Made available in DSpace on 2016-08-03T12:20:50Z (GMT). No. of bitstreams: 1 Rogerio Costa Miglioni.pdf: 1133457 bytes, checksum: 3b0df0a792b8e97954ff83479d6ca8c7 (MD5) Previous issue date: 2009-03-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The intention of this research was to describe, and analyse death ceremonies and collective representations of Brazilian Catholics regarding death and mourning. Our objective was to study the symbolic systems developed in several societies, by starting from tribal cultures, then moving to Early Christianity from the period just before and after the institutionalisation process that gave birth to Catholic Christianity. We analysed both, the Catholic practices and representations related to death and dying, in the Middle Ages, as well as in the Modern and Contemporary times both in Europe and Brazil. We also aimed to depict death rites as a way to give meaning to life, and of keeping and reinforcing social cohesion found whenever death takes a member of a given society, thus provoking disruption and social unbalance. By doing this research on Catholic death rites we had as a goal to develop a little more the knowledge about a social and religious phenomenon that is seldom approached by researchers, the death of the believer, and Catholic groups death practices, their customs and speeches about the dead. Nevertheless, we cared to do all of these in the Brazilian scenery, a setting that grows more and more urban and secular.(AU) / Esta pesquisa procurou descrever, analisar e comparar as cerimônias mortuárias e as representações coletivas de católicos brasileiros da morte e do luto. Tivemos por objetivo estudar os sistemas simbólicos desenvolvidos em várias sociedades, começando com as culturas tribais, passando depois para o cristianismo dos primeiros séculos, antes da instauração do processo de institucionalização que originou o cristianismo católico e durante ele. Analisamos as práticas e representações católicas relacionadas com a morte e o morrer, na Idade Média, Idade Moderna e Contemporânea, tanto na Europa como no Brasil. O objetivo também foi apresentar os ritos mortuários como formas de dar sentido à vida, de reforçar e manter a coesão social, em que indivíduos vivem constantemente os desarranjos gerados pela presença da morte que arrebata um dos seus semelhantes provocando um desequilíbrio social. Ao realizar tal pesquisa sobre os rituais mortuários católicos, a meta consistiu em avançar um pouco mais no conhecimento sobre um fenômeno social religioso nem sempre abordado pelos pesquisadores: a morte do crente, as práticas mortuárias dos grupos católicos, seus hábitos e discurso quanto ao morto, dentro de um cenário brasileiro que se torna cada vez mais urbano e secularizado.(AU)

O objetivo geral desta dissertação é interpretar o corpo enquanto instância semântica no poema O Casamento do Céu e do Inferno (1790), do poeta inglês William Blake. Sustenta-se que uma semântica profunda de TMHH instaura uma forma ativa, integrada e franca de viver. Investigaremos a concepção de corpo presente do poema a fim de validar a hipótese de que é possível ter a vida transformada pela leitura de um texto altamente poético. Essa transformação, em última instância, é uma consequência da apropriação do texto pelo leitor. Tal apropriação se dá não só pela via mental, mas de fato pela incorporação do texto literário. O trabalho será realizado com base na hermenêutica de Paul Ricoeur, especialmente na dialética da conjectura e da validação. Já o livro de artista, ramo da arte conceitual do qual Blake é visto como um dos precursores, será apresentado enquanto performance e demonstração dos sentidos de corporeidade vislumbrados pela presente interpretação do poema. Em termos de embodiment, o papel da gravura em metal do processo criativo completo de Blake abre-nos possibilidades para um amplo horizonte de metáforas relacionadas às especificidades dessa técnica quando em articulação com o poema. / The general objective of this dissertation is to interpret the body as a semantic instance in the poem The Marriage of Heaven and Hell (1790), from English poet William Blake. It holds that the depth semantics of TMHH establishes an active, integrated, and franc way of living. We will investigate the conception of a present ‘body’ of the poem to validate the hypothesis that it is possible to have lives transformed by the reading of a highly poetic text. This transformation is ultimately a consequence of the appropriation of the text by the reader. Such appropriation is not only mental, but it takes place in the incorporation, or embodiment, of the literary text. The work will be based on Paul Ricoeur’s hermeneutics, especially the dialectics of guess and validation. The artist’s book, a field of conceptual art of which Blake is seen as precursor, will be presented as performance and demonstration of the senses of corporeality foreseen in this interpretation of the poem. In terms of embodiment, the role of engraving in Blake’s complete creative process opens to a wild horizon of metaphors concerning the specificities of this art in relation to the poem.

