself as a new shape of divinity, which goods offered to the citizens are called welfare (“providence” in French). The main expression of the social contract, the Constitution, includes in numerous cases explicit references to divine and to religion. Those are even more underlined in the particular case of the relations between Israel and the Holy See, two states owe much to the Bible, though in different scales and in interpretations that have long lastingly prevented the recognising of one by the other. There again, divine and religious go on imprinting public and international law

Scholars have long argued that the rhetorical concept of aemulatio best describes the tie between Milton’s Paradise Lost and Klopstock’s Messias. Against the backdrop of an emerging German national literature, Klopstock’s intention was not to merely imitate but to surpass his English predecessor. This view certainly has some merit, particularly since Klopstock himself alluded to this intention.However, crucial differences in aesthetics are obscured if the Messias is read in this sense. In order to challenge this common notion of the relationship betweenMilton and Klopstock, I analyze concepts of space and divine presence in both epic poems. I show how both Milton and Klopstock presented specific poetic solutions to problems in aesthetics and theology posed by their respective historical ‘situation’ (P. Tillich).