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Praca magisterska pod tytułem Renesansowy diariusz „Peregrynacja do Ziemi Świętej, Syrii i Egiptu 1582-1584 Mikołaja Krzysztofa Radziwiłła „Sierotki”” zostały przedstawione i wyodrębnione najważniejsze motywy, które istniały w tym uprawianym gatunku piśmiennictwa przez polskich podróżników oraz pątników. Główny cel powyższego opracowania został odzwierciedlony, ponieważ zostały przedstawione najważniejsze tendencje Renesansu oraz została ukazana postać litewskiego magnata – Mikołaja Krzysztofa Radziwiłła „Sierotki”. Poza tym została zaprezentowana droga podróżnika, którą przemierzał na teren Ziemi Świętej, Syrii i Egiptu. Zostały przedstawione obiekty widziane przez pątnika z Wielkiego Księstwa Litewskiego. Przedstawiłam najważniejsze wątki peregrynacji. By móc osiągnąć zamierzony cel powinnam była zaprezentować pojęcie diariusza, pamiętnika jako gatunku piśmiennictwa, ukazując ich podobieństwa oraz cechy dzielące oba hasła. Również ukazałam najważniejsze tendecje epoki Renesansu, które otwierały nowe spojrzenie na literaturę i człowieka, co można uzasadnić maksymą łacińską: Homo sum; humani nil a me alienum esse puto . Mówiąc o księciu Mikołaju Radziwile „Sierotce”, pierwszym litewskim magnacie podróżującym po ziemiach Dalekiego Wschodu oraz walorach spisanego diariusza, który został spisany po polsku ówczesną XVI–wieczną polszczyzną. Nie pomniejszając wartości diariusza, który posiadał funkcje użyteczne, bowiem służył pielgrzymom jako pierwszy przewodnik po miejscach... [toliau žr. visą tekstą] / Magistro darbe “Renesansiniai dienoraščiai Mykolo Kristupo Radvilos „Našlaitėlio“ Peregrynacja do Ziemi Świętej, Syrii i Egiptu 1582-1584” buvo pristatyti ir išskirti svarbiausiai tikslai, kuriais buvo vadovaujamasi šios srities lenkų keliautojų ir piligrimų raštijoje. Pagrindinis šio darbo tikslas liko atskleistas, nes buvo aprašyti pagrindiniai Renesanso ir Lietuvos magnato – Mykolo Kristupo Radvilo „Našlaitėlio“ motyvai. Be to darbe buvo aprašyta keliautojo trasa, jo matyti objektai ir svarbiausi kelionės aspektai. Darbe aprašiau dienoraštį, kaip raštijos rūšį ir lyginant su memuarais, parodant jų panašumus ir skirtumus, kad galėčiau pasiekti savo darbo tikslą. Aprašiau Renesanso laikotarpio tendencijas, nes jos sukūrė naują požiūrį į literatūrą ir žmogų, tai pabrėžia lotynų sentencija: Homo sum; humani nil a me alienum esse puto(Žmogus esu, manau, kad niekas kas žmogiška nėra man svetima). Kalbėdama apie kunigaikštį Mykolą Kristupą Radvilą „Našlaitėlį“, kuris pirmas parašė platų ir išsamų darbą apie kelionę į Šventąją Žemę, Siriją ir Egiptą. Norėčiau pabrėžti šio dienoraščio, kaip pirmojo kelionių vadovo šventose vietose, skirto piligrimams vertę. Juliušas Slovackis 1836 - 1838 metais, kada keliavo į Artimuosius Rytus panaudojo Radvilo „Našlaitėlio“ dienoraštį. / Master’s thesis titled The Renaissance diary Peregrination's diary to the Holy Land, Egypt and Syria 1582-1584 Nicholas Christopher Radziwiłł “Sierotka” were presented to and extracted the most important themes that existed in Polish literature and used by the travelers and pilgrims. The main objective of this development is reflected, as they were presented to the major trends of the Renaissance and the short biography of Lithuanian magnate - Nicholas Christopher Radziwiłł “Sierotka”. In addition, the route was presented to the traveler, traveled by, objects seen by the traveler. Besides the most important themes were shown peregrinations. To be able to attain this objective should be to show the main concept of diary, a memories as a genre of literature, showing their similarities and sharing features. Had the tendency of the Renaissance have been presented since they opened a new perspective on literature and human, which can be justified by the Latin maxim: Homo sum, humani nil a me alienum esse puto (I am a man, I think that nothing human is alien to me). Speaking of the Prince Nicholas Christopher Radziwiłł “Sierotka”, which merit was written in Polish first extensive and detailed diary of his pilgrimage to the Holy Land, Syria and Egypt. Not deducted from the value of diary, which had a useful function, because the pilgrims served as the first guide to the holy sites. In conclusion of it should be noted that in the diary later Radziwiłł “Sierotka”, was used by the... [to full text]