O objetivo geral desta dissertação é interpretar o corpo enquanto instância semântica no poema O Casamento do Céu e do Inferno (1790), do poeta inglês William Blake. Sustenta-se que uma semântica profunda de TMHH instaura uma forma ativa, integrada e franca de viver. Investigaremos a concepção de corpo presente do poema a fim de validar a hipótese de que é possível ter a vida transformada pela leitura de um texto altamente poético. Essa transformação, em última instância, é uma consequência da apropriação do texto pelo leitor. Tal apropriação se dá não só pela via mental, mas de fato pela incorporação do texto literário. O trabalho será realizado com base na hermenêutica de Paul Ricoeur, especialmente na dialética da conjectura e da validação. Já o livro de artista, ramo da arte conceitual do qual Blake é visto como um dos precursores, será apresentado enquanto performance e demonstração dos sentidos de corporeidade vislumbrados pela presente interpretação do poema. Em termos de embodiment, o papel da gravura em metal do processo criativo completo de Blake abre-nos possibilidades para um amplo horizonte de metáforas relacionadas às especificidades dessa técnica quando em articulação com o poema. / The general objective of this dissertation is to interpret the body as a semantic instance in the poem The Marriage of Heaven and Hell (1790), from English poet William Blake. It holds that the depth semantics of TMHH establishes an active, integrated, and franc way of living. We will investigate the conception of a present ‘body’ of the poem to validate the hypothesis that it is possible to have lives transformed by the reading of a highly poetic text. This transformation is ultimately a consequence of the appropriation of the text by the reader. Such appropriation is not only mental, but it takes place in the incorporation, or embodiment, of the literary text. The work will be based on Paul Ricoeur’s hermeneutics, especially the dialectics of guess and validation. The artist’s book, a field of conceptual art of which Blake is seen as precursor, will be presented as performance and demonstration of the senses of corporeality foreseen in this interpretation of the poem. In terms of embodiment, the role of engraving in Blake’s complete creative process opens to a wild horizon of metaphors concerning the specificities of this art in relation to the poem.

Made available in DSpace on 2014-08-20T14:24:47Z (GMT). No. of bitstreams: 1 Dissertacao Rafael Dias Ferreira.pdf: 1772615 bytes, checksum: fa2ff782d2f93b7889a2314a61401a72 (MD5) Previous issue date: 2013-03-14 / This master thesis aims to analyze narratological, stylistic, and discursive procedures adopted in the novel of the Amazonian writer Milton Hatoum: The Tree of the Seventh Heaven (1989). Its overall goal is to propose interpretation for articulatory aspects of dialogical/intertextual nature in contents and forms present in these books and, as specific activity, dealing with the repercussions by means of comparative readings, with regard to tendency in contemporary Brazilian literature, observed in exemplary cases such as Osman Lins and Raduan Nassar of utilization of elements, from domains of knowledge and belief, of Judeo-Christian and Islamic cultural background, explored through the core composed by its thematic and novelistic characters: immigrants of Lebanese origin. Peripherally, this study also aims, on the one hand, the discussion of technical and methodological implications concerning the referential developments for the author s compositional repertoire and, on the other hand, the survey of objects of the referentiality and the intersemioticity in the corpus of work, in accordance with the conciliatory proposal for the theories of intertextuality by Tiphaine Samoyault: the memory of literature. As mentioned in the following introduction, the division of contents conforms to the criteria, at first, of a revisionist movement towards encompass the classical theories of intertextuality. In a second step, it develops discussions related to the questioning raised by critics about the notions of referentiality, reference, and relation, as well as the intersection of semiotic codes conventionally insulated. Finally, the core of the project consists of a dialogical and intertextual approach of The Tree of the Seventh Heaven to other literary works. / Esta dissertação analisa os procedimentos narratológicos, estilísticos e discursivos adotados em um romance do escritor amazonense Milton Hatoum: Relato de um certo Oriente (1989). Seu objetivo de conjunto é o de propor interpretação para aspectos articulatórios de natureza dialógico-intertextual em conteúdos e formas presentes nesse livro, e, como atividade específica, tratar das repercussões por meio de leituras comparativas, tocantes à tendência na literatura brasileira contemporânea, observada em casos exemplares, como os de Osman Lins e de Raduan Nassar do aproveitamento de elementos, de domínios do conhecimento e da crença, de origens culturais judaico-cristãs e islâmicas, explorados através dos núcleos compostos por sua temática e seus personagens romanescos: imigrantes de origem libanesa. Perifericamente, este estudo visa ainda, por um lado, à discussão acerca das implicações técnicometodológicas concernentes a desenvolvimentos referenciais para o repertório composicional do autor e, por outro, ao levantamento de objetos da referencialidade e da intersemioticidade nas obras do corpus de trabalho, em acordo com a proposta conciliatória, para as teorias da intertextualidade, de Tiphaine Samoyault: a memória da literatura. Como referido na introdução, a seguir, a divisão dos conteúdos obedece aos critérios, primeiramente, de um movimento revisionista no sentido de abarcar as teorizações clássicas da intertextualidade. Em um segundo momento, desenvolve discussões ligadas à problematização levantada pela crítica especializada quanto às noções de referencialidade, referência e relação, assim como à intersecção de códigos semióticos convencionalmente isolados. Por fim, o núcleo do projeto consiste em uma aproximação dialógica e intertextual de Relato de um certo Oriente a outras obras literárias.

