Thesis (M.Phil.) - University of St Andrews, June 2009.

271f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-03-20T15:18:43Z No. of bitstreams: 1 Adelice%20Santos%20Dissertacao.pdf: 6907667 bytes, checksum: 7e909d4b5278c922975c35e64fc2602f (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-23T14:41:18Z (GMT) No. of bitstreams: 1 Adelice%20Santos%20Dissertacao.pdf: 6907667 bytes, checksum: 7e909d4b5278c922975c35e64fc2602f (MD5) / Made available in DSpace on 2013-03-23T14:41:18Z (GMT). No. of bitstreams: 1 Adelice%20Santos%20Dissertacao.pdf: 6907667 bytes, checksum: 7e909d4b5278c922975c35e64fc2602f (MD5) Previous issue date: 2010 / Kali, a senhora da dança-Uma construção dramatúrgica a partir do Yoga tem como resultado um monólogo teatral que utiliza elementos psicofísicos e míticos da cultura hindu e mais especificamente do Yoga como componentes disparadores da criação literária no processo de uma construção dramatúrgica. Kali é uma das principais divindades do Hinduísmo, uma das consortes de Siva, que dentre suas diversas manifestações, apresenta-se como Siva-Nataraja, o Senhor dos dançarinos e dos atores. Ele também representa o Senhor arqui-yoguin, remetendo-o, na tradição mítica, à origem do Yoga. Na linhagemdoTantra-Yoga, Siva é a consciência e Kali é a energia. Juntos, em perfeita harmonia, são os responsáveis pela dança cósmica do homem no mundo. O monólogo teatral, utilizando-se de várias vozes que expressam o "Si" da personagem Kali, reconstrói o seu mito, tornando-a Senhora da dança , numa metáfora clara que alude diretamente aos elementos coreográficos executados em práticas arcaicas do Yoga e a todo referencial narrativo e iconográfico que envolve o mito. Fazendo uso do estilo dramatúrgico do Drama Lírico; exercitando o laboratório prático e o estudo sistemático dos elementos do Yoga; e abordando o percurso das escrituras sagradas, a partir do exame das obras clássicas e de importantes indólogos como Mircea Eliade, Heinrich Zimmer e Jonh Woodroffe, a pesquisa traz como encenação, a feitura do texto dramatúrgico Kali, a senhora da dança e no decorrer da dissertação são apresentadas as fundamentações de todo processo criativo. / Salvador

Orientador: Marilia Vieira Soares / Acompanha 1 DVD-ROM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T23:14:35Z (GMT). No. of bitstreams: 1 Salvador_GabrielaDiDonato_M.pdf: 7209946 bytes, checksum: b01da16c64aa04be3c9377484d89dfb8 (MD5) Previous issue date: 2009 / Resumo:A presente dissertação trata do processo de criação e construção do corpo cênico em dança, inspirado no mito da Deusa Kali - deusa feminina pertencente ao Hinduísmo, considerada uma das representações da natureza vital da existência do ser humano, a quem são atribuídas a destruição e a recriação do universo através de seu poder de transformação. Abordaremos a relação entre tais aspectos da deusa presentes no inconsciente coletivo e ressaltaremos o aspecto feminino figurado no arquétipo da "Grande Mãe", por ela representado. Teoricamente, apresentaremos a reflexão sobre as relações entre inconsciente, estados alterados de consciência e a preparação do corpo cênico em dança, segundo os pressupostos básicos da teoria de Carl Gustav Jung - psiquiatra suíço, fundador da psicologia analítica - e seus desdobramentos segundo Neumann - psicólogo, aluno e seguidor de Jung. Como suporte prático para a construção cênica, foi utilizada a Técnica Energética, sistematizada pela Profa. Dra. Marília Vieira Soares do Instituto de Artes da Unicamp. / Abstract: This dissertation deals with the process of creation and construction of the scenic body in dance inspired by the myth of the Kali Goddess - the female Goddess that belongs to Hinduism, considered one of the representations of the vital nature of human existence, to whom is assigned the destruction and recreation of the universe through its power of transformation. This work addresses the relationship between these aspects of the Goddess that are present in the collective unconscious, emphasizing the feminine archetype portrayed in the "Great Mother" that she represents. Theoretically, I present the reflections about the relations between unconscious, modified states of conscience and the preparation of the scenic body in dance, according to the basic assumptions of the theory of Carl Gustav Jung - swiss psychiatrist, founder of analytical psychology - and what was after developed by Neumann - psychologist, student and follower of Jung, along with the practical support the scenic construction of the Energy Technique, systematized by Prof. Dr. Marília Vieira Soares, of the Art Institute at Unicamp. / Mestrado / Mestre em Artes