xx, 800 p. : music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Despite the immense popular and critical response given to the Harry Potter narrative and phenomenon, little has been written about the music for the Harry Potter films. I establish that the aesthetic differences that viewers perceive between the different Harry Potter films are largely due to the musical approaches of composers John Williams, Patrick Doyle, and Nicholas Hooper over the course of four director/composer collaborations for the first five films. This study provides a rare opportunity to examine the work of different composers for a continuing narrative. Moreover, when we explore how music is used in varied ways within the films, we see how each musical approach shapes film visuals into the narrative that the filmmakers sought to convey; when the music changes, the story changes. Music creates the geographic, cultural, and temporal landscapes that draw us in to Harry's 'muggle' and magical worlds. Music defines the way we perceive Harry's emotional experiences of love, joy, loss, and death, and also defines the philosophical perspectives on the nature of evil and its conquest. Sometimes, the music provides clues to the mystery long before visuals and dialogue address them, and musical relationships (with visuals and within the music itself) allow us to perceive the properties and powers of magic and humanity that may otherwise transpire unseen. Music also plays a role in the types of humor that are represented in the films--from socially-sanctioned transgressions, to macabre, to bawdy, deadpan, and caricature. However, while the core narrative themes in the films are closely related to the main themes in Rowling's original novels, an examination of how Rowling's descriptions of musical events compare with representations of these events in the films reveals that Rowling created a more nuanced social landscape (especially with regard to gender) than is re-contextualized with music in the films. / Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Mark Levy, Member, Music; Carl Bybee, Outside Member, Journalism and Communication

Made available in DSpace on 2014-12-17T14:36:11Z (GMT). No. of bitstreams: 1 MariaJFM_TESE.pdf: 3570769 bytes, checksum: 12b8738076fd83741651b4140352bbc8 (MD5) Previous issue date: 2010-05-06 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This study aims to analyze the implications that the knowledge of an important work for the History of Science, De revolutionibus orbium coelestium , by Nicholas Copernicus, can bring for the formation of Mathematics professors. The study focuses on Book I of Copernicus s work, where, in the final part, is found the Table of the Subtense Straight Lines in a Circle, a true sine table constructed by the author. The study considers two theoretical references, the History of Science and of Mathematics, in the professor s formation searched amongst others in Miguel and Miorm, Brito, Neves and Martins, and Radford, and the necessary teaching knowledge professors mst have, on the basis of Gauthier, Schulman and Imbern?n amongst others, through which it is established a net of knowledge grouped in dimensions such as mathematical, psycho pedagogical, cultural and practical diversity, that guide the study analysis. In the search for more necessary elements to enrich the analysis, beyond the theoretical research in Book I, it is carried through, with under graduation pupils, future Math professors, the construction of a sine table following the project used in De revolutionibus . The study still makes a description of the life and work of Nicholas Copernicus, detaching the historical context where the author lived and the conceptions about the Universe existing at that time. The research reveals that the studied work is an important source of culture, able to provide to the Mathematics professor in formation, beyond the conceptual and procedural mathematical knowledge, a cultural knowledge that allows him to be opened to the knowledge of other areas that not his specific area, and so to acquire knowledge about the world history, the development of sciences and of the society / O objetivo deste estudo ? analisar as implica??es que o conhecimento de uma obra importante para a Hist?ria da Ci?ncia, como De revolutionibus orbium coelestium, de Nicolau Cop?rnico, pode trazer para a forma??o do professor de Matem?tica. O estudo tem como foco o Livro I da obra de Cop?rnico, onde em seu final, encontra-se a Tabela das Linhas Retas Subtensas num C?rculo, uma verdadeira tabela de senos, constru?da pelo autor. O estudo considera dois referenciais te?ricos, a Hist?ria da Ci?ncia e da Matem?tica na forma??o do professor e os saberes docentes necess?rios ? forma??o do professor de Matem?tica, com base nos quais ? estabelecida uma teia de saberes agrupados nas dimens?es matem?tica, psicopedag?gica, diversidade cultural e pr?tica, que norteiam a an?lise do estudo. Na busca de elementos mais precisos para enriquecer a an?lise, al?m da pesquisa te?rica no Livro I, ? realizada, com alunos da gradua??o, futuros professores de Matem?tica, a constru??o de uma tabela de senos seguindo o esquema usado em De revolutionibus. O estudo faz ainda uma descri??o sobre a vida e a obra de Nicolau Cop?rnico, destaca o contexto hist?rico em que o autor viveu e as concep??es sobre o Universo existentes ?quela ?poca. A pesquisa realizada revela ser a obra estudada uma importante fonte de cultura, capaz de proporcionar, ao professor de Matem?tica em forma??o, al?m do conhecimento matem?tico conceitual e procedimental, um conhecimento cultural que lhe permite estar aberto aos saberes de ?reas outras que n?o a de sua ?rea espec?fica, e desse modo conhecer acerca da hist?ria do mundo, do desenvolvimento das ci?ncias e da sociedade

