Thèse--Ethnologie--Paris--Université René Descartes, 1979. / Bibliogr., 4 p.

Pī. Eca. Ḍī.--Hindī--Waltair, Āndhra Viśvavidyālaya. / Le dos de la page de titre porte la mention : "Prasad ke kavyon ka loktativik adhyayan. Bibliogr. p. 174-176.

Texte remanié de: Tesis doct.--Universidad de Sevilla, 1988.

Diss.--Freie Universität--Berlin, 1990. / Bibliogr. p. 432-456.

This thesis examines the ways in which masculinity is constructed and performed by commercial fisherman poets. Focusing on the writings of cisgender male poets, this thesis examines the ways in which competence and credibility are developed as the highest standards of masculinity, how discussions of the environment contribute to the development of masculinities, and how the relationships depicted in fisherpoetry mirror real-world relationships and develop standards of multiple masculinities.

Informe de Seminario para optar al grado de Licenciado en Historia

Pretendo, entonces, mostrar a continuación el resultado de reflexiones que con gusto he impuesto en mi razonamiento sobre la relación entre música/sociedad/cultura, a partir de una ocasión imposible de suceder sin música; y, al mismo tiempo sobre lo que he llamado ‘instancia musical’, es decir la parte del acto de trillar en la que se hace y usa una música que es capaz de actuar, que tiene tal capacidad porque es inseparable de las estructuras sociales y culturales. Me he propuesto el entendimiento de la relación entre una música y las dinámicas sociales en las que ella era ejecutada, pasando, no obstante, por la consideración de ámbitos más amplios que le dan sentido a tal relación.

This work is an investigation into the background of a phemomenon found in the field of folklore, namely, public shame. In particular, the Spanish Inquisition provides the context for an enquiry into why a people accepted the humiliation of its fellows in the name of religion. The main quarry of the Inquisition were apostate Jews, who, after forcible conversions to Christianity, were spied on and betrayed whenever the slightest deviation from Catholic dogma was perceived. Contrition, expressed by public exhibition in an auto-de-fe or by burning, was held to be Penance. The enquiry shows the development of public penance from the appearance of Jewish monotheism through to the first centuries of Christianity (Chapter II). In the Christian era, penance was a voluntary act of self-humiliation, but later innovations from the Celtic Church modified its stringencies. Meanwhile the Spanish Church maintained the older, harsher forms (Chapter III). The Papal Inquisition of 1232 insisted on public penance by the wearing of "crosses", and its whole machinery of inquisition passed to the Spanish Inquisition (Chapter IV). Then, the Jewish persecution by the Spanish Church from 303 to 1480 is traced. Forcible conversion of Jews in 1391 split Spanish society into Old Christians and New, from which grew the problem of heresy (apostasy). By 1478 converso Jews held important positions in Church and State (Appendix A), and the Church thought it saw, through apostates, a threat to both the purity of the Faith and to Spanish sovereignty. Reacting to heresy, the Inquisition carried its penalties to such extremes as to suggest that its chief motivation was fear (Chapter V) . Chapters VI and VII set out the extent of the public humiliation of accused persons: Chapter VIII deals with the strong correspondence between the components of a "craze" such as the witchhunts of sixteenth and seventeenth century Europe, and the principal elements of the Inquisition. The origins of both seem to lie in the realm of imaginary fear and hatred.

Dissertation / No abstract available / African Languages / Thesis (M.A. (African Languages))

<p> This production dissertation examines the role of the creative process in balancing intellect and intuition in the individual; and the potential of collaborative creativity to support the integration of intuition and intellect on a social level. The <i>mythos-sphere</i> is given as a metaphor to conceptualize the human experience, which extends from the physical, but always includes much more than one knows: inner and outer, conscious and unconscious, physical and imaginal altogether comprise this sphere of influence. </p><p> The mythic imagination aids social cohesion when there is sufficient shared experience. This research addresses a disconnect between inner experience and collective experience. This gap might be bridged by a social context that encourages awareness of our immersion in a mythic environment, built upon common ground. </p><p> The third is considered as the space between inner-outer and self-other, that allows negotiation without loss of self, and from which creative solutions emerge. A discussion of the third examines Winnicott&rsquo;s transitional space and Jung&rsquo;s archetypal theory. The space of the third is &ldquo;expanded&rdquo; by admitting the unknown and the ambiguous as real and meaningful, but &ldquo;collapsed&rdquo; by reductionist thinking. Participation, or being present and phenomenologically engaged, relaxes the tension wrought by protracted rational focus. Metaphor is proposed as the essential bridge that mediates the &ldquo;in-between&rdquo; area of the third. </p><p> Giving physical form to images emerging from the unconscious is considered as &ldquo;applied metaphor.&rdquo; Connecting inner with outer, known with unknown, and rational with non-rational, the creative process generates meaning for the individual. A collaborative creative process is therefore suggested as a way to develop shared meaning. </p><p> Concluding that creative collaboration encourages communication and group cohesion, a method is proposed. The production presents the application of this method via a three-day collaborative art-and-story making event, documented as an interactive digital magazine. </p><p> Keywords: expressive arts, collaboration, creativity, metaphor, participation, narrative, myth, imaginal, archetypal.</p><p>