Questions surrounding queer subjectivity—including shame, the closet, and celebration—are at the core of my interests as a painter and image maker. Mining the history of religious iconography, including annunciation paintings, scenes of the crucifixion, and other notable works of this ilk, my paintings seek to explore the intricacies of sexuality and the workings of shame and celebration at play in the life of the queer-identified.

Thèse de doctorat : LITTERATURE COMPAREE : Metz : 1999. / 1999METZ008L. 267 ref.

Latin erotic poetry is an important genre recording surviving examples of male friendship. This report argues that a specific group of poems involving the poet and his powerful friend should be identified and studied separately as a sub-genre. Drawing examples largely from Horace, Catullus and Propertius, I argue that homosocial erotic poetry exploits the same repertoire of generic conventions as erotic poetry, but reshapes some of them for different functions. To articulate the erotic emphasis and the generic concern of this report, Eve Sedgwick’s notion of “homosocial desire” (1985) is introduced. The concept of homosociality is useful in revealing how male desire in our sub-genre has an erotic tinge and functions to foster the social bond of male friendship, but precludes the homoerotic possibility. Chapter One introduces the important terms and methodology chosen for this study, while Chapters Two to Four define and describe three distinctive features of the sub-genre. Chapter Two is devoted to showing that sermo amatorius, the “love speech” often featured in romantic relationships, can be assimilable to the structure of male homosocial relations. Chapters Three and Four examine how the sub-genre reshapes the recusatio and the topos of wealth to negotiate the tension of desire between the poets and their powerful friends. Ultimately, this report argues that male homosocial desire motivates the sub-generic conventions and thereby the seemingly disparate poems constitute a coherent sub-generic classification. / text

This thesis examines the relationship between the fiction of James Joyce and the theological practices outlined by Ignatius of Loyola. By deliberately foregoing claims of direct or simple influence, the thesis illustrates the way in which Loyola's concepts of belief, irony, discernment, and indifference illuminate the operations of the Joycean text. These operations in both Loyola and Joyce are themselves best explicated through the use of Kleinian psychoanalytic theory. Klein and her followers analyze dynamics of belief, representation, and meaning as products of frustration. Loyola and Joyce both force the reader into symmetrical situations of frustration, and Kleinian analysis helps us see how Joyce uses his texts as a kind of exercise for the reader-an exercise of productive frustration, disappointment, and loss. I trace the way this loss can turn reading into a reparative act, one that moves through the Kleinian 'paranoid-schizoid' position into a more productive, contingent, depressive position. I thus address Eve Kosovsky Sedgwick's proposal for reparative reading. By examining both Loyola's and Joyce's engagement with (and invitations into) frustrating, paranoid reading, I show how this engagement might become reparative. The thesis begins with an analysis of Loyola's Spiritual Exercises, finding there a specific structure of 'earnest irony.' It continues with a close reading of 'The Dead,' discerning how this structure operates in the Joycean text at the levels of both content and narration. It then takes up Kleinian theory directly to see precisely what paranoid reading-of the kind both Joyce and Loyola demand-accomplishes, and what its failure achieves. Its final two chapters consider A Portrait of the Artist as a Young Man, where it finds the narrative apparatus forcing the reader into a particular form of productive frustration, and Ulysses, which requires the greatest form of 'earnest irony' from the reader.

