Orientador: Ruy de Oliveira Andrade Filho / Banca: Sergio Alberto Feldman / Banca: Ana Paula Tavares Magalhães / Banca: Ronaldo Amaral / Banca: Milton Carlos Costa / Resumo: A tese que aqui se apresenta a respeito do reino visigodo utiliza-se de um gênero de fontes, a hagiografia, como ponto de partida para abordagem proposta. Vemos nessas fontes um testemunho do imaginário em sua imbricação com o sagrado, ou seja, com o Cristianismo, e os limites da cristianização católica; o sincretismo religioso entre a fé cristã e as crenças ditas "pagãs" pela própria Igreja; e, dentro desse escopo, as representações do Mal, bem como a ética decorrente de tal percepção como elementos da religiosidade medieval - presentes na cultura visigoda -, os quais, não obstante extensos estudos realizados até o presente momento, exigem novas abordagens. Em linhas gerais, propomos analisar a percepção do Mal e suas representações na longa duração, o papel e intenções dos teólogos e hagiógrafos, dando atenção especial à religiosidade e suas implicações no imaginário. Como fontes principais de nossa pesquisa, que fazem parte do corpus hagiográfico visigodo, estão: A Vida de Santo Emiliano (Vita Sancti Aemiliani), de Bráulio de Saragoça; As Vidas dos Santos Padres de Mérida (Vitas Sanctorum Patrum Emeretensium) e A Vida de São Frutuoso (Vita Fructuosi), de autores desconhecidos; A Vida de São Desidério (Vita Desiderii), escrita por Sisebuto, e a autobiografia de Valério do Bierzo / Abstract: This thesis about the Visigoth kingdom makes use of a genre of sources, the hagiography, as a starting point for the proposed approach. These sources show us an testimony of the imaginary in their imbrications with the sacred, that is, with Christianity, and the limits of the Catholic Christianization; religious syncretism between Christian faith and called beliefs "pagan" by the Church itself; and, within that scope, the representations of evil and ethics related to such perceptions as elements of medieval religiosity - present in the visigothic culture - which, despite extensive studies conducted until the present moment, require new approaches. Generally speaking, we propose to analyze the perception of evil and its representations in the long duration, the role and intentions of theologians and hagiographers, paying special attention to religiosity and its implications in the imaginary. As the main sources of our research, which are part of the Visigoth hagiographic corpus, are: Saint Emilian Life (Vita Sancti Aemiliani) of Braulio of Zaragoza; The Lives of the Saint Fathers of Merida (Vitas Sanctorum Patrum Emeretensium) and The Life of Saint Frutuoso (Vita Fructuosi) of unknown authors; The Life of St. Desiderius (Vita Desiderii), written by Sisebuto, and the autobiography of Valerius of Bierzo / Doutor

Orientador: Ruy de Oliveira Andrade Filho / Banca: Hilário Franco Júnior / Banca: Ivan Esperança Rocha / Banca: Leila Rodrigues da Silva / Banca: Mario Jorge da Motta Bastos / Resumo: A Vita Sancti Fructuosi, hagiografia visigótica escrita nos últimos decênios do VII século, devera, em detrimento de seu valor essencialmente biográfico, constituir-se sobretudo em um texto cuja razão e função proeminentes estaria em propagandear e exaltar um estilo de vida religiosa tido por ideal: a vida monástica sob seu gênero anacorético. Este gênero monástico seria identificado ainda com aquele próprio do Oriente, pois frente a uma época em que a Igreja visigoda reprimia as manifestações religiosas surgidas e praticadas a sua margem, extinguindo-as ou submetendo-as, e aqui encontraríamos claramente a vida anacorética, poderia esta, na medida em que seria apresentada como uma experiência "atualizada" da vida ascética e solitária daquele reconhecido e louvável modelo oriental, constituir-se em uma justificação lícita para sua aceitação e propagandeamento na Hispânia visigoda... (Resumo completo, clicar em acesso eletrônico) / Abstract: The Vita Sancti Fructuosi, although the visighotic hagiography written in the late decades of the VII century, in detriment of its biographic value, it is a text that was written to advertise and to emphasize a religious lifestyle which was considered the ideal: the ascetic monastic life. This kind of monastic life would be identified with that of the orient, because in a time when the visighotic church used to stop any religious demonstration that was different from their doctrines, extinguishing or undergoing them to their beliefs , and here we would find clearly the ascetic life, it would be able to survive as it was presented as an up-to-date of an ascetic and solitary life that was recognized as legal, therefore it would be accepted and used as propaganda in the Visighotic Hispania... (Complete abstract, click electronic access below) / Doutor