Thesis advisor: Catherine Cornille / The Christian ecological tradition rejects problematic dualisms that separate and hierarchically value the body and soul, humans and creation, man and woman, etc. Ecofeminist theology seeks to provide alternatives that better recognize the interconnectedness of life overall, yet it has not fully responded to the dualism of life and death. This is evident in the work of Ivone Gebara, a leading ecofeminist theologian who addresses life, death, and resurrection within a more immanent understanding of the Trinity. Though she argues for a more ambiguous understanding of good and evil, creation and destruction, life and death, the tensions between these categories are never fully resolved. This is where the Hindu tradition, and in particular the Kali tradition of Hinduism, may shed new light on the Christian understanding of death as part of creation and of its interconnection with all life. The goddess Kali in particular is often referred to as the mistress of death, or death itself, and as such she does not protect her devotees from the inevitability of life, suffering, and death. Instead, Kali reveals the mortality of all life and frees devotees to embody their own fate and accept their own death as she grants them liberation from samsara (the continuous cycle of dying and rebirth into the world of materiality). Gebara advocates against hierarchical dualisms of good and evil, creation and destruction, life and death, where Kali already embodies the tension of these polarities, even the transcendence of them altogether. Even though there are fundamental differences between Hindu and Christian worldviews and conceptions of the divine, the figure of Kali addresses traditional tensions between life and death and between creation and salvation, and thus inspires a more integral liberation for all creation. / Thesis (PhD) — Boston College, 2024. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

No Abstract Included / Thesis / Master of Arts (MA)

The advancement of the internet across the globe has made computer users implement several ways of protection against possible network threats. The goal of this thesis is to analyse vulnerabilities and threats that may occur in a home network and design a vulnerability classification for home users with the help of Kali Linux. The classification is proposed and briefly evaluated. Computer network threats are also examined in this thesis together with the network vulnerabilities and corresponding network security recommendations for these systems. Home users have a need for security and privacy being provided. There have been a number of recent security breaches affecting home users leading to mistrust among the users. Due to different classification of threats, there is a need for a common threat classification scheme that can help to improve the understanding of threats among different researchers. This thesis focuses on investigating possible vulnerabilities in a home network and consequently designing a vulnerability classification for home users.

abstract: The tectonic significance of the physiographic transition from the low-relief Tibetan plateau to the high peaks, rugged topography and deep gorges of the Himalaya is the source of much controversy. Some workers have suggested the transition may be structurally controlled (e.g. Hodges et al., 2001), and indeed, the sharp change in geomorphic character across the transition strongly suggests differential uplift between the Himalayan realm and the southernmost Tibetan Plateau. Most Himalayan researchers credit the South Tibetan fault system (STFS), a family of predominantly east-west trending, low-angle normal faults with a known trace of over 2,000 km along the Himalayan crest (e.g. Burchfiel et al., 1992), with defining the southern margin of the Tibetan Plateau in the Early Miocene. Inasmuch as most mapped strands of the STFS have not been active since the Middle Miocene (e.g., Searle & Godin, 2003), modern-day control of the physiographic transition by this fault system seems unlikely. However, several workers have documented Quaternary slip on east-west striking, N-directed extensional faults, of a similar structural nature but typically at a different tectonostratigraphic level than the principal STFS strand, in several locations across the range (Nakata, 1989; Wu et al., 1998; Hurtado et al., 2001). In order to explore the nature of the physiographic transition and determine its relationship to potential Quaternary faulting, I examined three field sites: the Kali Gandaki valley in central Nepal (~28˚39'54"N; 83˚35'06"E), the Nyalam region of south-central Tibet (28°03'23.3"N, 86°03'54.08"E), and the Ama Drime Range in southernmost Tibet (87º15'-87º50'E; 27º45'-28º30'N). Research in each of these areas yielded evidence of young faulting on structures with normal-sense displacement in various forms: the structural truncation of lithostratigraphic units, distinctive fault scarps, or abrupt changes in bedrock cooling age patterns. These structures are accompanied by geomorphic changes implying structural control, particularly sharp knickpoints in rivers that drain from the Tibetan Plateau, across the range crest, and down through the southern flank of the Himalaya. Collectively, my structural, geomorphic, and thermochronometric studies confirm the existence of extensional structures near the physiographic transition that have been active more recently than 1.5 Ma in central Nepal, and over the last 3.5 Ma in south-central Tibet. The structural history of the Ama Drime Range is complex and new thermochronologic data suggest multiple phases of E-W extension from the Middle Miocene to the Holocene. Mapping in the accessible portions of the range did not yield evidence for young N-S extension, although my observations do not preclude such deformation on structures south of the study area. In contrast, the two other study areas yielded direct evidence that Quaternary faulting may be controlling the position and nature of the physiographic transition across the central Tibetan Plateau-Himalaya orogenic system. / Dissertation/Thesis / Ph.D. Geological Sciences 2012