There is an ancient rabbinic apothegm which asserts that prophecy “ceased” after the last Biblical prophets, Haggai, Zachariah, and Malachi. After their deaths, a new phase of divine revelation was believed to have emerged through manifestations of a bat kol (lit. “Daughter of a voice”). This thesis examines the bat kol’s function within the contours of the Babylonian Talmud, primarily, employing philological, literary, and historical analyses. Moreover, it includes a review of parallels with Biblical and Second-Temple era, Apocalyptic works, so as to suggest possible origins. In addition, a sample of about ten stories are presented as representative of larger categories I consider best exhibit the bat kol’s purpose. The categories include: announcing an individual’s entry into the world to come, encomium and disdain towards individuals, matters related to Halacha (Jewish Law), and miscellaneous. As a result we discover how the rabbis employed the bat kol to address contemporary concerns.

The thesis defines legal status of Liechtenstein in the European Economic Area. It is divided into three consecutive chapters. The first chapter consists of two parts - general and economic characteristics of Liechtenstein. The general characteristic is based on the author's experience supported by scientific literature, while economic subchapter is based largely on statistical data. The second chapter focuses on the legal status of Liechtenstein and its position on international scene. The position is viewed from two perspectives, which affects it the most. First, from the perspective of participation in selected international organizations and second, the influence of close relationship with Switzerland. The last chapter analyses international litigation to which Liechtenstein is a party. The aim of this thesis is to define the legal relations of Liechtenstein, which forms its position, using the methods of analysis.

De nombreux critiques avaient détecté chez Jean Giono (1895-1970) la présence d’un vide affectant non seulement le sujet de son oeuvre mais aussi sa poétique. L’ennui, cette « brusque et radicale conscience du rien », le mensonge qui « reconstruit un monde au-dessus de l’abîme » (R. Ricatte) ou bien encore le « travail des sensations » vécu comme un « barrage contre le vide » (S. Vignes) sont des effets parmi d’autres d’un manque et d’une absence déterminante. Le vide explique aussi l’anonymat et les lacunes biographiques de ses personnages, les nombreux blancs et silences, les ellipses narratives et sémantiques, les césures et les discontinuités narratives... Il ne suffisait cependant pas de reconnaître l’existence d’un vide, d’un manque originaire dans cette oeuvre. Il fallait encore connaître sa nature. De quoi le monde gionien est-il vide ? La réponse se trouve paradoxalement dans ce que l’auteur s’est efforcé de ne jamais décrire ou plutôt dans ce qu’il a toujours décrit « en blanc » (J. Giono). En nous penchant sur ce qui, dans ses romans, était toujours décrit sans l’être, nous nous sommes aperçus que rien ne manquait davantage que Dieu. Dieu brille par son absence dans son oeuvre. Il est celui qu’il se refuse à décrire positivement car il est pour lui « le néant absolu », « l’absence de tout » (J. Giono). La théologie imprimée dans ses romans est une ‘‘théologie blanche’’. Sa vision du monde et de l’homme est toujours, et très délibérément, sans dieu/Dieu. Comme le dit le narrateur du Déserteur à propos des peintures pieuses et des ex-voto de son personnage : « il n’y a pas de dieu dans tout ça ». En analysant l’oeuvre gionienne à la lumière de cette absence, quatre ensembles de romans se sont dégagés selon un ordre qui dépasse les distinctions classiques établies, d’une part, entre une première et une seconde « manières », d’autre part, entre le « Cycle du Hussard » et les « Chroniques romanesques ». Ces quatre ensembles romanesques sont autant d’itinéraires de l’homme sans dieu/Dieu. Nous avons distingué celui de « l’humanisme païen », celui de l’héroïsme sublime, celui tragique voire tragi-comique des hommes condamnés à la chute, celui enfin des « âmes fortes » qui veulent se faire dieux en l’absence de dieu/Dieu. L’immense « chasse au bonheur » dont l’oeuvre romanesque de Giono est l’expression a rapport avec le ciel, un ciel sans dieu/Dieu. / Many critics spotted in Giono’s novels (1895-1970) the presence of a kind of emptiness which affected both his main topic and his poetry. Boredom « this sudden and drastic consciousness of nothingness », lie « which rebuilts a world on top of despair » (R. Ricatte) or « the work of sensations » (S. Vignes) felt as « a barrier against nothingness » reflect a void and a defining absence among other effects. This emptiness gives an explanation to his characters’ anonymity and gaps in biography, to the many gaps and silences, narrative and semantic ellipses, narrative caesura and discontinuities. Acknowledging the existence of a void, of an original emptiness, was not enough, its specific nature must be defined. What is missing in Giono’s world ? What is his world made of ? Paradoxically speaking the answer lies in what the author struggled not to describe or more precisely in what he described « en blanc » (J. Giono). Analysing what is described in his novels without really being described, I have realized that the One who is missing is God. God is conspicuous by his absence in his works. He is the one he refuses to describe positively as he is « the absolute absence ». The theology expressed is a ‘‘white theology’’. His view of the world and his vision of mankind, are always and in their tiniest details a vision without God. As the narrator of Le Déserteur puts it when he alludes to his main character’s votive offerings : « God is absent from all this. » Studying Giono’s works in the light of this absence, four collections of novels emerged according to an uncommon classification : on the one hand between a first and a second « manner » and on the other hand between « le Cycle du Hussard » and « les Chroniques romanesques ». These four collections of novels are routes taken by mankind without God. I have set apart : « a pagan humanist » route, a « sublime heroic » route, the tragic if ever tragicomic route of mankind doomed to their downfall, the last one the route of « strong souls » who strive to turn gods without God. The huge « quest for happiness » which is at the heart of Giono’s novels is related to heaven but a heaven without God.

