Esta Tese de Doutorado tem por objetivo discutir a questão da mimesis da interioridade no Mercador de Veneza, de William Shakespeare. A pesquisa está embasada na obra Inwardness and Theater in the English Renaissance, de Maus (1995), e na obra Shakespeare Philosophy, de McGinn (2007), na crítica literária da peça. Maus apresenta a interioridade como um constructo social e cultural da Renascença Inglesa. Ela analisa a interioridade tomando como base a oposição entre aparências, consideradas falsas e enganosas na época, e interioridade, que era tida como manifestações sinceras e verdadeiras das dimensões interiores do indivíduo. Contudo, McGinn vai além da discussão de Maus sobre interioridade, ao perceber que Shakespeare representou as dimensões obscuras incontroláveis do indivíduo. Ele apresenta as forças misteriosas que controlam os pendores interiores das personagens. Além disso, a tese busca analisar a constelação de motivos e a retórica da interioridade que representam sentimentos interiores na peça de Shakespeare. Parte da hipótese de que a mimesis shakespeariana da interioridade é representada em sinais, sutis tais como os silêncios, os não-ditos, as rupturas de linguagem, gestos corporais, pathos, contradições de ideias e pensamentos, a consciência, vergonha e atos falhos. Ademais, a mimesis shakespeariana da interioridade é construída através do artifício do espelhamento que é a representação das dimensões interiores e os pendores da mente nos sentimentos, ideias, gestos, pensamentos, comportamento e atitude de outras personagens. Na verdade, Shakespeare não inventou a interioridade, mas aprofundou a representação da interioridade introduzindo traços inovadores na linguagem do drama. Este trabalho também discute o estranho desenvolvimento da crítica sobre a peça, apresentando que a crítica dos séculos XVIII e XIX lia Shylock como um herói trágico, ao passo que a crítica do século XX lia Shylock como um vilão cômico, provavelmente influenciada pelo antissemitismo da primeira metade do século. Essa pesquisa foca sobre a estranha relação entre Antonio e Bassanio, assim como sua relação com Shylock. Sua relação é representada como homoerótica e o desejo de um frívolo sacrifício de Antonio por Bassanio sugere a interioridade de Antonio. Shylock é também representado como o pai primordial da peça e esse detalhe sugere a causa da tristeza de Antonio no começo da peça. Analisa também o teste dos escrínios de Portia e demonstra seu desejo de defraudar o testamento de seu pai, tão logo ela pede que se toque uma canção que sugere em suas rimas o verdadeiro escrínio. Discute os problemas da consciência de Launcelot e da interioridade de Jessica. Analisa também a relação distante entre Jessica e Shylock, como também sua partida da casa de seu pai e roubo de seu dinheiro, como uma forma de afrontar o poder patriarcal. Centra-se também na cegueira de Shylock para com as intenções reais de sua filha. Interpreta a cena do julgamento de Shylock e como Portia forja um julgamento fraudulento, anulando o contrato de Shylock a tomando sua propriedade. Apresenta uma discussão sobre a mimesis shakespeariana de interioridade, com base nas considerações de Auerbach e Dubois, assim como discute o problema do gênero da peça, sugerindo que a peça não é uma mera comédia, mas uma tragicomédia. / This Doctorate thesis aims at discussing the issue of mimesis of inwardness in The Merchant of Venice, by William Shakespeare. This survey is based on Maus‘ Inwardness and Theater in the English Renaissance (1995), McGinn‘s work Shakespeare Philosophy (2007) and the literary criticism on the play. Maus presents inwardness as social and cultural construct of the English Renaissance. She analyses inwardness based on the opposition between appearances, considered false and deceitful in the age, and inwardness, which was taken as true and sincere manifestations of the inward dimensions of the self. However, McGinn goes beyond Maus‘ discussion on inwardness, perceiving that Shakespeare represented the uncontrolled obscure inward dimensions of the self. He presents the mysterious forces which control the characters‘ inward dispositions. Moreover, the thesis aims at analysing the constellation of motifs and the rhetoric of inwardness which represent inward feelings in Shakespeare‘s play. It parts from the hypothesis that Shakespearean