Made available in DSpace on 2016-08-03T12:19:51Z (GMT). No. of bitstreams: 1 Roger Bradbury.pdf: 1632359 bytes, checksum: 6941c9e93a847f98a46de97c423a55a3 (MD5) Previous issue date: 2015-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The results of the literature search corroborate what in religious practice I had already noted, the existence of certain intentional syncretism of apprehension and religious content review, in other words, the matrix Judeo-Christian worldviews impregnated with values and role models that marked the new Spiritualism gender representations, still in France, and later in Brazil. It was found that both in literature and in the spiritist ethos has always been an oscillation between a sexual division of more traditional androcentric with the overvaluation of women as mothers, and men work as providers - and as a consequence the limitation on skills development occurs and competencies of both sexes in the various social institutions (family, work, etc.), including the spiritist institutions on the one hand, and; On the other hand, an alleged defense posture of the progressive liberation (emancipation) of womens rights. This research aimed to analyze the representations of gender in literary-doctrinal productions of contemporary Brazilian Spiritism, from a survey of the historical context that would have influenced the development of the spirit gender representations from a stage prior to the institutionalization of Spiritism, in France and in Brazil, to the present day and how such representations of gender structure the internal organization of Spiritualism, regarding the sexual division of labor. In addition to literature search was performed analysis of the Spiritisms doctrinal literature. / Os resultados da pesquisa bibliográfica corroboram o que na prática religiosa já havia notado, a existência de certo sincretismo intencional de apreensão e revisão de conteúdos religiosos, ou seja, de cosmovisões de matriz judaico-cristã impregnadas de valores e modelos de comportamento que marcaram as novas representações de gênero do Espiritismo, ainda na França, e posteriormente, no Brasil. Constatou-se que tanto na literatura espírita quanto no ethos espírita sempre houve uma oscilação entre uma divisão sexual do trabalho mais tradicional e androcêntrica com a supervalorização das mulheres como mães, e dos homens como provedores e como consequência disto ocorre a limitação do desenvolvimento das habilidades e competências de ambos os sexos nas várias instituições sociais (família, mercado de trabalho, etc.), inclusive nas instituições espíritas, de um lado, e; por outro lado, uma pretensa postura de defesa da progressiva liberação (emancipação) dos direitos da mulher. A presente pesquisa objetivou analisar as representações de gênero nas produções lítero-doutrinárias do Espiritismo brasileiro contemporâneo, a partir de um levantamento do contexto histórico que teria influenciado a elaboração das representações de gênero espíritas, desde uma fase anterior à institucionalização do Espiritismo, na França e no Brasil, aos dias de hoje e como tais representações de gênero estruturam a organização interna do Espiritismo, no que tange a divisão sexual do trabalho. Além de pesquisa bibliográfica foi realizada análise da literatura doutrinária espírita.

In this doctoral dissertation I examine the development of Kierkegaard's sense of vocation as a Christian creative artist by research into his journals and published works, as well as investigating how this was influenced by his scriptural hermeneutic. I then attempt to sketch some starting points for a theology of Christian creative artwork contextualised within modern theological aesthetics by drawing upon this examination. I argue that Kierkegaard began writing without documented reflection on his intentions and communicative methodology, but was nonetheless a religious author from the start of his career, as his text The Point of View for my Work as an Author later claimed. I trace how he began with a more "indirect" approach in his writing and gradually developed a theory of "indirect communication", though there were more "direct" elements present in his work from the beginning (the "first authorship"), yet as he continued in his authorial career he became ever more "direct" in his mode of communication (the "second authorship"), until it eventually became exclusively more "direct" religious writing (the "attack on Christendom"). I conclude that the most concise and complete formulation of Kierkegaard's mature conception of his task as a Christian artist becomes "to communicate Christianity in Christendom" in a more direct mode-to explain straightforwardly what authentic Christianity is in an age of cultural, purely nominal religion. I allow that this task is in some ways unique to his own historical situation but contend nonetheless that a consideration of it is profitable for contemporary theology because of the many different ways that he attempted to carry it out. In Kierkegaardian terms, and following on from resources in Kierkegaard and his use of scripture, I argue constructively from all of this that more "direct" communication is the more valuable form of communication to the Christian creative artist for theological reasons, but that more "indirect" communication can still be useful, in the task of communicating creatively through art.