The role of religion in the construction of peace has often been associated with healing, forgiveness and reconciliation once violence has stopped. The burden of peacebuilding, however, often lies on the shoulders of religious actors while the conflict is still happening. This thesis studies how religious actors have used the construction of social memory as a tool for peacebuilding in a context of thin transition and on-going conflict. It contributes towards our understanding of the relationship between religion and social memory, in the construction of master narratives of suffering after the massacre of Bojayá. The research design followed the approach of the case study method and was conducted through the use of ethnography, interviews, archival research, and the use of secondary data. The thesis explains how initiatives of religious peacebuilding have changed in response to different stages of conflict in Chocó. It argues that religious beliefs, such as social sin and accompaniment, influenced the creation of a wider narrative of social memory that includes not only crimes against human rights but abuses against economic and cultural rights. These beliefs contributed to strengthening a participatory bottom-up process of social memorialisation and peacebuilding. Contrary to official and widely spread narratives of social memory, the local church has contributed to explain violence in Chocó as a crime against humanity. This narrative has served two purposes. First, it aims to instigate a sense of urgency about the conflict that affects Afro-Colombian communities, demanding the intervention of the national civil society to stop the violence in the region. Second, broad narratives of atrocities can prevent the personalisation of violence and targeting individual perpetrators as the source of violence, averting the creation of new cycles of violence. In addition, the social construction of emotions in a religious context can shape the narratives of social memory that encourage the social construction of positive emotions in victims, such as dignity, optimism and happiness. Positive emotions are crucial in supporting a social peace process even before a political peace agreement has been signed. These initiatives of religious peacebuilding were analysed for their contribution to a model of emancipatory peacebuilding, which can expand our understanding of religious peacebuilding and the role of social memory in the construction of peace, by supporting the claims of transformative reparation and social justice from below.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 442-463). Available also in a digital version from Dissertation Abstracts.

Thesis (B.A. Hons.)--University of Adelaide, 1960. / Includes bibliographical references.

Thesis (Ph.D.) -- University of Western Sydney, Hawkesbury, 1999. / Thesis submitted for the degree of Doctor of Philosophy. Includes bibliographical references (leaves 166-175).

Thesis (M.A.)--University of Wollongong, 2003. / Title from PDF title page (viewed on Aug. 13, 2005). Ill., maps, and facsims. in print version are lacking in electronic version. Includes bibliographical references.

Thesis (M.A.)--Humboldt State University, 2007. / Includes bibliographical references (leaves 107-114). Also available via Humboldt Digital Scholar.