mimesis of inwardness is represented in subtle signs such as silences, non-said, breaks in language, bodily gestures, pathos, contradictions in ideas and thoughts, conscience, shame, and verbal slips. Furthermore, Shakespeare‘s mimesis of inwardness is contructed through the mirroring device which is the representation of a character‘s inward dimensions and dispositions of the mind in other character‘s feelings, ideas, thoughts, gestures, behaviour and attitude. Actually, Shakespeare did not invent inwardness, but he deepened the representation of inwardness introducing innovating traits in language in the drama. This work also discusses the awkward development of the criticism on the play, presenting that the 18th and 19th century criticism read Shylock as a tragic hero, whereas 20th century criticism read Shylock as a comic villain probably influenced by anti-Semitism of the first half of the century. This research focuses on the awkward relationship between Antonio and Bassanio, as well as their relationship with Shylock. Their relation is depicted as homoerotic and Antonio‘s desire of a frivolous sacrifice for Bassanio suggests Antonio‘s inwardness. Shylock is also depicted as the primordial father of the play and such detail hints at the cause of Antonio‘s sadness in the beginning of the play. It analyses Portia‘s casket trial and demonstrates her desire of outwitting her father‘s will, as soon as she demands to play a song which suggests in its rhyme the true casket. It discusses the problems of conscience in Launcelot‘s and Jessica‘s inwardness. It also analyses the distant relationship between Jessica and Shylock, as well as her leaving her father‘s house and taking his wealth, as a way of affronting the patriarchal power. It focuses on Shylock‘s blindness towards his daughter‘s real intentions. It analyses the trial scene and how Portia forges a fraudulent trial, undoing Shylock‘s bond and taking his property. It presents a discussion on Shakespeare‘s mimesis of inwardness, based on Auerbach‘s and Dubois‘ assumptions, as well as discusses the problem of the genre of the play, suggesting that the play is not a mere comedy, but a tragicomedy.

Esta Tese de Doutorado tem por objetivo discutir a questão da mimesis da interioridade no Mercador de Veneza, de William Shakespeare. A pesquisa está embasada na obra Inwardness and Theater in the English Renaissance, de Maus (1995), e na obra Shakespeare Philosophy, de McGinn (2007), na crítica literária da peça. Maus apresenta a interioridade como um constructo social e cultural da Renascença Inglesa. Ela analisa a interioridade tomando como base a oposição entre aparências, consideradas falsas e enganosas na época, e interioridade, que era tida como manifestações sinceras e verdadeiras das dimensões interiores do indivíduo. Contudo, McGinn vai além da discussão de Maus sobre interioridade, ao perceber que Shakespeare representou as dimensões obscuras incontroláveis do indivíduo. Ele apresenta as forças misteriosas que controlam os pendores interiores das personagens. Além disso, a tese busca analisar a constelação de motivos e a retórica da interioridade que representam sentimentos interiores na peça de Shakespeare. Parte da hipótese de que a mimesis shakespeariana da interioridade é representada em sinais, sutis tais como os silêncios, os não-ditos, as rupturas de linguagem, gestos corporais, pathos, contradições de ideias e pensamentos, a consciência, vergonha e atos falhos. Ademais, a mimesis shakespeariana da interioridade é construída através do artifício do espelhamento que é a representação das dimensões interiores e os pendores da mente nos sentimentos, ideias, gestos, pensamentos, comportamento e atitude de outras personagens. Na verdade, Shakespeare não inventou a interioridade, mas aprofundou a representação da interioridade introduzindo traços inovadores na linguagem do drama. Este trabalho também discute o estranho desenvolvimento da crítica sobre a peça, apresentando que a crítica dos séculos XVIII e XIX lia Shylock como um herói trágico, ao passo que a crítica do século XX lia Shylock como um vilão cômico, provavelmente influenciada pelo antissemitismo da primeira metade do século. Essa pesquisa foca sobre a estranha relação entre Antonio e Bassanio, assim como sua relação com Shylock. Sua relação é representada como homoerótica e o