Made available in DSpace on 2014-12-17T15:12:19Z (GMT). No. of bitstreams: 1 OsvaldoFAF_DISSERT.pdf: 585143 bytes, checksum: 436ac6c5f30018a45e6dfb3634cd8fae (MD5) Previous issue date: 2013-12-23 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This work deals with the way how the three themes of traditional metaphysics, namely, God, man, and the world, are rethought through the philosophical speculation of German cardinal Nicholas of Cusa (1401-1464). Due to the comprehensiveness of this subject, our dissertation had as a starting point and constant reference the book that the philosopher wrote in 1450, Idiota. De mente, the second written work that makes up the series of the Idiota (Idiotae libri), whose discussion is developed around the theme of the human mind. From the dialogue of the mind we have built our reflection on some issues and theoretical foundations presented in Idiota. De sapientia and De docta ignorantia, extending it to little more than that. According to Nicholas of Cusa, the human mind, in its creative character in the image of the divine mind, transcends the purely functional considerations commonly assigned to it, that is, those that regard its cognitive nature and epistemological role. In addition to these aspects, Cusanus understands the humana mens as a point of articulation of two other main themes of his metaphysics: God and the world. In this context, through the concepts of complicatioexplicatio and imago, as well as with the intercession between the themes of man as imago Dei and the reason of the microcosm, we present here an introduction to Cusan metaphysics / O presente trabalho versa sobre como os tr?s temas centrais da metaf?sica tradicional, a saber, Deus, o homem e o mundo, s?o repensados pela especula??o filos?fica do cardeal alem?o Nicolau de Cusa (1401-1464). Devido ? abrang?ncia dessa tem?tica, nossa disserta??o teve como ponto de partida e referencial constante o livro que o fil?sofo escreveu em 1450, Idiota. De mente, segundo escrito que comp?e a s?rie de di?logos do Idiota (Idiotae libri), e cuja discuss?o se desenvolve em torno ao tema da mente humana. A partir do di?logo De mente n?s constru?mos a nossa reflex?o tomando algumas quest?es e fundamenta??es te?ricas apresentadas no Idiota. De sapientia e no De docta ignorantia, estendendo-a a pouco mais que isso. De acordo com Nicolau de Cusa, a mente humana, em seu car?ter criativo ? imagem da mente divina, transcende as considera??es puramente funcionais que geralmente lhe s?o atribu?das, isto ?, no que se refere ? sua natureza cognitiva e ao seu papel epistemol?gico. Para al?m desses aspectos, o Cusano entende a humana mens como um ponto de articula??o dos outros dois temas que protagonizam a sua metaf?sica: Deus e o mundo. Neste contexto, atrav?s dos conceitos de complicatio-explicatio e imago, bem como da intercess?o entre o tema do homem imago Dei e o motivo do microcosmo, n?s apresentamos aqui uma introdu??o ? filosofia cusana

Sylvia Plath’s poetry continues to receive considerable attention from a variety of groups and has been the target for such diverse critical approaches as Feminism, Ecocriticism, and Marxism, to name but a few. My paper focuses on a less investigated area of her poems: Space, and more specifically uncanny space in her later poetry. Here, I take a closer look at seven of her poems using as my preferred methods deconstruction and psychoanalytical theory.