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ao longo do processo histórico nas culturas ocidentais e orientais o papel feminino esteve relegado ao segundo plano. Tanto a religião quanto a tradição oral tiveram papéis primordiais no aprisionamento do feminino no quarto escuro da História. A teoria da mulher como origem e potência do mal remonta à antiguidade. Muitos historiadores acreditam na existência de sociedades matriarcais que foram desarticuladas pelas sociedades patriarcais. O universo feminino foi, e ainda é na atualidade, um grande enigma para os homens.A presente dissertação tem o objetivo de demonstrar a importância da religião, dos mitos, lendas e contos na construção da figura feminina medieval, para isso, abordaremos como a tradição oral em conjunto com as religiões patriarcais reforçou a ideia da mulher como origem e potência do mal. Recorremos a aspectos históricos, religiosos e literários, procuramos por intermédio de a Bíblia Sagrada e de O Corão entender a influência religiosa, além de verificarmos quais os aspectos históricos que tiveram relevância na perpetuação da misoginia e a ainda como a tradição oral teve a sua cota na construção desse universo misógino. Tentamos compreender como se deu a conexão entre tradição oral e religião na formulação da figura feminina e o porquê dessa mulher ter historicamente uma posição desprivilegiada diante de determinadas culturas / Throughout the historical process in the occidental and eastern cultures the feminine paper was relegated to as the plain one. As much the religion how much the verbal tradition had had primordial papers in the capture of the feminine one in the dark room of History. The theory of the woman as origin and power of the evil retraces the antiquity. Many historians believe the existence of matriarchal societies that had been disarticulated by the patriarchal societies. The feminine universe was, and still it is in the present time, still it is in the present time, a great enigma for the men. The present dissertation has the objective to demonstrate the importance of the religion, of myths, legends and stories in the construction of the medieval feminine figure, for this, we will approach as the verbal tradition in set with the patriarchal religions strengthened the idea of the woman as origin and power of the evil. We appeal the historical, religious and literary aspects, look for intermediary of The Hole Bible and The Koran to understand the influence religious, beyond verifying which the historical aspects that had still had relevance in the perpetuation of the misogyny and as the verbal tradition had its quota in the construction of this misogynist universe. We try to understand as if it gave to the connection between verbal tradition and religion in the formularization of the feminine figure and why of this woman to have historically underprivileged position ahead of determined cultures

The goal of this work was to determinate and analyse osteological material from an archeological site, which was dated from high Middle Ages to early modern period. Then, the results were compared to other literature engaging in similarly dated localities.

Cette thèse porte sur la signification du paon et du phénix dans des contextes cultuels et funéraires, autour du Bassin méditerranéen entre le IVe et le XIIe siècle. L’étude est basée sur un corpus de 490 documents dans lesquels apparaissent un ou plusieurs paons, mis en parallèle avec 68 témoignages figurés du phénix. Ces oiseaux ont été mis en image de différentes manières et selon différents contextes, aussi bien sur des pièces de monnaie, des fresques catacombales, des sarcophages, des décors mosaïqués (pavements, coupoles, absides, …), des manuscrits ou bien encore sur des clôtures de chœur. L’observation des documents révèle que des liens ont été tissés entre les deux oiseaux associés tous deux à l’idée de renaissance bien avant le IVe siècle. En effet, la notion de renaissance est transversale dans l’étude de la figuration du paon et du phénix entre Antiquité et Moyen Âge, et entre paganisme et christianisme. Les premières références à ces deux oiseaux, connues dans les textes et l’iconographie antiques, ont été analysées afin de réfléchir sur l’imaginaire construit autour du paon et du phénix, liés aux rythmes cycliques, à la mort et à la résurrection. La fonction du paon comme psychopompe et plus largement comme intermédiaire entre terre et ciel et entre l’humain et le divin, s’affirme progressivement. Entre le IIIe et le IVe siècle, le paon et le phénix entrent dans le répertoire visuel funéraire des premiers chrétiens et commencent à être mis en relation avec la conception du baptême comme une renaissance. Entre le IVe et le VIe siècle, ils sont introduits dans l’espace ecclésial et resserrent leurs liens avec le Christ et le baptisé. Les deux oiseaux offrent au fidèle un espoir de salut en témoignant du triomphe du Christ sur la mort et en annonçant la résurrection des Élus. Entre le VIIe et le IXe siècle, la figuration du paon est notamment étudiée sur des clôtures de chœur et d’autres éléments de décors sculptés, en lien avec le rituel eucharistique, avec l’idée de passage entre charnel et spirituel. Le corpus réuni met en évidence le rôle du paon comme gardien du seuil, d’un point de vue matériel et spirituel. La