desejo de um frívolo sacrifício de Antonio por Bassanio sugere a interioridade de Antonio. Shylock é também representado como o pai primordial da peça e esse detalhe sugere a causa da tristeza de Antonio no começo da peça. Analisa também o teste dos escrínios de Portia e demonstra seu desejo de defraudar o testamento de seu pai, tão logo ela pede que se toque uma canção que sugere em suas rimas o verdadeiro escrínio. Discute os problemas da consciência de Launcelot e da interioridade de Jessica. Analisa também a relação distante entre Jessica e Shylock, como também sua partida da casa de seu pai e roubo de seu dinheiro, como uma forma de afrontar o poder patriarcal. Centra-se também na cegueira de Shylock para com as intenções reais de sua filha. Interpreta a cena do julgamento de Shylock e como Portia forja um julgamento fraudulento, anulando o contrato de Shylock a tomando sua propriedade. Apresenta uma discussão sobre a mimesis shakespeariana de interioridade, com base nas considerações de Auerbach e Dubois, assim como discute o problema do gênero da peça, sugerindo que a peça não é uma mera comédia, mas uma tragicomédia. / This Doctorate thesis aims at discussing the issue of mimesis of inwardness in The Merchant of Venice, by William Shakespeare. This survey is based on Maus‘ Inwardness and Theater in the English Renaissance (1995), McGinn‘s work Shakespeare Philosophy (2007) and the literary criticism on the play. Maus presents inwardness as social and cultural construct of the English Renaissance. She analyses inwardness based on the opposition between appearances, considered false and deceitful in the age, and inwardness, which was taken as true and sincere manifestations of the inward dimensions of the self. However, McGinn goes beyond Maus‘ discussion on inwardness, perceiving that Shakespeare represented the uncontrolled obscure inward dimensions of the self. He presents the mysterious forces which control the characters‘ inward dispositions. Moreover, the thesis aims at analysing the constellation of motifs and the rhetoric of inwardness which represent inward feelings in Shakespeare‘s play. It parts from the hypothesis that Shakespearean mimesis of inwardness is represented in subtle signs such as silences, non-said, breaks in language, bodily gestures, pathos, contradictions in ideas and thoughts, conscience, shame, and verbal slips. Furthermore, Shakespeare‘s mimesis of inwardness is contructed through the mirroring device which is the representation of a character‘s inward dimensions and dispositions of the mind in other character‘s feelings, ideas, thoughts, gestures, behaviour and attitude. Actually, Shakespeare did not invent inwardness, but he deepened the representation of inwardness introducing innovating traits in language in the drama. This work also discusses the awkward development of the criticism on the play, presenting that the 18th and 19th century criticism read Shylock as a tragic hero, whereas 20th century criticism read Shylock as a comic villain probably influenced by anti-Semitism of the first half of the century. This research focuses on the awkward relationship between Antonio and Bassanio, as well as their relationship with Shylock. Their relation is depicted as homoerotic and Antonio‘s desire of a frivolous sacrifice for Bassanio suggests Antonio‘s inwardness. Shylock is also depicted as the primordial father of the play and such detail hints at the cause of Antonio‘s sadness in the beginning of the play. It analyses Portia‘s casket trial and demonstrates her desire of outwitting her father‘s will, as soon as she demands to play a song which suggests in its rhyme the true casket. It discusses the problems of conscience in Launcelot‘s and Jessica‘s inwardness. It also analyses the distant relationship between Jessica and Shylock, as well as her leaving her father‘s house and taking his wealth, as a way of affronting the patriarchal power. It focuses on Shylock‘s blindness towards his daughter‘s real intentions. It analyses the trial scene and how Portia forges a fraudulent trial, undoing Shylock‘s bond and taking his property. It presents a discussion on Shakespeare‘s mimesis of inwardness, based on Auerbach‘s and Dubois‘ assumptions, as well as discusses the problem of the genre of the play, suggesting that the play is not a mere comedy, but a tragicomedy.