Shīʿī aḥādīth, particularly on women, are an immensely understudied area. Studies on Shīʿī aḥādīth on women usually centre on Fāṭimah al-Zahrāʾ, and little research explores pre-Islamic sacred female figures in Shīʿī aḥādīth. At the same time, there an urgent interest in Shīʿism as well as women in Islam, and a desire for new methods to be applied as well as new questions to be asked. This thesis will analyse Shīʿī aḥādīth about women in pre-Islamic sacred history who appear in the Qurʾān (focusing on Eve, Sārah, Hājar, Zulaykhā, Bilqīs, and the Virgin Mary), and apply the methodologies of ideological criticism and feminist hermeneutics (to be explained in Chapter 1) to explore the subtexts about the essential nature and role of women communicated through these narrations. In addition to exploring the roots of these ideas, it will compare them against the contemporary Shīʿī ideology of gender referred to as the ‘separate-but-equal’ ideology to explore how well this ideology corresponds to Shīʿī narrations. (What constitutes an ‘ideology’ will be explored in Chapter 1.) Rather than attempting to derive the ‘authentic’ teachings of the Prophet or the Imāms, this study will take a stance of inauthenticity with respect to narrations and treat narrations as socio-cultural artefacts representing the diversity of views and beliefs of the Shīʿī community. This distinguishes it from other works which either attempt to derive the ‘authentic’ teachings of the Prophet, or else which presume that all narrations equally reflect what the Prophet and Imāms actually said. This avoids the sticky question of which narrations are actually ‘true’ and allows them to be treated equally as cultural artifacts in negotiating a Shīʿī ideology of gender. Because this study focuses on sacred female figures shared with the Judaeo-Christian tradition, it allows for the exploration of how ideas about women from outside the Islamic tradition were integrated into the Shīʿī corpus through isrāʾīlīyāt, particularly through the intertextual synthesis of pre-Islamic material (such as the Bible) with post-Prophetic notions (such as normative paradigms of jurisprudential discourse). Two trends will emerge from these narrations. The first heavily reinforces patriarchal norms, such as women’s seclusion, the need for male authority, and male guardianship over women. These narrations reflect jurisprudential discourse and are largely found in two of the four most prominent books of Shīʿī ḥadīth, al-Kāfī and al-Faqīh. However, in the second, other narrations form a ‘counter-narrative’ in which women and men are portrayed as equals; these narrations invoke the imagery of esoteric Shīʿism and focus on the narrative of wilāyah (loyalty to and love of the Prophet, Fāṭimah al-Zahrāʾ, and the Shīʿī Imāms). Since both sets of narrations address uniquely Shīʿī concerns, such as the Imāmate, it can be deduced that these differing portrayals of women reflect competing concerns in the early and mediaeval Shīʿī communities with respect to determining Shīʿī identity and orthodoxy, and may also reflect the spread of and resistance to Arabization. Lastly, because many narrations attributed to Imam ʿAlī convey strikingly different views about women, the penultimate chapter will explore whether Imam ʿAlī was misogynistic through a comparison of two foundational Shīʿī texts: Kitāb Sulaym ibn Qays al-Hilālī (c. 100 AH) and Nahj al-Balāghah (c. 400 AH).

This paper presents a proposal of interdisciplinary approach between analytic psychology and law. From the basis of Carl G. Jung’s theoretical framework, we argue that the law is animated by psychic contents of archetypical nature, which shape the way in which humans relate with rules and authority and impact how we regulate as a society. The paper introduces myth interpretation as a means to comprehend that animic dimension of law and describes the concepts, techniques and cares that should guide the analysis. An interpretation of the fall of Adam and Eve is conducted as an example of the proposed interdisciplinary approach. The analysis leads us to argue that the psychic tendency to separate the inner self from the outer self, with the relegation of the former, derives in the domination of the masculine over the feminine and in a relationship characterized by distance and fear between humans and the authority. The regulation that arises from that context is one also marked by separation, fear of sanctions and is focused on the external behavior. The image of Jesus is thus presented as compensatory one since it tends to the reunion of the inner with the outer and of the feminine with the masculine, which derives in a regulation substantially different from that of the Old Testament. / En el presente artículo compartimos una propuesta de aproximación interdisciplinaria entre la psicología analítica y el derecho. Partiendo del marco teórico de Carl G. Jung, argumentamos que el derecho está animado por contenidos psíquicos de naturaleza arquetípica que moldean el modo en que el ser humano se vincula con la norma y la autoridad, marcando también anímicamente el modo en que nos regulamos como sociedad. En el trabajo se presenta la interpretación de mitos como herramienta para comprender dicha base anímica y se desarrollan los conceptos, técnicas y cuidados que deben guiar dicho análisis. Se presenta también un ejemplo de interpretación de la historia bíblica de la caída de Adán y Eva, relatada en el capítulo tercero del Génesis. Nuestra interpretación nos lleva a postular que la tendencia a separar la realidad interior de la exterior en el ser humano, con olvido de la primera, lleva a la dominación de lo masculino frente a lo femenino y al establecimiento de una relación de lejanía y temor entre el ser humano y la autoridad, fuente de la norma, lo que conduce a un modelo de regulación también lejana, centrada en el temor a la sanción y enfocada en el exterior de la conducta. Frente a esta lectura, la figura de Jesús será mostrada como compensatoria, en tanto busca la reunión de lo interior con lo exterior y de lo masculino con lo femenino, lo que da lugar a un modo de regulación sustancialmente diferente al del Antiguo Testamento.