présence récurrente du paon et du phénix entre le VIe et le IXe siècle dans des espaces ecclésiaux romains est également mise en perspective vis-à-vis des réalisations papales et selon des enjeux liés à la mémoire des saints et de l’Église. L’étude s’ouvre au XIIe siècle avec le décor monumental de Saint-Clément à Rome comme un témoignage charnière dans la signification du paon. / This dissertation deals with the meaning of the peacock and the phoenix within contexts of worship and funerary contexts in the Mediterranean area, between the IVth and the XIIth centuries. The study is based on an iconographic documentation meeting 490 items of the peacock and 68 items of the phoenix. These birds were imaged in various ways as well as coins, paintings of catacombs, sarcophagi, mosaics (pavements, domes, apses, …), manuscripts, and even chancel screens. The analysis of the documentation indicates that links were weaved between both birds associated with the idea of revival long before the IVth century. The idea of revival, indeed, is a cross-cutting concept in the study of the iconography of the peacock and the phoenix between Antiquity and Middle Ages, between paganism and christianity. The first references to the these birds in the antique texts and the iconography are studied in order to reflect on the imagination about the peacock and the phoenix, both associated with cyclic rhythms, death and resurrection. The peacock was seen as a psychopomp, more generally like an intermediary between earth and sky, as well as between the human and the divine. Between the IIIth and the IVth centuries, the peacock and the phoenix were inserted into the funerary iconography of the first Christians and begin to be linked with the conception of the baptism as a revival. Between the IVth and the VIth centuries, they were inserted into the ecclesial space and they tightened their links with the Christ and the baptized. The peacock and the phoenix offer to the believer a hope of being healed. They show the triumph of the Risen Christ and announce the resurrection of the dead at the end of days. Between the VIIth and the IXth centuries, the iconography of the peacock is studied in particular on chancel screens and on the other sculptures linked with the eucharistic rite and with the idea of a connection between caro and spiritus. The documentation highlights the role of the peacock as the guard of the threshold, from a material and spiritual point of view. The recurring presence of these birds between the VIth and the IXth centuries in Roman ecclesial spaces was also put in perspective towards the papal realizations and according to stakes strongly bound to the memory of the saints and the Church. The study opens to the XIIth century with San Clement’s monumental decoration in Rome as a pivotal testimony in the evolution of the meaning of the peacock.

Orientador: Adilson José Ruiz / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T04:40:29Z (GMT). No. of bitstreams: 1 Zani_Ricardo_D.pdf: 3571234 bytes, checksum: e29331768ad5f486c1e0293e33541420 (MD5) Previous issue date: 2010 / Resumo: Para o cineasta Luis Buñuel as estranhezas deveriam sempre fazer parte de seus filmes. Um homem formado por contradições, assim era Buñuel, com seu menosprezo à sociedade e à religião cristã. Esta tese apresenta o argumento de que desde a realização do seu primeiro curta-metragem Um Cão Andaluz, roteirizado em parceria com Salvador Dalí, houve uma coerência de pensamento que estabeleceu para ambos um caminho a seguir. No prólogo deste filme, a metáfora de uma jovem moça tendo seu olho rasgado por uma navalha tornou-se cinematograficamente uma verdade estarrecedora e a essência de uma narrativa que transformou e codificou os preceitos surrealistas em dois únicos e universais temas, o amor e a liberdade, ao sintetizar a arte deste movimento nas questões mais caras aos participantes do grupo. Destaca-se aqui a galeria de estilos que se instalou na cinematografia de Luis Buñuel para reafirmar constantemente os traços marcantes de sua obra, dentre eles a polifonia, esclarecendo que a mesma reside em seus discursos quando estes se entrelaçam, se misturam e se completam. Nesta polifonia buñueliana se distingui o encontro de Um Cão Andaluz, Viridiana e Bela da Tarde com a pintura Angelus de Jean-François Millet para caracterizá-lo como um elemento constitutivo das reminiscências de Luis Buñuel e de Salvador Dalí. Resulta deste encontro polifônico uma mensagem comum nas obras aqui estudadas com o objetivo de expor que todos estes elementos apontam para uma relação com determinadas características medievais pesquisadas por Mikhail Bakhtin, a morte e os excrementos inseridos na renovação dos desejos sexuais do homem / Abstract: For the filmmaker Luis Buñuel the oddities should always be part of his films. A man made up of contradictions, so it was Buñuel, with his contempt for society and Christian religion. This thesis presents the argument that since the completion of his first short film Un Chien Andalou, written in collaboration