Living in tune with nature means respecting the natural environment and realizing its power and the ways it manifests in daily life. This essay focuses on the ways in which respect for nature is expressed through animal imagery in Zora Neale Hurston's Their Eyes Were Watching God, Mark Twain's "The Stolen White Elephant," Roughing It, and Pudd'nhead Wilson, and Jack London's The Call of the Wild. Each author encouraged readers to seek the benefits of nature in order to become better human beings, forge stronger communities, and develop a more unified nation and world. By learning from the positive example of the animals, we learn how to share our world with them and with each other.

This research has the objective to explore the concept of faith in the Gospel of Mark. An exegetical investigation of the faith terminology (pist-word group) in the Gospel is required for that. An analysis of the model passages with occurrences of the motword group shows the variety of possible connotations of the term. The most paradigmatic of them are in the sense of trust in God [which means to be open towards the highest reality]. Comparison of the results of the analysis with the concept of faith in the Old Testament, Classical Greek, and Hellenistic Greek is helpful to understand the etymology of the Markan use of the pist-word group and to make clear the conceptual meaning of faith in the Gospel which is closer to the Old Testament idea of an active commitment to God expressed in a continuous existence in the presence of Him. / New Testament / M. Th. (New Testament)

Innocents Abroad, a musical for the stage, deals with events in the life of Mark Twain, 1867-1869, particularly his courtship of Olivia Langdon and his efforts to establish himself as a writer. It emphasizes his struggle to be true to his individuality and outspoken honesty while trying to win "Livy," the product of the society he satirized and often condemned. The book, based on actual events, contains much of Twain's humor and wisdom. The vocal score is written in a contemporary style, for various vocal combinations, including full chorus and includes piano accompaniments and chord symbols for guitar and bass.

L’étude de la phrase hypothétique d’après les traités de grammaires arabe médiévaux consiste à déconstruire la manière avec laquelle ce type de phrase a été conçue par les grammairiens classiques. Ces derniers, figures centrales dans le champ linguistique ont apporté un réel écot à la pensée grammaticale ; à partir du parler des Arabes, de la poésie et du Coran, ces acteurs ont élaboré des règles grammaticales, forgeant ainsi la tradition grammaticale arabe. Ils ont mis en lumière plusieurs aspects de la langue, parmi lesquels, l’expression de l’hypothèse, objet de notre recherche.La phrase hypothétique peut être, principalement introduite par l’une des trois particules X, Y et Z, pour exprimer respectivement l’irréel, le potentiel et l’éventuel. Les pronoms et les circonstances servent également à introduire une phrase conditionnelle et affectent le marquage modal de ses verbes. Ils sont dits, les noms conditionnels. Les grammairiens arabes se sont intéressés aux marques modales des verbes et aux marques casuelles des noms au sein de l’énoncé hypothétique. En outre, ils portaient un intérêt particulier aux pratiques langagières qui relevaient de l’exception, dérogeant ainsi à la règle. Cette thèse s’attache à mettre en lumière l’investissement des grammairiens arabes classiques à une époque charnière du VIIIe au XIVe siècle. On leur reconnaît l’assignation de l’énoncé rogatif à un énoncé conditionnel, car selon eux, ils renvoient implicitement à une condition.La question de la phrase hypothétique constitue l’une des pistes investies par les grammairiens classiques malgré leurs convergences, divergences et positionnements par rapport aux normes grammaticales. L’expression de l’hypothèse a suscité des débats et des controverses entre les grammairiens, et plus particulièrement entre ceux de l’école bassorite et ceux de l’école koufite. / The study of the hypothetical sentence according to medieval Arabic grammatical treatises, consists in deconstructing the manner in which this type of sentence was conceived by the classical grammarians. The latter, central figures in the linguistic field, have largely contributed to grammatical thought; from Arabic-speaking, poetry and Qur’an, these actors developed grammatical rules, thus forging the Arabic grammatical tradition. They highlighted several aspects of the language, among which, the expression of the hypothesis, the object of our research.The hypothetical sentence can be, mainly introduced by one of the three particles X, Y and Z, respectively to express the unreal, the potential and the eventual (possible). Pronouns and circumstances also serve to introduce a conditional sentence and affect the modal marking of its verbs. They are said, the conditional names. Arabic grammarians were interested in the modal marks of verbs and casual marks of nouns in the hypothetical statement. In addition, they had a particular interest in the language practices that fell under the exception, thus derogating from the rule. This dissertation aims to highlight the investment of classical Arabic grammarians in a transitional period, from the eighth to the fourteenth century. They are assigned the assignment of the rogatory statement to a conditional statement, because according to them, they implicitly refer to a condition.The question of the hypothetical sentence establishes one of the tracks invested by the classical grammarians, despite their convergences, divergences and positions in relation to grammatical standards. The expression of the hypothesis aroused debates and controversies between the grammarians, more particularly between those of the Basra school and those of the Kufite school.