Esta Tese de Doutorado tem por objetivo discutir a questão da mimesis da interioridade no Mercador de Veneza, de William Shakespeare. A pesquisa está embasada na obra Inwardness and Theater in the English Renaissance, de Maus (1995), e na obra Shakespeare Philosophy, de McGinn (2007), na crítica literária da peça. Maus apresenta a interioridade como um constructo social e cultural da Renascença Inglesa. Ela analisa a interioridade tomando como base a oposição entre aparências, consideradas falsas e enganosas na época, e interioridade, que era tida como manifestações sinceras e verdadeiras das dimensões interiores do indivíduo. Contudo, McGinn vai além da discussão de Maus sobre interioridade, ao perceber que Shakespeare representou as dimensões obscuras incontroláveis do indivíduo. Ele apresenta as forças misteriosas que controlam os pendores interiores das personagens. Além disso, a tese busca analisar a constelação de motivos e a retórica da interioridade que representam sentimentos interiores na peça de Shakespeare. Parte da hipótese de que a mimesis shakespeariana da interioridade é representada em sinais, sutis tais como os silêncios, os não-ditos, as rupturas de linguagem, gestos corporais, pathos, contradições de ideias e pensamentos, a consciência, vergonha e atos falhos. Ademais, a mimesis shakespeariana da interioridade é construída através do artifício do espelhamento que é a representação das dimensões interiores e os pendores da mente nos sentimentos, ideias, gestos, pensamentos, comportamento e atitude de outras personagens. Na verdade, Shakespeare não inventou a interioridade, mas aprofundou a representação da interioridade introduzindo traços inovadores na linguagem do drama. Este trabalho também discute o estranho desenvolvimento da crítica sobre a peça, apresentando que a crítica dos séculos XVIII e XIX lia Shylock como um herói trágico, ao passo que a crítica do século XX lia Shylock como um vilão cômico, provavelmente influenciada pelo antissemitismo da primeira metade do século. Essa pesquisa foca sobre a estranha relação entre Antonio e Bassanio, assim como sua relação com Shylock. Sua relação é representada como homoerótica e o desejo de um frívolo sacrifício de Antonio por Bassanio sugere a interioridade de Antonio. Shylock é também representado como o pai primordial da peça e esse detalhe sugere a causa da tristeza de Antonio no começo da peça. Analisa também o teste dos escrínios de Portia e demonstra seu desejo de defraudar o testamento de seu pai, tão logo ela pede que se toque uma canção que sugere em suas rimas o verdadeiro escrínio. Discute os problemas da consciência de Launcelot e da interioridade de Jessica. Analisa também a relação distante entre Jessica e Shylock, como também sua partida da casa de seu pai e roubo de seu dinheiro, como uma forma de afrontar o poder patriarcal. Centra-se também na cegueira de Shylock para com as intenções reais de sua filha. Interpreta a cena do julgamento de Shylock e como Portia forja um julgamento fraudulento, anulando o contrato de Shylock a tomando sua propriedade. Apresenta uma discussão sobre a mimesis shakespeariana de interioridade, com base nas considerações de Auerbach e Dubois, assim como discute o problema do gênero da peça, sugerindo que a peça não é uma mera comédia, mas uma tragicomédia. / This Doctorate thesis aims at discussing the issue of mimesis of inwardness in The Merchant of Venice, by William Shakespeare. This survey is based on Maus‘ Inwardness and Theater in the English Renaissance (1995), McGinn‘s work Shakespeare Philosophy (2007) and the literary criticism on the play. Maus presents inwardness as social and cultural construct of the English Renaissance. She analyses inwardness