The aim of this essay is to examine how the biblical Queen of Sheba has been depicted in a selection of artworks. The main focus is on how her otherness has been visualized, in relation to King Solomon in particular but also to the Western, European, christian and white self-image at large. The material that has been analyzed comprises the following artworks: Solomon and the Queen of Sheba by Nicholas of Verdun (1181), Procession of the Queen of Sheba; Meeting between the Queen of Sheba and King Solomon by Piero della Francesca (ca 1452-1466), The Visit of the Queen of Sheba to King Solomon by Lavinia Fontana (1599) and The Visit of the Queen of Sheba to King Solomon by Edward Poynter (1890). In examining the artworks Erwin Panofsky's three- step analysis model has been applied in combination with a theoretical framework consisting of postcolonial studies and critical white theories.  The results show that the Queen of Sheba has been depicted in a variety of ways. In the artwork by Nicholas of Verdun, the Queen is black, carrying the symbolic notion of sin; in Piero and Fontanas artworks she is depicted as white. In Piero's depiction, only small signals, such as clothes, marks her status as “the other”, in Fontanas case, her signs of otherness seem in contrast completely absent. Poynters artwork contains a spectacular display of exotic elements and the Queen has been given a sensual appearance in line with the image of the erotic Orient. One conclusion that the author reaches is that, as Edward Said has argued, in attempting to represent “the other” the Occident documents itself. This is also similar to how the dichotomy between black and white is constructed and how whiteness in relation to black individuals in these pictures gathers its strength and is, rather than being neutral, imbued with meaning.

The aim of my work is the church of St. Nicholas in Benesov in terms of one of the monuments, which is the cycle of St. Clement Baroque painter Ignaz Raab. At the beginning shortly focus on the period of the formation and history of the church. Church on this site can be dated back to the 11th century already. It is very interesting to observe how the church was created in connection with the founding of the city. In the next part, I will study the cult of St. Clement and his association with the Czech environment. In the next chapter I will deal with the author cycle Ignaz Raab. I will be interested in what the creative period of a cycle of St. Clement, which Czech and foreign influences acting upon it, and how this inspiration reflected in his work. The last part will include individual images of the cycle, which will discuss the iconography and by comparison.

Austen, Dickens, and Eliot each responded to discussions of their time concerning class, gender, and social change. One of the ways they addressed these issues, and sought to find solutions to the problems facing their culture, was through benevolence. Knightley, in Emma, uses benevolence as a means of mediating self-interest and sympathy. By acting out of sympathy, through benevolence, he achieves the self-interested benefits of reinforcing the class system and achieving his romantic conquests. Likewise, Dickens' Nicholas Nickleby learns how to use benevolence as a means of social mobility from his mentors, the Cheerybles. Throughout Nicholas Nickleby the hero learns how to engage in benevolence out of sympathy, and by doing so he establishes himself as a gentleman and reaps social, economic, and romantic advantages. Eliot's Bob Jakin in The Mill on the Floss engages in benevolence out of true sympathy unhindered by self-interest. His freedom from social constraint and self-interest allows him to truly help Maggie Tulliver when no one else can. These authors' depictions of benevolence all illuminate ways that nineteenth-century literary authors sought to navigate the “Adam Smith Problem" of sympathy vs. self-interest. Benevolence, in these novels, is not disinterested (regardless of their motivation) but is influenced by the character's and author's perception of class, gender, and social change in the nineteenth century.

This thesis investigates the uncanny (das Unheimliche) in five of Sylvia Plath’s 1962 poems: “Berck-Plage”, “The Arrival of the Bee Box”, “Daddy”, “Fever 103°”, and “Death & Co.”. Furthermore, it looks at how the biographical circumstances in which the poet found herself while writing the poems, may have influenced them. Drawing mainly on Sigmund Freud’s 1919 essay “The Uncanny” and the 2003 The Uncanny by Nicholas Royle, this thesis examines a variety of elements in Plath’s poems including, but not limited to, the beach as a liminal space, aposiopesis as intellectual uncertainty and as an example of l’écriture féminine, thresholds in the form of windows, shoes, and locked boxes, severed limbs as examples of Viktor Shklovsky’s defamiliarization, Latin as a heimlich/unheimlich language, the uncanny effect of darkness, silence, and solitude, the double as a harbinger of death, the wish to both include and exclude the specter and that which is strange, and breathlessness and euphoria as manifestations of madness. Furthermore, it examines hitherto unexplored potential influences on Plath’s poetry, including but not limited to, the writings of Nathaniel Hawthorne, Thérèse of Lisieux, Franz Kafka, and Knut Hamsun. Because of the ambiguity of the concept of the uncanny, this thesis incorporates a host of material such as taped interviews conducted by Harriet Rosenstein, Subha Mukherji’s Thinking on Thresholds, Julia Kristeva’s Strangers to Ourselves, and Jacques Derrida’s Specters of Marx. In conclusion, this thesis argues that the uncanny is an instrumental key to the comprehension of Plath’s late poetry.