Global ETD Search

21	Equipping select members of Heritage Heights Baptist Church, Laurel, Mississippi, to become pastoral caregivers to victims of domestic violence Regan, Kenyan W., January 2008 (has links) Project (D. Min.)--New Orleans Baptist Theological Seminary, 2008. / Abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 137-144, 40-47).
22	Theatre and the video game: beauty and the beast Whitlock, Katherine Lynne 21 June 2004 (has links) No description available. Theater Theatre video games Brenda Laurel Aristotle Bertolt Brecht Augusto Boal theatre design game design RPG role-playing games MMORPG massive multiplayer games third person action
23	The expression of identity in Equatorial Guinean narratives (1994 - 2007) McLeod, Naomi January 2012 (has links) Equatorial Guinea is the only former Spanish colony in Africa south of the Sahara. Consequently, the Spanish-language literature produced by its authors has been resistant to classification in both the fields of Hispanic and African literary studies. This thesis examines a selection of contemporary narratives written between 1994 and 2007 by the following authors: José Fernando Siale Djangany, Maximiliano Nkogo Esono, Juan Tomás Ávila Laurel and Joaquín Mbomio Bacheng. My main objective in this dissertation is to identify, explain and relate the ways in which post-independence authors express identity in their respective texts. In order to accomplish this task, this thesis posits situational interactions as the key sites for identity expression. Developed from the tenets of symbolic interactionism, the syncretic theoretical model of identity views it as telescopic. It is expected that, through the examination of the chosen texts, a contribution can be made to the understanding of the way in which each author expresses identity and can therefore feed into the larger discussion of identity in Equatorial Guinean narrative. 860.8
24	Les cultures Laurel et Blackduck en Abitibi-Témiscamingue : portrait d’une transition technologique vers la fin du Sylvicole moyen tardif Beaulieu, Guyane 12 1900 (has links) La transition entre le Sylvicole moyen et le Sylvicole supérieur, vers l’an 1000 de notre ère, correspond à un moment de bouleversements technologiques dans le Nord-Est américain. En Abitibi-Témiscamingue, il s’agit d’une transition entre les cultures Laurel orientale et Blackduck orientale. La poterie blackduckienne semble avoir été rapidement adoptée par les groupes laureliens, sans phase transitoire apparente. Ce mémoire s’intéresse aux technologies céramiques employées par les populations des cultures Laurel et Blackduck en Abitibi-Témiscamingue et cherche à comprendre s’il existe de la continuité ou de la discontinuité entre les deux ensembles. Plus précisément, il est question de voir comment se manifeste la transition entre les deux cultures et comment la technologie céramique permet de caractériser cette transition. Pour ce faire, quatre sites ont été sélectionnés de part et d’autre de la ligne de partage des eaux entre : le site Bérubé (DdGt 5), le site du lac Opasatica (DaGt-4), le site Nault (ClGt-2) et le site Léo-Guay (ClGt-3). Les vases laureliens et blackduckiens provenant de ces sites ont fait l’objet d’une analyse visuelle par attributs morphostylistiques et d’une analyse par attributs technologiques selon les données tomodensitométriques fournies par l’Institut national de recherche scientifique Eau-terre-environnement (INRS-ETE), à Québec. Puisque l’utilisation de la tomodensitométrie dans l’analyse technologique de la céramique est plutôt récente, ce mémoire se veut une contribution modeste, mais originale au développement de cette approche. À la lumière des analyses effectuées, la transition technologique s’est opérée plus lentement que la transition morphostylistique. Les potiers auraient graduellement développé un nouveau savoir-faire, par contact et par expérimentation, produisant un vase mieux adapté à la cuisson des aliments. / The transition between the Middle Woodland and Late Woodland periods, towards 1000 CE, corresponds to a moment of technological upheavals in the American Northeast. In Abitibi-Temiscamingue, it takes the form of a transition between the Eastern Laurel and Eastern Blackduck cultures. Blackduck pottery seems to have been quickly adopted by Laurel groups, with no apparent transitional phase. This masters’ thesis relates to the ceramic technologies employed by the populations of Laurel and Blackduck cultures in Abitibi-Temiscamingue and explors the continuity or lack of continuity between the two groups. More precisely, I ask how this transition between two cultures manifests itself and how ceramic technology allows us to characterize this transition. To that end, four sites have been selected on both sides of the watershed divide between: the Bérubé site, (DdGt-5), the lake Opasatica’s site (DaGt-4), the Nault site (ClGt-2) and the Léo-Guay site (ClGt-3). The Laurel and Blackduck vessels originating from these sites were subjected to a visual analysis using morphostylistic attributes and an analysis using technological attributes based on tomodensitometric data supplied by the Institut National de Recherche Scientifique - Eau Terre Environnement (INRS-ETE) research center located in Quebec City. Since the use of tomodensitometry in ceramic technological analysis is rather recent, this thesis seeks to be a modest but original contribution to the development of this approach. Based on our analyses, the technological transition happened more slowly than the morphostylistic transition. The potters would have gradually developed a new craftmanship, by contact and by experimentation, producing vessels better suited to cooking food. Technologie céramique Tomodensitométrie Archéologie Préhistoire du Québec Abitibi-Témiscamingue Poterie Laurel Blackduck Sylvicole moyen Sylvicole supérieur Ceramic technology CT-scan Archaeology Quebec Prehistory Abitibi-Temiscamingue Pottery Middle Woodland Late Woodland