based on the opposition between appearances, considered false and deceitful in the age, and inwardness, which was taken as true and sincere manifestations of the inward dimensions of the self. However, McGinn goes beyond Maus‘ discussion on inwardness, perceiving that Shakespeare represented the uncontrolled obscure inward dimensions of the self. He presents the mysterious forces which control the characters‘ inward dispositions. Moreover, the thesis aims at analysing the constellation of motifs and the rhetoric of inwardness which represent inward feelings in Shakespeare‘s play. It parts from the hypothesis that Shakespearean mimesis of inwardness is represented in subtle signs such as silences, non-said, breaks in language, bodily gestures, pathos, contradictions in ideas and thoughts, conscience, shame, and verbal slips. Furthermore, Shakespeare‘s mimesis of inwardness is contructed through the mirroring device which is the representation of a character‘s inward dimensions and dispositions of the mind in other character‘s feelings, ideas, thoughts, gestures, behaviour and attitude. Actually, Shakespeare did not invent inwardness, but he deepened the representation of inwardness introducing innovating traits in language in the drama. This work also discusses the awkward development of the criticism on the play, presenting that the 18th and 19th century criticism read Shylock as a tragic hero, whereas 20th century criticism read Shylock as a comic villain probably influenced by anti-Semitism of the first half of the century. This research focuses on the awkward relationship between Antonio and Bassanio, as well as their relationship with Shylock. Their relation is depicted as homoerotic and Antonio‘s desire of a frivolous sacrifice for Bassanio suggests Antonio‘s inwardness. Shylock is also depicted as the primordial father of the play and such detail hints at the cause of Antonio‘s sadness in the beginning of the play. It analyses Portia‘s casket trial and demonstrates her desire of outwitting her father‘s will, as soon as she demands to play a song which suggests in its rhyme the true casket. It discusses the problems of conscience in Launcelot‘s and Jessica‘s inwardness. It also analyses the distant relationship between Jessica and Shylock, as well as her leaving her father‘s house and taking his wealth, as a way of affronting the patriarchal power. It focuses on Shylock‘s blindness towards his daughter‘s real intentions. It analyses the trial scene and how Portia forges a fraudulent trial, undoing Shylock‘s bond and taking his property. It presents a discussion on Shakespeare‘s mimesis of inwardness, based on Auerbach‘s and Dubois‘ assumptions, as well as discusses the problem of the genre of the play, suggesting that the play is not a mere comedy, but a tragicomedy.

In this thesis we retrieve semantic information that exists implicitly in bilingual data. We gather input data by repeatedly applying the semantic mirroring procedure. The data is then represented by vectors in a large vector space. A resource of synonym clusters is then constructed by performing K-means centroid-based clustering on the vectors. We evaluate the result manually, using dictionaries, and against WordNet, and discuss prospects and applications of this method. / I det här arbetet utvinner vi semantisk information som existerar implicit i tvåspråkig data. Vi samlar indata genom att upprepa proceduren semantisk spegling. Datan representeras som vektorer i en stor vektorrymd. Vi bygger sedan en resurs med synonymkluster genom att applicera K-means-algoritmen på vektorerna. Vi granskar resultatet för hand med hjälp av ordböcker, och mot WordNet, och diskuterar möjligheter och tillämpningar för metoden.