Nesta dissertação, busca-se analisar os elementos dramatúrgicos constituintes da polêmica peça Shopping and Fucking (1996), do dramaturgo britânico Mark Ravenhill, relacionando suas características de forma e conteúdo e seus decorrentes imbricamentos. O ponto de partida dessa empreitada encontra-se não somente em obras teóricas importantes da crítica de literatura, teatro e cultura de autoria de Peter Szondi, Anatol Rosenfeld, Roberto Schwarz e Fredric Jameson, mas também nas de autores mais estreitamente vinculados às ciências econômicas e à crítica do sistema mundial como Ernst Mandel e Robert Kurz. Podemos, por meio dessa análise, concluir que Ravenhill é capaz de retratar por meio da configuração da peça aspectos simultaneamente relacionados tanto à subjetividade quanto à sociedade contemporâneas ambas em estado de crise permanente. Na primeira parte da dissertação, procura-se introduzir historicamente a peça, o teatro In-yer-face e o período Thatcher. Na segunda parte, destacam-se principalmente os temas presentes abordados em relação à forma. Na terceira, há uma predominância da análise formal e observa-se a presença de elementos épicos que, algumas vezes desvirtuados, desestruturam a forma puramente dramática. Constatação essa que, segundo levantamento bibliográfico realizado, ainda não havia sido defendida por críticos que se debruçaram sobre a obra desse dramaturgo. E, na quarta parte, nas considerações finais, procura-se entender a forma e a sua respectiva correspondência com o contexto sócio-histórico segundo as considerações analíticas levantadas nos capítulos anteriores. / In this dissertation, our goal is to analyze the theatrical elements that constitute the controversial play Shopping and Fucking (1996), by the British playwright Mark Ravenhill, relating its characteristics of form and content and their resulting intersections. The focus lies not only on the important theoretical works of literature, theatre and culture critique by Peter Szondi, Anatol Rosenfeld, Roberto Schwarz and Fredric Jameson, but also on those of authors more closely tied to economics and world system critics such as Ernst Mandel and Robert Kurz. The analysis concludes that Ravenhill simultaneously relates aspects of subjectivity and the contemporary society both in a state of permanent crisis. The first part of the dissertation introduces the play, the In-yer-face theatre and the Thatcher period. The second part emphasizes the themes presented addressed in relation to the form. The third part stresses the predominance of formal analysis, in which epic elements, somewhat garbled, deconstruct the dramatical form. Nevertheless, according to bibliographical research, such an analysis has not been developed, to the present day, by critics familiar with Ravenhill\'s theatrical works. In the concluding chapter an understanding is sought towards the plays form and its correspondences with the socio-historical context following our previous analysis.

Cette thèse se donne pour enjeu de redéfinir l'identité littéraire de Mark Twain dans son articulation avec l'histoire. Clef de voûte de la mythologie nationale qui donne forme à l'identité américaine, le motif de la trace devient chez Twain un principe d'écriture où s'exprime une conscience historique dissidente. La réappropriation progressive de ce paradigme subvertit les représentations collectives pour définir une compréhension singulière de l'historicité de la nation et du devenir individuel. L'opposition entre la trace mnésique, inscription de l'histoire dans la profondeur du lieu, et la trace prospective, ébauche d'un tracé nouveau, structure dès l'origine les représentations symboliques de l'Ancien et du Nouveau Continent. À ces deux modalités de l'inscription correspondent chez Twain deux formes d'historicité, la stase et le progrès, et deux régimes politiques, la monarchie et la démocratie. Or son écriture subvertit cette polarité symbolique en dénonçant la stratification de l'histoire américaine, symptôme d'une dérive monarchique due à la perte des origines fondatrices de la nation. Se définit dès lors une économie historique où la trace des origines de la nation se révèle habitée par un régime de perte qui contamine quiconque cherche à les capter, tandis que le déterminisme des origines individuelles impose l'idée d'une fermeture de l'histoire. À l'emprise mortifère de la trace, l'écriture de Twain oppose l'utopie de la non-inscription, principe d'une sortie de l'histoire et d'une coïncidence retrouvée avec l'origine. La résurgence de tensions irrésolues dans les textes tardifs convertit cependant cette utopie en mise en scène de l'abolition de l'histoire. / : This thesis aims at redefining Mark Twain's literary identity in its articulation with history. The motif of the trace, which stands at the core of the national mythology that shapes American identity, is in Twain a writing principle expressing a dissident historical consciousness. The progressive reappropriation of this paradigm subverts collective representations and defines a singular apprehension of national and individual historicity. The opposition between the mnesic trace—which inscribes history into a place—and the prospective one—the starting point of a new tracing—lies at the root of the symbolical representations of the Old and the New Continents. In Twain's writings, these two forms of inscription correspond to two opposite modes of historicity—stasis and progress—and two political regimes—monarchy and democracy. Twain nevertheless subverts this symbolical polarity by revealing the stratification of American history. He thereby hints at a drift towards monarchy that results from the loss of the nation's founding principles. His fiction thus defines a historical economy in which the traces of the nation's origins appear to be inhabited by a principle of loss that may contaminate whoever attempts to appropriate them. The determinism of individual origins meanwhile suggests the closing down of history. To the deadly hold of the trace, his writings oppose the utopia of non- inscription – the principle of an escape from history and of a renewed coincidence with the origins. Yet the resurgence of unsolved tensions in Twain's late works converts the utopia into the staging of the abolition of history.