25	Walter Benjamin und die Kunst des Graphischen Matsui, Takaoki 16 June 2008 (has links) Als Bild- und Medientheoretiker hinterließ Walter Benjamin nicht nur die berühmte „materialistische“ Auratheorie, sondern auch scheinbar esoterische Theorien der bildenden Kunst. Der Zusammenhang und Inhalt der beiden Theorien können erhellt werden, wenn wir genauer sehen, wie er sich dort mit der Beschreibung der Kindheit beschäftigte. Der Ursprung seiner Auratheorie liegt in seiner „Tagebuch“-Literatur, wo er in die melancholisch gefärbten Visionen der „Jugend“ zu versinken pflegte. Der topologische Aufbau dieser Visionen – ihre eigenartig „photo-graphische“ Struktur – soll mithilfe der Zweiten Topik Freuds analysiert werden. Und aufgrund dieser Analyse werden wir eine Revision der üblichen (übersimplifizierten) Gegenüberstellung von seinem historischen Materislismus und dem „apolitischen Formalismus“ Clement Greenbergs vornehmen. Greenbergs Kunstkritik dient aber auch zur Entschlüsselung der „esoterischen“ Bildtheorien Benjamins. Die letzteren verwirren uns vor allem deshalb, weil dort das Sehen der Kinder zuerst (um 1915) irreführender Weise nach den üblichen Dichotomien der Romantik (Linie / Farbe; männlich / weiblich; erwachsen / kindlich…) beschrieben worden war; ihren eigentlichen Inhalt konnte Benjamin erst präzisieren, als er – anhand seiner Betrachtungen der graphischen „Horizontalität“ und nach seinen Spekulationen über das magische Wesen von „Zeichen“ und „Mal“ (1917) – eine Trichotomie der Bildgattungen (Malerei / Graphik / getuschtes Bild) aufgestellt hatte. Wir rekonstruieren diese Theorieentwicklungen nicht nur durch detaillierte Bild- und Textanalysen, sondern auch unter Heranziehung seines „materialistischen“ Spätwerks (der Passagenarbeit und der „Berliner Kindheit“), da erst im letzteren der einzigartige Zusammenhang zwischen seinen frühen Bildtheorien und seiner Geldtheorie als „Konstellation“ sichtbar werden sollte. / Walter Benjamin’s writings on visual arts include not only the famous „materialistic“ essays on aura but also seemingly esoteric notes on painting and the graphic arts. The content and correlation of all these writings become clear once we grasp how they perform the task of describing childhood experience. His theory of aura was prefigured in his philosophical „Diaries“ where his struggle with his depression was often followed (or interrupted) by dreamlike visions of "youth". The discursive structure of these visions – which will prove to be a strangely „photo-graphic“ one – is to be analyzed by using the second Freudian topology as a comparison. Through this analysis we will be able to reconsider the well-known (oversimplified) antagonism between his historical materialism and the „apolitical formalism“ of Clement Greenberg from a new viewpoint. Greenberg’s criticism helps us also to decipher the „esoteric“ texts of Benjamin. They puzzled scholars especially because they described children’s vision at first (about 1915) misleadingly in accordance with the conventional dichotomies of Romanticism (line / color; masculine / feminine; adult / child…); Benjamin could specify their original implication only after he had set up – based on his reflexions on the „horizontality“ of the graphic arts, and by speculating further on the magic nature of „Zeichen“ and „Mal“ (1917) – a trichotomy of genres (painting / the graphic arts / ink and watercolor illustrations). We will reconstruct this development of his theory not only through detailed analyses of related works of art but also in view of his „materialistic“ late writings (the Arcades Project and „Berlin Childhood“), for it is only there that we find out an essential relation – a singular „constellation“ – of his early art theory and his theory of money. Aura Eugène Atget Walter Benjamin Rudolf Borchardt Cézanne Goya Grandville Kafka Kandinsky Paul Klee Laurel & Hardy August Macke Manet Charles Meryon Picasso Raffael Odilon Redon Rembrandt August Sander Paul Scheerbart Wilhelm Worringer Antinomie des Geschmacks ästhetische Idee Drogen Farbkonstanz Geldschleierthese Horizontalität Humor Mal Melancholie Tiergarten Todestrieb Urphänomen aura Eugène Atget Walter Benjamin Rudolf Borchardt Cézanne Goya Grandville Kafka Kandinsky Klee Laurel & Hardy August Macke Manet Charles Meryon Picasso Raphael Odilon Redon Rembrandt August Sander Paul Scheerbart Wilhelm Worringer aesthetic idea antinomy of taste color constancy death drive drugs goethean phenomenology horizontality humour „Mal“ melancholy veil of money zoo 750 Malerei 47 Photographie CI 1397 ddc:750