with Salvador Dalí, there was a consistency of thought for both established a way forward. In the prologue of this film, the metaphor of a young girl with her eye torn by a knife has become a cinematic appalling truth and essence of a narrative that transformed and codified the precepts surrealists in two unique and universal themes, love and liberty, synthesize the art of this movement on the issues most dear to the group participants. We highlight here the style gallery which was installed in the film by Luis Buñuel to constantly reaffirm the hallmarks of his work, including polyphony, explaining that it lies in his speeches when they intertwine, blend and complement each other. This polyphony buñueliana be distinguished from the meeting Chien Andalou, Viridiana and Belle Afternoon with Angelus painting by Jean-Francois Millet to portray him as a constituent element of the remnants of Luis Buñuel and Salvador Dalí. Results of this meeting a common message in polyphonic works studied here in order to expose all these elements point to a relationship with certain medieval features surveyed by Mikhail Bakhtin, death and excrement inserted in the renewal of man's desires sexual / Doutorado / Artes Visuais / Doutor em Artes

Submitted by Fabielle Cheuczuk (fabielle.cheuczuk@unioeste.br) on 2018-10-10T13:35:46Z No. of bitstreams: 2 dissertação thiago f.v. f.m..pdf: 4702304 bytes, checksum: 0d85c481a1d38e7035f19efbaee054c6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-10-10T13:35:46Z (GMT). No. of bitstreams: 2 dissertação thiago f.v. f.m..pdf: 4702304 bytes, checksum: 0d85c481a1d38e7035f19efbaee054c6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-07-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The research referred here aims to identify and re-signify empirical knowledge. Therfore, significance and re-signification of empirical knowledge. Therefore, it was necessary to investigate the historical processes involving the relevant transformations to the empirical knowledge. It was necessary to recognize and read elements from several areas of knowledge. In this regard, after dealing with empirical knowledge in the Middle Ages, it was followed by empirical knowledge in the face of a gradual paradigmatic transformation, referring to the period of the Discoveries. With the presented elements, two interfaces are exposed that represents a period of changes that culminate in intellectual transformations and a resignification of the empirical. It is against this background that aspects that make up the theoretical, social, philosophical, geographic and economic fields of different periods. They were listed aspirations and productions of the Middle Ages, as well as of the time of the Discoveries, were necessary to understand the meaning and resignification of the empirical in their respective historical moments. The Middle Ages allows us to notice elements such as intertextuality and analogy. By these precepts, are established points for the understanding of the world. It is necessary to unfold such precepts and to understand how they were able to give meaning to the empirical. In this way it is possible to understand empirical knowledge itself in this period. And it is in this unfolding of history that we begin to understand that if there was a re-signification of the empirical in Modernity, it is certainly necessary to know what it meant previously. It is only through this movement that research has its follow-up. If there is a transformation between a signification in one period and a redetermination in another, there must be an explanation for such a transformation. In this sense, the research traverses the path of the Discoveries, which was involved between one time and another. Precisely, at the moment that Discovery happen, there is an effervescence of the Renaissance. Thereout the possibility of recognizing how the Discoveries were able to give new contours to empirical knowledge. Therefore, it is essential to demonstrate what these discoveries have been and what they meant. Through this necessity, the meaning of Discovery is conceptually demonstrated, its impacts, which also lead to the construction of another way of thinking the world, understanding the different as alterity. For the construction of the hypotheses, the arguments and theories were used documents and scientific literature that made possible to understand the presented research object. / A pesquisa aqui referida tem como objetivo reconhecer a significação e ressignificação do conhecimento empírico. Para tanto, foi necessário averiguar os processos históricos, envolvendo as transformações relevantes ao conhecimento empírico. Para isso, foi necessário reconhecer e ler elementos de diversas áreas do conhecimento. Neste sentido, após tratar do conhecimento empírico na Idade Média, seguiu-se tratando do conhecimento empírico diante de uma transformação paradigmática gradual, referindo-se à época dos Descobrimentos. Com os elementos apresentados, ficam expostas duas interfaces que representam um período de mudanças, os