Den här essän kommer att behandla ett vanligt förekommande ämne inom förskolan, introduktioner av nya barn och föräldrar. Genom introduktionen måste pedagoger förhålla sig till den nya familjen för att försöka få till anknytning och trygghet. Utgångspunkten ligger i två egen upplevda dilemman där pedagogerna beskriver två olika introduktioner. Den ena introduktionen pågår en längre period. Barnet vill inte släppa sin förälder och är ledsen så fort föräldern försöker lämna honom. Den andra introduktionen går fort, barn och förälder visar glädje. Pedagogerna på den förskolan känner trots det en oro då barnet upplevs gränslöst när hon springer mellan aktiviteter, andra barn och deras föräldrar. Syftet med den här essän är att undersöka hur olika anknytningsmönster och förutsättningar kan påverka introduktionen av nya familjer i förskolan. Den kommer även att belysa pedagogens eller pedagogernas erfarenhet, samt hur viktigt det är med ett gott samarbete. Förskolans miljö och organisation kommer också att undersökas och vilken roll den spelar för barnets introduktion och även för pedagogernas möjlighet att utföra en god introduktion. Detta kommer att göras genom tre frågeställningar, vilka är: Hur kan vi som pedagoger möta Pelle och Almas olika behov? Vilka är förutsättningarna för en god introduktion? Vilka psykologiska fenomen är relevanta för introduktionen? Genom att använda olika begrepp såsom affektteori, affektintoning, trygg bas, säker hamn och anknytning kan den här essän närma sig dessa frågeställningar. Essäns huvudsakliga uppgift är att ge pedagoger, oavsett erfarenhet, olika perspektiv på introduktionen och hur dessa kan tillämpas på nya familjer. I essän beskrivs anknytningsteorins framväxt och graderingar av olika anknytningar. Trygg bas och säker hamn är olika sätt att se hur en anknytning fungerar mellan barnet och föräldern, då det är där den första anknytningen börjar. Under arbetets gång har fokus på barn och föräldrar blivit mer nyanserat och pedagogernas roll undersökts allt mer kritiskt. Genom litteraturstudier och samtal i handledningsgruppen på skolan och med kollegor har vi fått en större förståelse för alla parter som deltar under introduktion till förskolan. En viktig slutsats vi kom fram till är att anknytning, oavsett till vem, inte kan skyndas fram. Den måste få växa fram genom tillit och trygghet. / This essay will treat a common subject within the preschool environment, the introductions of new children and parents. Throughout the introduction, teachers must relate to the new family to try and achieve a connection/attachment and provide security. The starting point is two self-perceived dilemmas where the teachers describe two different introductions. One introduction goes on for a longer period. The child does not want to let go of its parent and is sad as soon as the parent tries to leave it. The second introduction goes fast, children and parents are expressing happiness. The teachers at the preschool nevertheless are concernedwhen the child is perceived boundless as it runs between activities, other children and their parents. The purpose of this essay is to investigate how different connection patterns and prerequisites can affect the introduction of new families to the preschool environment. It will also examine the experience of the teacher or teachers, and the importance of good cooperation between the teachers. The preschool's environment and organisation will also be investigated and the role it plays in the introduction of the child and also for allowing the teachers to carry out a good introduction. This will be done through three questions, which are: How can we, as teachers, meet Pelle and Alma's different needs? What are the prerequisites and conditions needed for a good introduction? What psychological phenomena are relevant to the introduction? By using different concepts such as affect theory, mirroring, safe base, safe heaven and connection/attachment, this essay can approach these issues. Essen's main task is to provide teachers, regardless of experience, with different perspectives on the introduction and how these can be applied to new families. The essay describes the progression of the connection/attachment theory with different levels of connection. Safe base and safe heaven are different ways to see how a connection/attachment works between the child and the parent, as that is where the first connection/attachment is established. During the work, the focus on the children and parents has become more nuanced and the role of teachers is increasingly critical. Through literature studies and discussions in the tutoring group at school and with colleagues, we have gained a greater understanding of all parties involved in the introduction to preschool. An important conclusion we found is that connection/attachment, regardless of who cannot be accelerated. It must grow through trust and confidence.