26	A little story about big issues : an introspective account of FEMEN Myshko, Yelena January 2018 (has links) This research contributes a detailed personal account of a FEMEN activist. It presents an autophenomenographic analysis of cultural artefacts, including a Retrospective Diary, resulting from the activity of Yelena Myshko in FEMEN between 2012 and 2014. Previously FEMEN has been used as raw material for external analysis by press and academics to fit their individual agendas. To counteract this, Myshko’s research proposes an insider perspective on FEMEN activism. She writes herself in response to academics and FEMEN leader Inna Shevchenko who ignore the contribution of FEMEN Netherlands. Myshko merges author/researcher/researched and uses evocative storytelling to provide an introspective account of sextremism, connecting it to relevant embodiment concepts that illustrate its technology of empowerment and unintended side effects. Through an autophenomenographic analysis of her personal experience, Myshko suggests how FEMEN employs sextremism to create soldiers of feminism. Her research proposes that sextremism is an attitude, a way of life and technology of resistance. For Myshko, sextremism embodies feminist polemic that turns against patriarchy through topless protest. Through personal accounts she illustrates how she internalized this aggressive femininity during physical and mental training. Myshko argues that in protest FEMEN activists communicate to the public and mobilize new activists through feminist snap. In addition, Myshko observes that sextremism produces visual activism that internalizes feminist polemic and transforms it into figurative storytelling. Myshko explains how she reproduced sextremism through body image that made her assertive and empowered her in action. In turn Myshko demonstrates how personal accounts of sextremist embodiment and problems encountered as a woman in the world reproduce FEMEN’s fight in the media. Myshko analysis interviews with the press where she pinpoints topical feminist issues, making FEMEN real and relevant in Western society. Myshko observes that the media appropriated the spectacle created by FEMEN Netherlands but often distorted it and bend the news to fit its own agenda. In addition, the media criticized FEMEN Netherlands for cross-passing national values and power symbols. For Myshko, sextremism is empowering but also destructive. It promotes an unapologetic self-critical attitude that accumulates collateral damage in battle. The sporadic and restrained relationships between activists does not allow intimacy. Because of the eye of the media, tenderness is perceived as weakness and is not aloud. The combination of criticism, media scrutiny and police persecution hurt Myshko’s feelings. These unresolved feelings of hurt led to resentment and disengagement from FEMEN. FEMEN Yelena Myshko sextremism embodiment feminist activism feminist snap feminist polemic body image militant feminism sweaty concept autophenomenography autoethnography feminist writing evocative storytelling retrospective diary dialogic meaning censorship national politics police persecution generational feminism Resistance protest technology Ukraine Netherlands Sara Ahmed Maurice Merleau-Ponty Elizabeth Grosz Mikhail Bakhtin Jacquelyn Allen-Collinson Carolyn Ellis Laurel Richardson Rosemarie Buikema Marta Zarzycka Steven Pressfield Gender Studies Genusstudier
27	Myths on the Move: A Critical Pluralist Approach to the Study of Classical Mythology in Post-Classical Works Delbar, David Carter 01 June 2019 (has links) The Classical Tradition, now more commonly known as Classical Reception, is a growing sub-discipline in Classics which seeks to trace the influence of Greco-Roman culture in post-classical works. While scholars have already done much to analyze specific texts, and many of these analyses are theoretically complex, there has yet to be a review of the theories these scholars employ. The purpose of this study is to provide researchers with a theoretical tool kit which allows them greater scope and nuance when analyzing usages of classical mythology. It examines five different approaches scholars have used: adaptation, allusion, intertextuality, reception, and typology. Each theory is followed by an example from Spanish literature or film: Apollo and Daphne in Calderón's El laurel de Apolo, Orpheus in Unamuno's Niebla, Dionysus in Unamuno's San Manuel Bueno, mártir, Persephone in del Torro's El laberinto del fauno, and the werewolf in Naschy's Waldemar Daninsky films. This thesis argues that a critical pluralist approach best captures the nuance and variety of usages of classical mythology. This allows for both objective and subjective readings of texts as well as explicit and implicit connections to classical mythology. classical tradition reception adaptation allusion intertextuality typology Pedro Calderón de la Barca Miguel de Unamuno Guillermo del Toro Paul Naschy Friedrich Nietzsche Euripides Publius Ovidius Naso El laurel de Apolo Niebla San Manuel Bueno mártir Bacchae Apollo Cupid Dionysus Orpheus Persephone werewolf Arts and Humanities Comparative Literature

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