Thesis (DLitt (Ancient Studies. Biblical Languages))--University of Stellenbosch, 2007. / Each language has some means or system of referring to participants. This system of reference includes a participant’s initial introduction, continuing reference to the participant, as well as reintroduction after some period of absence. A number of morphological, syntactic and pragmatic issues impinge upon the kinds of encoding used to refer to participants in various contexts. The primary concern of this study is to provide a cross-linguistic, discourse-functional description of the encoding of participants in Biblical Hebrew narrative. Our description is based on the analysis of a preliminary test corpus of Exod 1-12, which is then applied to our dissertation corpus of Gen 12-25. In order to narrow the scope of the project, the data considered in this dissertation will be limited to the corpora of Exod 1-12 and Gen 12-25. It will not consider embedded reported speeches, but instead focuses exclusively and exhaustively on the narrative proper of these two corpora. Dooley and Levinsohn (2001:112) have identified three basic linguistic functions a participant reference system must be capable of accomplishing: • Semantic: “identify the referents unambiguously, distinguishing them from other possible ones”. In other words, the reader must be able to track ‘who did what to whom’, • Processing: “overcome disruptions in the flow of information”, • Discourse-pragmatic: “signal the activation status and prominence of the referents or the actions they perform”. We propose that these three functions are not discrete categories, but represent a hierarchical entailment scheme. In other words, overencoding a participant to accomplish the processing function at the same time accomplishes a semantic function of identifying the participant. The study begins by providing a description of the default encoding based on the semantic and cognitive constraints present in various discourse contexts. Our methodology is to develop a set of default encoding principles based on the semantic function of participant reference which can account for as much of the attested data as possible. These default principles are also used to identify pragmatically-motivated departures from the default norms. The non-default encoding is construed as explicitly marking the presence of some linguistic feature. The non-default encoding data are then grouped based on the pragmatic effects they achieve, and are described in light of attested cross-linguistic principles. We claim that the processing function of participant reference is accomplished in Biblical Hebrew through the redundant relexicalization of agents. These redundant NPs have the pragmatic effect of segmenting the discourse into distinct developments. Next we describe the pragmatic use of referring expressions as accomplishing the discourse-pragmatic function of thematic highlighting. Finally, we describe participant encoding which exceeds that necessary for the processing function as accomplishing a second discourse-pragmatic function of cataphorically highlighting a following speech or event. The above-mentioned model is ultimately applied to Gen 27 to demonstrate its explanatory value for exposition of Biblical Hebrew narrative.

Le courant des musiques industrielles, apparu au milieu des années 1970 et loin de s’en tenir à un phénomène d’expérimentation sonore, a produit en quelques années une culture visuelle globale croisant différents médias (graphisme, film, performance, vidéo), dans un dialogue étroit avec l’héritage de la modernité et sous l’emprise croissante des technologies. Ce phénomène britannique amorce un mouvement qui connaît un grand développement en Europe, aux États-Unis et au Japon durant les années 1980. Les expérimentations sonores déployées par les groupes industriels – élaboration de synthétiseurs, manipulation et transformation de sons enregistrés issus de bandes audio, recyclées ou conçues par les artistes – viennent enrichir un éventail de productions visuelles radicales, prenant ses sources dans les utopies modernistes de la première partie du XXe siècle. Cette thèse entend inscrire le projet visuel de la culture industrielle dans une histoire générale de l’art en analysant les différentes thématiques abordées par les principaux acteurs du mouvement. Dans la première partie, l’étude du contexte postindustriel de l’époque révèle combien ces performers intègrent à leurs œuvres une esthétique de la destruction par une appropriation des friches industrielles et urbaines comme nouveaux lieux de création. La deuxième partie envisage les « tactiques de choc » du genre industriel par le prisme du contrôle mental, de la criminalité, du totalitarisme et de la psychiatrie, avant de traiter d’un féminisme pro-sexe radical. Ces enjeux transitent vers un fort intérêt pour l’occultisme et le transhumanisme, faisant l’objet d’une troisième partie consacrée à la façon dont les artistes modifient leurs corps par des rituels magiques contemporains et par des expériences physiques confrontées aux nouvelles technologies qui renouvellent les protocoles habituels du domaine de la performance. / Industrial musics appeared in the mid-1970s, and far from sticking to a phenomenon of sound experimentation, produced in a few years a global visual culture operating at the intersection of a multitude of media (graphics, film, performance, video), in a close dialogue with the legacy of modernity and under the growing influence of technology. This British movement had a great development in Europe, the United States and Japan during the 1980s. The sound experiments deployed by the industrial bands – designing synthesizers, manipulate and transform sounds recorded from audio tapes, recycled or conceived by the artists – were supplemented by a rich array of radical visual productions, taking its sources in the modernist utopias of the first part of the 20th century. This thesis aims to include the visual project of industrial culture in a general history of contemporary art by analyzing the different topics tackled by the main actors of the movement. In the first part, the study of the postindustrial context of this period reveals how these performers integrate in their works an aesthetic of destruction through industrial and urban wastelands used as new places of creation. The second part examines the “shock tactics” of industrial music through mind control, crime, totalitarianism and psychiatry, before dealing with radical sex-positive feminism. These issues move towards a strong interest in occultism and transhumanism, studied in the third part, which is devoted to the body modifications of these artists through contemporary magic rituals and physical experiments confronted with new technologies that renew the usual protocols in performance art.