William Hale White "Mark Rutherford", (1831-1913) est avant tout connu comme auteur d'une autobiographie romancée écrite sous la pression d'une intense inquiétude spirituelle et métaphysique. Né à Bedford dans un milieu de dissidents non-conformistes, ses écrits ne se font pas seulement l'écho de l'expérience poignante de la perte de la foi et de l'irruption du doute religieux sous l'effet de la critique biblique et du développement de connaissances dans le domaine des sciences, mais ils mettent aussi en évidence avec beaucoup de subtilité le très grand fractionnement du paysage religieux anglais dans une petite ville de province. White ne se considéra jamais comme un professionnel de l'écriture. Il avait cinquante ans lorsqu'il publia The Autobiography (1881) puis The Deliverance (1884), deux courts récits qui constituent lřhistoire fictionnalisée de son expérience personnelle dans lesquels il décrit les difficultés rencontrées par le narrateur-personnage principal dans son désir de trouver une forme de « délivrance » qui lui permette de refonder ses certitudes ébranlées en redonnant à son existence une orientation rassurante et clairement définie. Ce travail accorde une large place à l'histoire des idées religieuses et intellectuelles, aux relations entre religion et culture ; il s'efforce de reconstituer certains aspects du paysage religieux et idéologique de l'époque victorienne à partir de la prise en compte de l'itinéraire de White, qui est entièrement placé sous le signe de la rupture avec les formes les plus traditionnelles de croyance. Il s'intéresse aussi à la dimension sociale, culturelle et éthique des débats spirituels et religieux en Grande-Bretagne. / William Hale White "Mark Rutherford" (1831-1913) is best known as the author of a fictionalized autobiography written under the pressure of intense spiritual and metaphysical concerns during the Victorian period. Born in a non conformist background in Bedford, his writings not only mirror his loss of faith and the Victorian crisis of doubt triggered by Biblical criticism and the new developments in sciences at the time, but they also highlight with great subtlety the varied religious and political landscape in an English country town. White did not consider himself as a professional author. He was fifty when his first works were published. In his fictional autobiographical writings, The Autobiography of Mark Rutherford (1881) and Mark Rutherford's Deliverance (1884), William Hale White describes the agonies of religious doubt in the mid-19th century. This dissertation is not only a study of White's work and background, but also a study of the history of intellectual and religious ideas, as well as an analysis of the social, cultural, ethical and religious debates in Great Britain. The intellectual and historical approach of this work discusses the debates between culture, religion and ethics in the Victorian period.

<p>Undersökning av färgen i förhållande till innehåll i Mark Rothkos abstrakta verk. Studien innefattar en undersökning i hur man skriver om färg i anslutning till Rothkos abstrakta målningars innehåll och huruvida färg kan avgöra betydelser.</p> / <p>A study about color in relationship to content in Mark Rothko’s abstract paintings. It includes a research in how people write about color when discussing Mark Rothko´s paintings and how that is related to content. It also looks at color in relationship to meaning.</p>

Undersökning av färgen i förhållande till innehåll i Mark Rothkos abstrakta verk. Studien innefattar en undersökning i hur man skriver om färg i anslutning till Rothkos abstrakta målningars innehåll och huruvida färg kan avgöra betydelser. / A study about color in relationship to content in Mark Rothko’s abstract paintings. It includes a research in how people write about color when discussing Mark Rothko´s paintings and how that is related to content. It also looks at color in relationship to meaning.

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