This thesis examines a problem regarding the separation of post-mortem persons into ‘heaven’ and ‘hell’, taken to mean two eternal and inescapable eschatological destinations for human persons: the former being an ultimate satisfaction of sorts, the latter being characterized by eternal misery. The question that is contemplated is whether the saved in heaven can experience their heavenly existence as genuinely blissful, whilst at the same time being aware of the sufferings of the lost – especially if the lost consists of one or more persons whom they love dearly, such as a close family member. Arguments given by Christian philosophers Thomas Talbott and William Lane Craig are analysed in order to establish whether the problem, referred to as ‘the problem of eschatological separation’, gives us reason to abandon the idea of an eternal hell and opt, instead, to endorse the doctrine of universal reconciliation. Talbott makes the claim that an eternal hell, considering the problem of eschatological separation, is a logical impossibility. Craig, on the other hand, puts forth two objections that he believes proves that hell is a logical possibility. Both of Craig’s objections are shown to be unsound, and the problem of eschatological separation is thus considered to be sufficient reason for rejecting the possibility of an eternal hell.

Topic This study examines the hymnic pericopes found at Revelation 4.8-11; 5.9-14; 7.10- 12; 11.15-18; 12.10-12; 15.3,4 and 19.1-8 in light of the cosmic conflict theme. It considers that this theme is a major contributor to the development of Revelation’s plot, and thus the hymnic sections are informed by, and inform the understanding of the controversy. Purpose Recognizing that the majority of critical studies give interpretative primacy to the social and political realities that existed in the Roman Empire at the time of Revelation’s composition, there is need for an examination of the storyline from the perspective of issues that are clearly of narratival importance. This study argues that the cosmic conflict is at the center of the book’s concerns, and attempts to determine the function of the hymns in relation to the ongoing controversy. Previous examinations of the hymnic sections have either considered them to be a response and/or parody to Roman liturgy, examples of God’s unquestioned sovereignty, or expressions of thematic overtones found throughout the book. While all these approaches make a contribution to a greater understanding of the hymns, the relation of the hymns to the ever-present conflict theme has not been explored. This study allows the hymnic sections to engage with the larger narrative issue as to who is truly the rightful sovereign of the universe. Conclusion This study found that a close examination of the text confirms that the cosmic conflict is the major motif in the narrative, and that it does not simply serve as a metaphor for political realities. It also concluded that the temple/throne room imagery found throughout the storyline, should have a controlling influence upon interpretation. This setting provides the backdrop for understanding the origins and issues of the controversy. Another conclusion of the study is that the only way for the controversy to be resolved is for God to reveal Himself in such a manner that the truth about Him is manifest. Finally, it was seen that the hymns do provide commentary on the conflict, by acclaiming God’s goodness and right to rule, despite the undertones of Satan’s accusations. / New Testament / D. Th. (New Testament)

Based on the analysis to select the function stews because it fully exploits the potential of the place. The primary purpose is the cultivation of cannabis with subsequent production and consumption. It is basically a winery, but transferred to cannabis. Therefore, production and tasting. And fully respect the place I come from him. All remnants of buildings to their benefit and give them functional. I refer to the agricultural activities associated with ANNAHOF.