No description available.

Master of Science / Department of Agronomy / Michel D. Ransom / Many soils in southeastern Kansas are characterized by high clay contents and high shrink-swell potentials. Their vertic properties and claypan characteristics cause soil management to be difficult and pose problems for agricultural, environmental, and engineering uses. Thus, collecting more information and improving our understanding of these soils is an important step towards bettering our soil management techniques. The objectives of this study were to examine the morphology, processes of soil genesis, clay mineralogy, micromorphology, and potassium fixation potential of the soils of interest and how these characteristics varied between and within individual pedons. Ten pedons expected to represent varying degrees of vertic expression were selected. Methods included the use of field descriptions, routine soil laboratory characterization, micromorphological investigations, the determination of clay mineralogy by X-ray diffraction, and the measurement of potassium fixation potential. Field morphology reflected the geologic parent materials available in the region. The fine sediments that compose these clayey soils are primarily provided by the Pennsylvanian and Permian shales and limestones underlying this region and the Flint Hills to the west. Dominant pedogenic processes currently at work are clay illuviation and shrink-swell processes. Silty, non-expansive surface soils at all but sites 6 and 7 are thought to buffer the rapid wetting and drying cycles needed for maximum vertic expression. Four of the soils were dominated by smectitic minerals in the clay fraction while the rest exhibited a more mixed mineralogy. Disruption of illuvial clay features by shrink-swell movement was evident in thin section. Striated b-fabrics dominated the micromorphology except in non-expansive surface soils. K fixation of the soil surface was found to be negative in all soils, thus K fixation potential is considered very low. In subsurface horizons, K fixation generally increased with increasing vermiculite content. In addition to limited quantities of K-fixing clay minerals, naturally high K levels limited the amount of K fixation in this study. The information presented can be used to improve our understanding and management of high clay, vertic and claypan soils in southeastern Kansas.

This thesis explores the intertextual nature of Irenaeus' reading of Genesis 1-3. In this study, we assume a different mode of investigation than previous works on Irenaeus' use of scripture. Drawing from contemporary discussions on intertextuality in Fishbane, Boyrin, Hays, and Young, we challenge a tradition of investigation into Irenaeus' exegesis that has marginalized the significance of scriptural networking inherent to his hermeneutic. This perspective is evident in the previous works on Irenaeus' reading of Genesis in Orbe, Jacobsen, Kannengiesser, Steenberg, and Holsinger-Friesen. This thesis, on the other hand, brings together an appreciation for Irenaeus' hermeneutic with respect to his exegesis of Gen 1-3. We show that in every instance Irenaeus interprets Gen 1-3, not in isolation, but in correlation with other texts by means of a variety of intertextual reading strategies that shape his theological polemic. In chapter one we investigate the nature of Irenaeus' hermeneutical orientation based upon studies of patristic exegesis and his own descriptions of the exegetical task. We show that Irenaeus purposes to interconnect texts in his refutation and exegesis and we formulate a methodology that appreciates his reading of Gen 1-3 within this theological networking of texts. In chapters 2-6, we provide a literary analysis of the echoes, allusions, and citations of Gen 1-3 in each book of Adversus Haereses. In each case we isolate the allusions to Gen 1-3 and the corresponding interrelated texts that form a hermeneutically symbiotic relationship with Gen 1-3. We show how these textual relationships yield a more comprehensive appreciation for the meaning and function of Gen 1-3 in Irenaeus. In chapter 7 we conclude with a summary and cumulative evaluation of the intertextual relationships fashioned with Gen 1-3 and the reading strategies that guide his intertextual use of Gen 1-3. In doing so, this thesis exposes the intricacies of Irenaeus' theological and intertextual reading of Gen 1-3 and the various ways that Irenaeus harmonizes scripture.