This master’s thesis deals with the issue of mobile networks, protocol suite TCP/IP and routing protocols. It focuses in particular on the functioning of the transport part of the third and fourth generation mobile networks and intends to fnd the most suitable options for their emulation. The master’s thesis compares two selected emulation programs through a series of tests that were performed on a server created for these purposes. The main outputs are two detailed comprehensive scenarios and solutions have been developed. The frst scenario deals with the overall transport network confguration. The second scenario is based on the frst one and is focused on troubleshooting of particular issues in this network. Their implementation helps to analyze the behavior of the transport part of the mobile network.

No description available.

The represeantation of refugees in the mainstream media in Germany is a vital part in the understanding of the cultural impact of the refugee crisis. What is written in the German mainstream media is of special interest in times where the press is denounced as "lying press" or "press of lies." This analysis takes a look at the refugee discourse before, during and after the events of New Year's Eve in Cologne and draws conclusions on the impact the attacks on women had on the media discourse.

Si l’iconographie de l’Arbre sec ou arbre sans feuilles de la Légende du bois de la Croix a marqué le Moyen Age, paradoxalement, elle a peu attiré l’attention des historiens de l’art des XXe et XXIe siècles. Afin de combler cette lacune, nous proposons de développer ce thème dans notre thèse de doctorat. Nous montrons l’aspect formel que les images donnent à cet arbre, l’évolution de sa morphologie au fil des siècles, sa période d’apparition, celle de sa disparition, ainsi que le symbolisme qui lui est attaché, un symbolisme puissant, en relation avec la recherche du Salut. Les images qui illustrent un épisode crucial de la Légende du bois de la Croix — la vision de Seth, le fils d’Adam et Eve, avec l’arbre dénudé au centre du Paradis terrestre — constituent le pivot de notre recherche. Viennent se greffer d’autres images de l’Arbre sec, que nous appelons des « variantes » : la représentation de l’Arbre sec de la légende est transposée dans des contextes extra légendaires, tels ceux des romans d’Alexandre le Grand et du Lancelot-Graal, tel celui de la Divine Comédie, ceux du Devisement du monde de Marco Polo et des Voyages de Jean de Mandeville, ou encore du Pèlerinage de l’âme de Guillaume de Digulleville. L’Arbre sec est aussi dans le tableau de Petrus Christus, la Vierge à l’Arbre sec. Les images montrent l’Arbre sec dans un lieu intemporel, ou au Paradis, ou un lieu qui s’apparente au Paradis. Ce végétal est accompagné de la figure du Christ ou de personnages ou d’animaux le symbolisant. Dans tous les cas, le symbolisme fort et multiple de cet arbre sacré est conservé. L’Arbre sec est tout à la fois un rappel de l’arbre de la connaissance du bien et du mal, une évocation de l’arbre de la Croix et de l’arbre de vie. / The iconography of the Dry Tree or leafless tree is present through out the Middle Ages, but paradoxally, its study has only attracted few historians of art of the XXth and XXIst centuries. To compensate for this, we choose to devote our thesis to an extensive study of this tree. We examine the formal aspect given to the Dry Tree depicted in the images, the evolution of its physical form through the centuries, the period when it first appears and when it disappears, as well as the symbolism it carries, a powerful signification related to the quest for Salvation. The core of our research is the images that depict a crucial episod in the Legend of the wood of the Cross — Seth’s vision of the leafless tree of the Earthly Paradise. Other images of the Dry Tree, which we call « variations », are also examined : the theme of the Dry Tree taken from the Legend is transposed in extra-legendary contexts such as in the romances of Alexander the Great and the Lancelot-Graal, the Divine Comedy, the Million by Marco Polo and the Voyages by Jean de Mandeville, as well as the Pilgrimage of the soul by Guillaume de Digulleville. The Dry Tree is also depicted in Our Lady of the Dry Tree by Petrus Christus. The images show the Dry Tree in Paradise or in a place which symbolises Paradise, with Christ in the Dry tree, or figures or animals as symbols of Christ. The powerful and multiple symbolism is present : the Dry Tree is a reference to the tree of the knowledge, to the tree of the Cross and to the tree of life. Therefore, it is no surprise that the images show man in his quest for the Dry Tree, ie in the quest for God.