Orientador: Etienne G. Samain / Tese (doutorado) - Universidade Estadual de Campinas, Insituto de Artes / Made available in DSpace on 2018-08-12T15:13:20Z (GMT). No. of bitstreams: 1 Hilkner_RegianeAparecidaRossi_D.pdf: 5746087 bytes, checksum: 0de142541328ba92847cca3c1de8c948 (MD5) Previous issue date: 2008 / Resumo: Pesquisar as manifestações da cultura cigana é sempre um empreendimento ambicioso, pois se constitui em uma prática polissêmica, que traz diversas possibilidades de interpretação, considerada ao mesmo tempo exótica, artística, religiosa, entre outras definições. Esta pesquisa procurou inicialmente enfocar apenas um de seus aspectos: o corpo cigano enquanto uma construção social que, ao expressar-se, agencia memórias. No entanto, como nos ensina a poesia, não existem pré-caminhos. O caminho se faz ao caminhar. Ciganos, unidade complexa, mosaico étnico. Ritmos e imagens. Materialidade e significação. Assim, o corpo-memória foi abordado no complexo universo cigano. Os capítulos deste trabalho nasceram e cresceram em função dessa complexidade cigana que impossibilita a fragmentação. Neste contexto, o objeto central de análise, ao longo do percurso de estudo e pesquisa, deslocou-se para além do corpo-memória, fazendo-se necessário um aprofundamento do ethos1 cigano, suas histórias, memórias, crenças e em especial a sua crença maior: Sara Kali. Para tanto, buscou-se em uma constelação harmônica apresentar os Ciganos - livres de estereótipos (Primeiro Capítulo). Ciganos peregrinos que juntam as vozes, mesmo pertencentes a diferentes tribos: muitas vozes em uma única voz, muitos mundos, dentro de um mesmo mundo - o Mito de Sara Kali (Segundo Capítulo). E por fim, o que antes era o início: ciganos que escrevem e reescrevem o texto da própria existência, pela poesia e ritual da dança (Terceiro Capítulo). Incorporada à área da Antropologia Visual e movida pela intenção de fazer das imagens fotográficas e dos relatos de alguns atores sociais, objeto de reflexão e ponto de partida e de chegada de todo o processo de constituição da identidade cigana, este estudo objetivou demonstrar não somente os elementos culturais dos ciganos, que os aproximam ou os distanciam da cultura predominante, mas nos preocupamos em verificar como organizam suas memórias impressas em seus corpos, uma vez que, mesmo espalhados pelo mundo, apresentam-se como grupo com marcada identidade. / Abstract: To search the characteristics of gypsy culture is always an ambitious task since it brings a variety of meaning and possibilities for interpretation for it is considered exotic, artistic, religious, among other. This research, initially, sought to focus only one of its aspects: the gypsy body as a social construction which by expressing itself brings out memories. However, as poetry teaches us, there are no pre-paths... The path is to walk. Gypsies, a complex unit, ethnic mosaic. Rhythms and images. Materiality and meaning. Thus, the body-memory was addressed in the complex gypsy universe. The chapters of this work flourished and grew in the light of such complexity of the gypsy people that is completely impossible to be fragmented. In this context, the central object of analysis, along the route of study and research, went beyond the body-memory, making it necessary deepening the gipsy ethos [1}, their stories, memories, beliefs and in particular their greatest belief: Sara Kali. In order to achieve this, a harmonious constellation was blended in presenting the Gypsies - free of stereotypes (First Chapter). Gypsies pilgrims who gather their voices, even belonging to different tribes: many voices in one only voice, many worlds within the same world - the myth of Kali Sara (Second Chapter). At last, what was once the beginning: gypsies who write and rewrite the text of their own existence through the ritual of poetry and dance (Third Chapter). Incorporated into the area of Visual Anthropology and driven by the intention of making photographic images and reports of some social actors, the subject of reflection and point of departure and arrival of the whole process of formation of Roma identity, this study aimed to demonstrate not only the cultural elements of Roma, that can be nearer or farther from its own predominant culture, but we care to verify how they organize their memoirs printed in their bodies because, even around the world, they present themselves as a group with marked identity. / Doutorado / Doutor em Multimeios

This thesis explores the cult and mythos of the goddess Kali both in her Eastern and Western contexts, comparing and contrasting them in order to gain a better understanding of the Western appropriations of Kali within feminist goddess spirituality. Utilizing a variety of methods, including ethnographic research conducted at Kali temples in California, this research is aimed at providing an entry into the lived contemporary tradition of the Western Kali within goddess spirituality circles, focusing on embodied experience, devotion, ritual, and syncretic practices. Kali, a fierce Indian goddess, is often seen in the Hindu context as a central manifestation of the all encompassing Mother Goddess (Mahadevi, Devi, Shakti, etc), and therefore is a particularly engaging example of contemporary Western appropriation of religious and cultural symbols and narratives. This thesis contributes to understanding Kali in her new North American domain, as well as serving as a case study of the shifting religious landscape in the West.

This thesis explores the cult and mythos of the goddess Kali both in her Eastern and Western contexts, comparing and contrasting them in order to gain a better understanding of the Western appropriations of Kali within feminist goddess spirituality. Utilizing a variety of methods, including ethnographic research conducted at Kali temples in California, this research is aimed at providing an entry into the lived contemporary tradition of the Western Kali within goddess spirituality circles, focusing on embodied experience, devotion, ritual, and syncretic practices. Kali, a fierce Indian goddess, is often seen in the Hindu context as a central manifestation of the all encompassing Mother Goddess (Mahadevi, Devi, Shakti, etc), and therefore is a particularly engaging example of contemporary Western appropriation of religious and cultural symbols and narratives. This thesis contributes to understanding Kali in her new North American domain, as well as serving as a case study of the shifting religious landscape in the West.