Thesis (DTh (Old and New Testament))--University of Stellenbosch, 2006. / The interaction between scholarly and non-scholarly readings of Genesis 11:1-9 in the South African context refers to the transformation in biblical hermeneutics from the world of the text to the world of the reader and the post-colonial critique of Western essentialist scholarly modes of reading the Bible. This study explored three essentialist modes of scholarly reading from the South African context that perpetuated imperialism and colonialism: Anglocentric -, Afrikaner - and Anti-colonial modes of reading. Non-scholarly readings of Bible Study Groups, African mythology and artworks of Azaria Mbatha view the text as subject. Non-scholarly readings, from the margin of the South African context, informed by a holistic and interconnected cultural discourse, deconstruct essentialism and constructs responsible readings of the Bible. These readings deconstruct centralistic essentialist discourses and construct a liminal space for new creative and responsible readings of the Bible in the South African context that stimulates healing. The ubuntu reading of Genesis 11:1-9 by Desmond Tutu reflects this. His reading incorporates the African connected reading praxis of non-scholarly readings, from the margin of the 'South' African context, and makes use of scholarly discourse. Tutu's mode of reading leans on Western humanism and ecclesiology that does not follow a critical-holistic cultural discourse. The African Independent Church developed as a reaction to Western ecclesial structures. In the African Independent Church the concept, Moya or Spirit functions as a reading matrix that deconstructs the discriminatory and exclusive forces of essentialist disconnection. The study proposes that a Moya reading is an open-critical and inclusive theological-ethical concept. The interpretative thrust is decolonial, deconstructing essentialism and creating a liminal space, for new responsible readings of Genesis 11:1-9. A Moya reading is holistic and connects people to the land, a perspective that is foreign to essentialist scholarly readings of Genesis 11:1-9. This study contributes to the hermeneutical debate in South Africa, Africa and the global context by emphasising the importance of a continued interaction between scholarly and non-scholarly readings of the Bible from the margin.

Στην συγκεκριμένη διατριβή διερευνήθηκαν οι συνθήκες γένεσης του μικροκρυσταλλικού μαγνησίτη στις περιοχές Βάβδου και Γερακινής-Ορμύλιας της Χαλκιδικής. Η πετρογραφική μελέτη του μαγνησίτη και των ξενιστών του αποκάλυψαν δύο δομές δημιουργίας του μαγνησίτη: in situ εξαλλοίωση μέσα σε μανδυακά πετρώματα ξενιστές και ex situ αποθέσεις μέσα στους μανδυακούς σχηματισμούς. Επιπλέον, πιθανά υπάρχει στενή σχέση μεταξύ της κοιτασματογένεσης του μαγνησίτη και των περιβαλλόντων πυριτιωμένων πετρωμάτων (λιστβανίτες). Επίσης, οι γεωχημικές παρατηρήσεις συγχρόνως με τις ορυκτοχημικές αναλύσεις, δίνουν νέα στοιχεία όσον αφορά στην γένεση του κοιτάσματος. Παράλληλα, έγινε εργαστηριακή παραγωγή καυστικής μαγνησίας και παράχθησαν, με προσθήκη αυτής συγχρόνως με χρήση ερυθράς ιλύς και τέφρας πυθμένα, νέα κεραμικά υψηλού πορώδους. Τα αποτελέσματα υπήρξαν ιδιαίτερα ικανοποιητικά, καθώς παρατηρήθηκε ότι με προσθήκη μαγνησίας σε μικρό ποσοστό βελτιώνονται οι φυσικομηχανικές ιδιότητές τους. Κεραμικά υψηλού πορώδους είναι κατάλληλα για χρήση σε φίλτρα και σε απορροφητικά υλικά. Τέλος, προτείνεται νέος τρόπος αξιοποίησης στείρων υλικών μαγνησίτη από τις εξορυκτικές διεργασίες, καθώς αποδεικνύεται ότι ο μαγνησίτης έχει πολύ θετικά αποτελέσματα με προσθήκη του σε οξινισμένα ύδατα, δίνοντας νέες προοπτικές αξιοποίησης του σε περιβαλλοντικές εφαρμογές. Το πειραματικό σκέλος της δοκιμής σε οξινισμένα νερά, πραγματοποιήθηκε σε σύγκριση με πετρώματα που χρησιμοποιούνται για την αντιμετώπιση όξινων απορροών μεταλλείων. / In the present thesis, the microcrystalline magnesite from Central Chalkidiki (Vavdos and Gerakini areas) are investigated in order to clarify the conditions of its genesis. Petrographic study of the magnesite and its host rocks revealed two types of formation: a) in situ alteration in the mantle host rocks, due to metasomatic process, and b) ex situ deposit within mantle formations, related to hydrothermal fluids. Furthermore, petrographic observations suggest a close association between the genesis of the microcrystalline magnesite with the surrounding high silica-carbonate rocks, also termed as listwaenites. Moreover, scanning electron microscopy (S.E.M.) observations along with geochemical analysis provide new evidence for the formation of the magnesite. Caustic magnesia produced in the laboratory was mixed with red mud and bottom ash from industrial wastes, in order to make new, high porosity ceramics. It was observed that the addition of small amounts of caustic magnesia improved the physicomechanical properties of the briquettes. High porosity ceramics are suitable for their use in filters and absorbent materials for environmental applications. Finally, a new way for utilizing waste materials from magnesite mining processes in the disposal of acidified waters is proposed. Addition of magnesite improved the alkalinity of high acidic waters, offering new perspectives for environmental applications. The experimental results from magnesite were compared with similar results from other rocks used to treat acid mine drainage.