quais culminam em transformações intelectuais e, em consequência, uma ressignificação do empírico. É frente a este contexto que são apresentados aspectos que compõe o campo teórico, social, filosófico, geográfico e econômico de distintos períodos. Também foram elencadas aspirações e produções da Idade Média, bem como da época dos Descobrimentos, necessárias à compreensão da significação e ressignificação do empírico em seus respectivos momentos históricos. Referindo-se à Idade Média estão ressaltados elementos como a Intertextualidade e analogia. Mediante estes preceitos, são estabelecidos nortes para a compreensão de mundo. Diante disso é preciso desdobrar tais preceitos para entender como eles foram capazes de dar significação ao empírico, bem como, compreender o próprio conhecimento empírico neste período. E é neste desenrolar da história que se começa a ter entendimento de que, se existiu uma ressignificação do empírico na Modernidade, certamente é preciso saber o que ela significou anteriormente. É somente mediante este movimento que a pesquisa tem seu seguimento. Se há uma transformação entre uma significação em um período e uma ressignificação em outro, tem de existir uma explicação para tal transformação. Neste sentido, a pesquisa percorre o caminho dos Descobrimentos, que esteve envolto entre uma época e outra. Precisamente, no momento em que ocorrem os Descobrimentos há uma efervescência do Renascimento. Com isso surgiu a necessidade de reconhecer como os Descobrimentos foram capazes de dar novos contornos ao conhecimento. Tornando-se imprescindível demonstrar o que foram e o que significaram estes descobrimentos. Mediante esta necessidade fica demonstrado conceitualmente o significado de Descobrimento, bem como de seus impactos, que também levam à construção de uma outra forma de pensar o mundo, entendendo o diferente enquanto alteridade. Para a construção das hipóteses, dos argumentos e teorias, foram utilizados documentos e literatura científica que possibilitaram compreender o objeto de pesquisa apresentado.

Made available in DSpace on 2016-03-15T19:48:48Z (GMT). No. of bitstreams: 1 Mauricio de Castro e Souza.pdf: 867012 bytes, checksum: ad34ac90702a719d6b776a15b9d8efd6 (MD5) Previous issue date: 2006-12-05 / Fundo Mackenzie de Pesquisa / The practice on interest on lent is present in everyday life. The Bible dealt with this issue, and the matter was a subject treated in the Code of Hammurabi and in the Roman Law. The loan interest, in the Middle Ages, was important to promote development, trade, marine exploration trips, and even in the Crusades. The Christian Church simultaneously condemned the practice of usury, that is, the lent on interest. But sometimes it not only authorized the practice, the Church did also benefit from it. Calvin, although personally contrary to the practice of lent on interest, realized the impossibility of its abolition and showed himself in favor of the lent on interest. Nonetheless, he separated between the loan for consumption and the loan for production, to be used to promote development. In his understanding, the loan for production was fair because the borrower, working out the money, intends to obtain a superior amount than the money taken. However, conscious that the interest affects directly the cost of living, resulting negatively to the poor, Calvin restricts and systematizes the loan on interest to aim two targets: 1) Our actions must glorify God; 2) Our benefits must affect positively the surrounding community. / A prática do empréstimo a juros sempre esteve presente na vida das pessoas, visto que a Bíblia, o Código de Hamurabi e o Direito Romano já tratavam do assunto. O empréstimo a juros na Idade Média foi importante para promover o desenvolvimento, sendo utilizado no comércio, nas viagens marítimas, e até mesmo nas épocas das Cruzadas. A Igreja Cristã, ao mesmo tempo em que condenava a prática da usura, isto é, empréstimo a juros, por muitas vezes não só autorizou mas, também, usufruiu de ganhos adquiridos com juros. Calvino, apesar de contrário à prática do empréstimo a juros, mas por perceber que seria impossível aboli-lo, manifestou-se de certa forma favorável à temática em questão. Todavia, separou o empréstimo de consumo, do empréstimo de produção, o qual foi utilizado para promover o desenvolvimento. No entender de Calvino, o empréstimo de produção era justo, pois, o que empresta nesta linha de ganho, pretende ganhar outro tanto superior o valor emprestado. Mas, consciente que os juros afetam diretamente o custo de vida, e os menos favorecidos financeiramente serão os mais afligidos, restringe e sistematiza o empréstimo a juros, com a dupla finalidade: 1) que as nossas atitudes glorifiquem a Deus; 2) que devem beneficiar a comunidade em que vivemos.