The research presented in this thesis is an explorative study into the basic concepts and the effects of dance movement psychotherapy (DMP) intervention on the attunement behaviours of children and adolescents with autism spectrum disorders (ASD). From a retrospective analysis of positively evaluated single cases of DMP with ASD participants, movement markers of interpersonal relating behaviours have been formulated in terms of Social Engagement and Attunement Movement (SEAM) behaviours. These were organised into an observation scale, and used subsequently to generate nominal observation data on the behaviours of a small sample of children with ASD. Evaluation with the SEAM observation scale yielded a significant increase of SEAM behaviours in the course of the dance therapy. Retrospective analysis of the actions of the therapist throughout four single cases of DMP with ASD participants yielded a specific approach that was described as Shared Movement Approach (SMA). SMA has been specified as an improvisation based method of DMP that takes the child's interpersonal attunement and engagement behaviours as cues for the therapist to accommodate her interventions, so that the child's interpersonal relating behaviours are facilitated and supported. Through her kinaesthetically informed interventions the DMP therapist contributes to an increase of interpersonal engagement and attunement by the ASD participant from within the shared movement actions. The SEAM observation scale was explored on conceptual clarity and consistency in a group of independent movement analysts, and interrater agreement was used as an indication of its contents validity. An interval rating procedure with the SEAM scale yielded the best results on interrater agreement as expressed in Cohen's kappa. The Shared Movement Approach and the SEAM observation scale were then tested for replication of outcome on SEAM behaviours within four repeated single subject cases in a pilot study in a Dutch outpatient clinical setting. The outcome monitoring yielded the replication of increase of interpersonal relating behaviours as measured with the SEAM observation scale. Within subject therapy outcomes, although diverse in their individual profiles, were found to be significant when analysed with non-parametric tests. Group averages showed a significant increase of SEAM behaviours. The effects beyond therapy were evaluated with the somatic and social sub-scales of the Child Behaviour Checklist (CBCL) and the Social Responsiveness Scale (SRS), showing individual differences and a significant problem reduction on average. The outcomes as experienced by the juvenile participants were evaluated with the somatic and social sub-scales of the Youth Self Report (YSR), which on average showed a significant decrease of experienced social and somatic problems. The results obtained are discussed in view of current theories on experiential approaches and concepts for psychotherapy with an ASD population.

In John Calvin and Ellen G White’s sense making approaches God’s act of redemption and reconciliation in and through Jesus Christ takes the centre stage in the foursome of God’s acts expressed in the biblical historical timeline as creation, reconciliation in Jesus Christ, renewal through the Holy Spirit and fulfilment at the end of time. While the 16th century Calvin emphasised God’s acts of creation and reconciliation in Christ more than God’s acts of renewal and fulfilment, the 19th century White’s emphasis was more on God’s acts of reconciliation in Christ and fulfilment at the end of time than on creation and renewal through the Spirit. With all the differences in their sense making approaches their central perspectival focus in their writings, sayings and doings is the way God and humanity, heaven and earth are closely connected in a unity without being fused and mixed in Jesus Christ. Their central christological theme of ‘God staying God’ and ‘human staying human’ in an interactional substantialist sense in Christ designates the great alternative view that differs on the one hand, from the view of the trans-substantialist option in which the human being Christ Jesus is in a sacramental-sacred way transformed into ‘a divine human being’ –, and on the other hand, the view of the consubstantialist option in which the human being Jesus is permeated and diffused by his divinity, thereby becoming ‘the human God.’ Calvin and White in their reflection operating within the realm of divine historicity that is staying within the biblical historical timeline from Genesis to Revelation were viewed by many as not theologians in the real sense of the word. Calvin and may be to a greater extent White worked and contributed to the new and emerging field of Faith Studies in which a theologian or theorist of faith cannot reflect on God, human beings or the natural cosmic world in three separate avenues as was commonly the case with speculative and scholastic theologies in history. White’s Faith Studies contribution is in the global arena of theology where the omnipresent ‘–logies’ of mainline church theologies such as Christology, Ecclesiology, Pneumatology and Eschatology hold sway.