Exactly a hundred years after the publication of Lutwin's Eva und Adam for the first time, this study hopes to revive interest in a work which can be regarded as part of an important European literary tradition: the translation into the vernacular of the Latin apocryphal account of the postlapsarian lives of Adam and Eve. In view of this a translation into English of the Middle High German text has been included, in order to assist in the comparison of the various versions of the legends in the vernacular. In recent years translations have been made of Old Irish and Old French versions but not of any of the Middle High German versions. Of these Lutwin's poem is the most extensive and arguably the most interesting. A late copy of the work is all that has come down to us, but the mid-fifteenth century Codex Vindob.2980 contains twenty-nine illustrations which occupy a virtually unique place within Adam and Eve iconography and need no justification for their inclusion in this study.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Les processus de la mise en scène reposent nécessairement sur une réalité humaine complexe, faite de dialogues et de rapports de force en constante redéfinition. Afin de les théoriser, plusieurs travaux ont institué en corpus les documents produits en cours de réunion ou de répétition, pour leur appliquer les méthodes issues de la génétique des textes. Or le transfert s’avère problématique : vestiges lacunaires, ces supports ne sauraient témoigner à eux seuls de la vie organique et polyphonique de la mise en scène en gestation. Une première solution consiste à opter pour une approche radicalement intermédiale des archives d’un spectacle : dans la mesure où la mise en scène fait interagir plusieurs disciplines artistiques, pourquoi ne pas la penser en confrontant activement les différents media générés lors de son élaboration ? Complémentaire de la première, une seconde proposition suppose que le chercheur s’implique dans une observation in vivo de réunions et de répétitions afin de disposer d’une matière plus complète. À cette clarification épistémologique succède un essai de théorisation des processus de la création scénique. Il apparaît tout d’abord que l’espace de travail est aussi bien un contenant physique de la recherche des artistes qu’un catalyseur : c’est en se l’appropriant à plusieurs qu’un groupe de collaborateurs donne corps à la mise en scène. L’espace de création révèle par là même une dimension polyphonique que l’on retrouve sur le plan du temps : dans la mesure où il engage un ensemble d’artistes, un processus ne possède pas de linéarité chronologique homogène ; il se compose d’une multitude de temporalités propres à chacun des répétants, qu’il s’agit de faire converger pour élaborer un spectacle commun à tous. Les processus de la mise en scène se caractérisent ainsi par leur dimension fondamentalement sociale. Réunie dans un espace-temps donné, la petite société formée autour du metteur obéit à un mode de création dialogique, où les propositions des uns et des autres s’agrègent pour former un discours foisonnant dont la force et l’unité sont garanties par une instance surplombante. / A complex human reality, based on dialogues as well as power relations which are permanently being redefined, is at the heart of the process of performance creation. So as to theorize such processes, several studies have been building a corpus compiling the documents which are produced during meetings or rehearsals. However, such a transfer has proven questionable : as it is made of incomplete traces, such material is necessarily too incomplete to bespeak of the organic and polyphonic life of a performance in gestation. A first solution is to elect a decidedly intermedial approach of a performance’s archives : since various artistic disciplines interact in the process of a performance’s production, one may analyze it by actively comparing and contrasting the different media which are generated during its elaboration. As a complement to the first proposal, a second approach will lead the researcher to get involved into an in vivo observation of meetings and rehearsals so as to have at his disposal a more comprehensive research material. This epistemological clarification paves the way for an attempt to theorize the processes of stage creation. First, it appears that the stage or work space is as much of a physical receptacle for the artists’ research as it is a catalyst : it is in the course of getting to own this space collectively that a group of collaborators gives substance to the production. The creative space thus reveals a polyphonic dimension which is also true regarding time : since it involves an ensemble of artists, a creative process has no uniform chronological linearity ; it comprises a whole array of relations to time which are specific to each of the participants, and one has to bring these temporalities together to give birth to a performance that belongs to all. There is therefore a fundamentally social dimension to any staging process. As it is gathered in a given space and time, the small society which is formed around the stage director has to follow a creative process based on dialogue, where the suggestions of the different individuals coalesce to produce a prolific discourse whose strength and unity are guaranteed by the presence of the director.