During the First Crusade's onset, lay enthusiasm went unregulated. Popular preachers spread Urban II's call to crusade across Europe, and after Peter the Hermit left the Rhineland, religious tension flared and culminated in the 1096 A.D. Jewish massacres. This paper examines Christian crusader motivation during the 1096 massacres. Through textual analysis of contemporary Latin and Hebrew chronicles and medieval eschatological legends, I argue that the conversion of the Jewish communities to Christianity was the primary motivation of the Christian crusaders and neighboring burghers. I suggest that figures such as Count Emicho of Flonheim were likely inspired by the eschatological legend of the Last Roman Emperor and sought to destroy the Jewish communities to bring the second coming of Christ and the End Times. The Jewish communities' destruction was through conversion or the sword, however, I argue through primary source examples that conversion was preferable, and crusaders and burghers went to great lengths to see conversion through. This study is part of a growing body of research on conversion during the 1096 massacres, specifically conversion linked to Christian millenarianism. This study aims to add to the greater literature and offer another voice to the ongoing conversation.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-20T08:44:54Z No. of bitstreams: 1 Roseli Conceição de Moraes Rojas Demercian.pdf: 21774094 bytes, checksum: 95d38f47211b39dad7285d98ed51bcb6 (MD5) / Made available in DSpace on 2017-12-20T08:44:55Z (GMT). No. of bitstreams: 1 Roseli Conceição de Moraes Rojas Demercian.pdf: 21774094 bytes, checksum: 95d38f47211b39dad7285d98ed51bcb6 (MD5) Previous issue date: 2017-12-14 / Art in postmodernity does not survive by itself, without generating influxes in the social environment. It must make explicit the worldviews that structure reality, developing a multifaceted activity. As the art system expands throughout the world, so does the demand for curators who see a remarkable strengthening of their role. Thus, we discuss in the present thesis what should be expected of the art curator to develop criteria in the construction of an exhibition, with a new narrative communicational, raising the following hypotheses: what is the practical dimension of curatorial action and its characteristics current? Is it the art curator's job to educate the target audience? The general objective, therefore, is the study of how the curator's action should be, based on a legitimizing knowledge of contemporaneity; and its specific objective is the development of general criteria and models for this practical action, indent to utopias, in a method embodied in the space / time / occupation triad. The curator is an actor whose functions, methodology and activity have not yet been sufficiently explored in scientific research, which in practice have been diffused, marked by a strong empiricism that does nothing to develop curative theories. He must propose, through mediation, not only the orientation of the artist, but also the education of the gaze, thus revealing an effective interpretation of the world. The curatorship that served as a basis for this thesis was structured in four ethnographic concepts, namely: genocide of the Armenian people, memory, lectures and affective cartography. They were theorists: HANS ULBRICH OBRIST, who motivated the investigation of the materialization of the exhibition space, starting from conversations, meetings and exchanges, with the reinvention of a new meeting point with art, establishing relational and communicational criteria; JOHN DEWEY, whose concepts propitiated a new vision of research resulting from the junction between the new and the old, through the experience of the real, in which the impulsion gains form and solidity; and LÚCIA LEÃO, whose teachings raised the need to understand the process of creative construction of experience, resulting from a mapping of the global and panoramic view of the terrain on which the labyrinth would be projected. As a historical fact, the genocide of the Armenian people, recalled in its 100 years, the methodology used was eminently empirical based on reports, interviews and recordings, collecting files, documents of affection and memories. In order to achieve its purpose, it had, necessarily, an interdisciplinary character, involving, therefore, different areas of knowledge. The field survey lasted for approximately twelve months and its execution lasted for the same period. It is believed that the relevance of this research rests on its provocative character of affections because it revisits the memory and, at the same time, invites the dialogue. This aetiological construction requires study and repertoire acquisition, so that, based on these hypotheses, a great number of aesthetic, historical, political and social relations can be established. It has been demonstrated in this way that the final destination of the archive lies not in its own narrative but in the history that it makes possible / A arte na pós-modernidade não sobrevive por ela mesma, sem gerar influxos no meio social. Ela deve explicitar as visões de mundo que estruturam a realidade, desenvolvendo para tanto uma atividade multifacetada. Na medida em que o sistema das artes se expande pelo mundo, cresce também a demanda por curadores, que veem um notável fortalecimento do seu papel. Dessa forma, discute-se na presente tese o que se deve esperar do curador de arte para o desenvolvimento de critérios na construção de uma exposição, com uma nova narrativa comunicacional, suscitando as seguintes hipóteses: qual a dimensão prática da ação curatorial e suas características atuais? É tarefa do curador de arte a educação do público-alvo? O objetivo geral, portanto, é o estudo de como deve ser a atuação do curador, pautado num saber legitimador da contemporaneidade; e seu objetivo específico é o desenvolvimento de critérios e modelos gerais para essa atuação prática, indene a utopias, num método plasmado na tríade espaço/tempo/ocupação. O curador é um ator cujas funções, metodologia e atividade ainda não foram suficientemente exploradas nas pesquisas científicas, que, na prática, têm se mostrado difusas, marcadas por um forte empirismo que nada coopera para o desenvolvimento de teorias curatorias. Ele deve propor, pela mediação, não só a orientação do artista, como também a educação do olhar, descortinando, dessa forma, uma efetiva interpretação de mundo. A curadoria que serviu de base para a presente tese foi estruturada em quatro conceitos etnográficos, quais sejam: genocídio do povo armênio, memória, palestras e cartografia afetiva. Serviram-lhe de teóricos: HANS ULBRICH OBRIST, que motivou a investigação sobre a materialização do espaço expositivo, partindo de conversas, encontros e trocas reunidas, com a reinvenção de um novo ponto de encontro com a arte, estabelecendo critérios relacionais e comunicacionais; JOHN DEWEY, cujos conceitos propiciaram uma nova visão de pesquisa decorrente da junção entre o novo e o velho, por meio da experiência do real, em que a impulsão ganha forma e solidez; e LÚCIA LEÃO, cujos ensinamentos suscitaram a necessidade de se compreender o processo de construção criativa da experiência, resultante de um mapeamento do olhar global e panorâmico do terreno no qual o labirinto seria projetado. Como se abordou um fato histórico, o genocídio do povo armênio, rememorado nos seus 100 anos, a metodologia utilizada foi eminentemente empírica baseada em relatos, entrevistas e gravações, colhendo-se arquivos, documentos de afeto e memórias. Para a consecução da sua finalidade, teve, necessariamente, caráter interdisciplinar, envolvendo, portanto, diferentes áreas do conhecimento. A pesquisa de campo se prolongou por, aproximadamente, doze meses e a sua execução se estendeu por igual período. Acredita-se que a relevância desta pesquisa repousa no seu caráter provocador de afetos pois revisita a memória e, ao mesmo tempo, convida ao diálogo. Essa construção etiológica requer estudo e aquisição de repertório, para que, com base nessas hipóteses, se possa estabelecer um grande número de relações estéticas, históricas, políticas e sociais. Demonstrou-se, dessa maneira, que o destino final do arquivo está situado, não em sua própria narrativa, mas sim na história que ele torna possível

Even though public mass shootings are relatively rare, they represent an atypical form of violence that is both sudden and yields an unprecedented amount of carnage; for these reasons, an inordinate amount of scholarship has been produced in order to isolate both the causes and effects of these rampages. As there is no clear cut and universal cause, over the past forty years numerous factors have been offered to account for these types of shootings, including bullying, peer relations, family problems, cultural conflict, demographic change, mental illness, gun culture, copycatting, and the media. While there appears to be an element of truth in each of these perspectives, all of these isolated factors focus upon only one or two surface-level influences, thus ignoring the possibility that multiple and distinct causes are interacting with one another. The aim of this study is to construct a meaningful model of motivation that is common to each situation, is to build upon psycho-social theories of crime, and to highlight which combination of specific background factors and processes is necessary to produce these vicious massacres. To answer the underlying research question, "Why do certain individuals elect this specific line of action?" this thesis will first provide a review of the relevant literature, will then emphasize three key social and psychological predisposers that combine together to negatively influence the individuals involved, and will subsequently highlight five separate and unique case studies in order to examine the proposed model.

Thesis (M.A. (History)) - Rhodes University, 2009.