This thesis examines key concepts from philosophers Nishida Kitaro, Maurice Merleau-Ponty and Fredriche Nietzsche and applies them to elements of Michael Chekhov’s practice of acting. The three philosophers, in different ways, suggest an ‘optimal’ state, beyond a dualistic separation of the fictive from the real and the visible from the invisible, that challenges seemingly unbridgeable dualisms between inner and outer, subject and object, being and becoming and experiencer and experienced. The purpose of this thesis is to analyze and understand these selected ‘optimal’ modes of consciousness in performance and, therefore, open up new ways of thinking about Michael Chekhov’s acting processes; in particular the ‘Psychological Gesture’. The thesis asks the following questions: 1. How can the application of selected philosophical paradigms to the Psychological Gesture through theory and practice further our understanding of Michael Chekhov’s work? 2. How do selected aspects of the fields of phenomenology, post-phenomenology, cognitive sciences, consciousness studies and philosophy of mind, aid in developing an articulation and understanding of an ‘optimal’ state of consciousness as a necessary aspect of the actor’s performance in Michael Chekhov’s work and theatre practice? 3. How can this project develop the way we are able to talk about Michael Chekhov’s work and wider acting processes?

Mgr. Magdalena Kučerová Dissertation work: Myth of Narcissus in French literature at the turn of the 20th century ABSTRACT: This dissertation thesis based on knowledge of French myth criticism deals with the issue of myths in literature, which is a specific manifestation of human symbolic imagination. In its most general level the work studies the definition of a myth and its social function as well as the matter of opposite notions regarding to the mythos and logos, which have gradually more and more differentiated along with the development of European thinking. The myth of Narcissus has probably been one of the oldest myths in European culture. In its most renowned and most comprehensive form, the myth first appeared in the third book of Metamorphoses by Ovid, which has served as an inspiration for remakes by many later authors. The story of a young man who fell in love with his own reflection on the surface of the water contains a great variety of semantically strong structures (mainly the motifs of a mirror, narcissistic love, passively superior character of a hero, or the final metamorphoses into a flower), which are analysed in this study. The author of this study outlines the interpretational evolution of the myth of Narcissus in French literary history...

In John Calvin and Ellen G White’s sense making approaches God’s act of redemption and reconciliation in and through Jesus Christ takes the centre stage in the foursome of God’s acts expressed in the biblical historical timeline as creation, reconciliation in Jesus Christ, renewal through the Holy Spirit and fulfilment at the end of time. While the 16th century Calvin emphasised God’s acts of creation and reconciliation in Christ more than God’s acts of renewal and fulfilment, the 19th century White’s emphasis was more on God’s acts of reconciliation in Christ and fulfilment at the end of time than on creation and renewal through the Spirit. With all the differences in their sense making approaches their central perspectival focus in their writings, sayings and doings is the way God and humanity, heaven and earth are closely connected in a unity without being fused and mixed in Jesus Christ. Their central christological theme of ‘God staying God’ and ‘human staying human’ in an interactional substantialist sense in Christ designates the great alternative view that differs on the one hand, from the view of the trans-substantialist option in which the human being Christ Jesus is in a sacramental-sacred way transformed into ‘a divine human being’ –, and on the other hand, the view of the consubstantialist option in which the human being Jesus is permeated and diffused by his divinity, thereby becoming ‘the human God.’ Calvin and White in their reflection operating within the realm of divine historicity that is staying within the biblical historical timeline from Genesis to Revelation were viewed by many as not theologians in the real sense of the word. Calvin and may be to a greater extent White worked and contributed to the new and emerging field of Faith Studies in which a theologian or theorist of faith cannot reflect on God, human beings or the natural cosmic world in three separate avenues as was commonly the case with speculative and scholastic theologies in history. White’s Faith Studies contribution is in the global arena of theology where the omnipresent ‘–logies’ of mainline church theologies such as Christology, Ecclesiology, Pneumatology and Eschatology hold sway.