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-02-21T20:36:23Z No. of bitstreams: 1 Silva, Marcio-Dissert-2013.pdf: 1161349 bytes, checksum: 3c38783be5647b14e00a7a6441138b96 (MD5) / Made available in DSpace on 2014-02-21T20:36:23Z (GMT). No. of bitstreams: 1 Silva, Marcio-Dissert-2013.pdf: 1161349 bytes, checksum: 3c38783be5647b14e00a7a6441138b96 (MD5) Previous issue date: 2013 / Nossa pesquisa analisa os conceitos de fronteira a serem empregados para o estudo do reino de Castela no século XIII. O recorte temporal que adotamos se concentra no período compreendido entre a vitória cristã em Las Navas de Tolosa e os anos finais do Reinado de Afonso X. Acreditamos que esta ofensiva marcou o início da projeção castelhana sobre Andaluzia, além de acentuar o processo de avanço das fronteiras de Castela em direção ao sul Mais do que isso, um estudo da sociedade de fronteira e sua forma de vida tem sua credibilidade como fator histórico precisamente por seu caráter de separação, não só de duas sociedades, mas de duas identidades distintas. Mesmo investigando com certo ardor o período do governo de Fernando III, nossa pesquisa mantém o foco nos anos em que Afonso X esteve à frente da coroa castelhana. / This dissertation examines the concepts of border to be used for the study of the Kingdom of Castile in thirteenth century. The time frame was adopt focuses on the period between the Christian victory in the battle of Las Navas de Tolosa and late reign of Alfonso X. We believe that victory marked the beginning of Castilian drive on Andalucia, and accentuates the process of advancing the frontiers of Castile towards south. Moreover, a study of frontier society and their way of life has its credibility as a historical factor precisely for its character of splitting not only two societies, but two distinct identities. Even investigating quite heartily the rule of Fernando III, our research keeps the focus on the years in which Alfonso X held the Castilian crown.

Performativity” is employed in this study as a methodological approach to an understanding of patriarchy and its effects. As the materialized effect of the use of language and symbolization (speech acts, larger discourses, rituals) it fits within the broad frame of rhetorics, where the last highlights the creational or shaping force of language. Specifically the study focuses on an adapted version of Judith Butler’s notion of “performativity” in an analysis of the lives of various women. The term “performativity” is used in two fundamentally different senses. In the first, it refers to the prescriptions and expectations of patriarchy in regard to the identity and behaviour of its subjects, presented to them through master narratives. This sense of the word is pejorative in that “performativity” is a means of oppression and control. In the other sense of the word, “performatives” are those alternative ways of behaving and responding, chosen by women in their attempts to free themselves from the stifling effects of patriarchy and the master-narrative that it dictates. In this sense, the term actually refers to contra-performatives. Any study focusing on patriarchy necessarily requires an understanding of the origins and workings, as well as the effects, of that phenomenon. The study traces the development of the patriarchal system from pre-history, through Antiquity, into the Middle Ages and the Modern Era. This examination reveals the universality of patriarchy around the world and throughout history. The phenomenon is defined as an oppressive system of male domination within the family and society. As the study focuses particularly on the lives of two fourteenth century English women, Margery Kempe and Julian of Norwich, an examination of English society of that period as a strongly gendered culture, is undertaken. The very limited options available to women are delineated: the choice confronting them was either marriage and procreation, or church and chastity. Margery Kempe initially chose the former, while Julian of Norwich chose the latter. How did these choices impact on their lives, and in what ways may they be regarded as “performative”? Through various speech acts and rituals, as well as their writing, these women confronted patriarchy, sometimes directly and overtly, and at other times subtly and covertly, in their endeavours to create for themselves an alternative to patriarchal oppression. Alternative discourses informed alternative “performances”. In order to demonstrate the universality over time and place of patriarchy and the universal, “performative” response of women to it, the focus then shifts to nineteenth and twentieth century South Africa, where the life-worlds of a diverse group of women are studied. Again, “performativity” as a tool of liberation in the hands of women such as James Barry, Olive Schreiner, Johanna Brandt and Ellen Kuzwayo, is examined. The value of “performativity” is then, emphasised in this study, particularly as a means for those who have for whatever reason – gender, sexual orientation, race, etcetera – been “othered”, to overcome the regime under which they suffer. Regimes which have existed throughout history. This study in a sense serves as a springboard for further research into the why and how of liberation from patriarchal and other oppression. / Prof. H. Viviers