In the early part of his philosophical career, Paul Ricoeur worked out a general theory of symbols which he illustrated with the symbols of evil. He subsequently explained this theory in several essays (his final major statement on symbols can be found in Interpretation Theory: Discourse and the Surplus of Meaning [1976]. After 1976, he did not return to the subject again). Ricoeur's principle work on symbols, which appears in The Symbolism of Evil (1960), was the result of a larger work on the will, in which he explained his philosophy of the voluntary and the involuntary, fallibility, and, finally, fault, expressed "symbolically." Ricoeur's interest in the will and in fault is philosophical (rather than theological). This paper presents a summary of the larger issues raised by the critics about Ricoeur's theory of symbols and work on the symbols of evil, then closely analyzes the symbols defilement, sin, and guilt (the symbols of evil in The Symbolism of Evil), questioning their structures, their contents, and ultimately their validity and relevance to philosophy, and claiming that, by elaborating on the rather simple metaphors of stain, errancy, and burden, Ricoeur creates a new symbolism of fault rather than elucidates an existing one. / Graduation date: 2002

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Paul Schoenfield is currently composer in residence at the University of Toledo. He is a composer of music for virtually all media, but has a special affinity for music of his own instrument, the piano. His works have been performed in concerts throughout the United State and Europe, broadcast on network television, and heard on recordings. As is often the case with today's serious composers, his abilities are channeled into musical areas besides composition. He has had a distinguished performing career, appearing as soloist with orchestras throughout the United States and in solo and chamber recitals throughout the United States and Europe. He has won numerous major competitions including the Leonard Bernstein Competition, National Young Artist's Award, and the Southwest Pianist's Foundation Competition. As a university professor he has taught a variety of courses encompassing the spectrum of music curriculum: composition, piano, music literature, analysis, counterpoint, chamber music, and music education.

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M. Tech. Drama / Obscenity in the realm of theatre is certainly not new. More recently, an explosion of provocative plays by young British writers, confront the taboo of obscenity, eminently reflected in Sarah Kane's Phaedra's Love. These plays have been aptly dubbed "In Your Face theatre". Grootboom's productions share similarities with these global trends as they are reflexive of this definition in portraying this type of theatre. With the rich history of obscenity in theatre, it should come as no surprise that in reflecting more open current trends, obscenity is perceived as increasingly more tolerable in South African theatre. Grootboom's plays have managed to edge closer to controversy visible in the local furore. The reactions to Grootboom's productions have to do with the fact that full frontal nudity is unacceptable in African culture (except of course during traditional ceremonies and protests). This study seeks to discover why Grootboom's obscene theatre is so popular amongst black South Africans though at odds with their cultural perceptions of respect, relationship boundaries, communal address and personal demeanour rather than exhibitionism. It also seeks to contribute to a clearer understanding of what theatrical content current South African audience prefers.

The following study traces modern Quebecois art from the beginning of the twentieth century with specific reference to the question of the redefinition of identity. The study mainly consists of an analysis of different strategies used by certain progressive artists like Paul-Emile Borduas, Francoise Sullivan and Jean-Paul Riopelle to impose a new reality which was simultaneously contemporary, rooted and distinct in the context of a Quebec that was emerging in modernization. By using popular or marginalized artistic forms and by seizing certain ancient models belonging to the distant past---in the non-western world or precolonial America---and by using different strategies of deconstruction and transgression of normative codes defined by the dominant ideology, these artists were able to avoid current hegemonic models in order to assert new spaces for expression and representation. Taking on modern Quebecois art from an approach belonging to diverse social sciences and humanities, this study aims to renew the analytical parameters of the traditional art history. The main challenge lies in zeroing in on the ways in which the development of modern identity (meaning the affirmation of the right to be different and to self-determination, and the development of subjectivism and expressivism) influenced avant-garde artistic productions, and which strategies artists used to replace the values imposed by traditional institutions and the dominant ideology, which in turn sparked a renewal of identity. Modern identity is based upon a principle that is modeled on two foundations: on the image that the subject will have of himself, and the impression that the Other (a bordering neighbour, cultural cousin, colonial authority or political oppressor) will have of him. In fact, this "stranger" will essentially assume the role of guaranteeing the recognition of the proposed identity. The phenomena of mythical constructions of symbolical imagination and of primitivism, in this study,

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-08T11:31:45Z No. of bitstreams: 1 Túlio Felipe de Paiva.pdf: 900453 bytes, checksum: 648ca677483bcc275ee42a409fc9063a (MD5) / Made available in DSpace on 2018-08-08T11:31:45Z (GMT). No. of bitstreams: 1 Túlio Felipe de Paiva.pdf: 900453 bytes, checksum: 648ca677483bcc275ee42a409fc9063a (MD5) Previous issue date: 2018-05-25 / Fundação São Paulo - FUNDASP / The following work presents the analyses made about the parrhesia, or free speech, from Eph 6:18-20. The research speaks in a first plan the very first events of this term, that occurred in the roman-greek world, which was the understanding about the subject and what were your purposes. Once Paul was inserted in this same historical period, it analyses, in a brief outline, the presence of parrhesia in the Apostle´s life. Therefore, it is presented an exergetic analysis of the pericope chosen (Eph 6:18-20), and from this discourse about the presence of the parrhesia in Paul. Lastly, based on the previous topics, it analyzes the relationships of the parrhesia with the Spirit, the christian discipleship and the Church, as the Body of Christ / O presente trabalho visa apresentar a análise feita sobre a parresía, ou linguagem franca a partir de Ef 6,18-20. A pesquisa aborda num primeiro plano as primeiras ocorrências do termo, no mundo greco-romano, e qual era a compreensão acerca do tema e quais as finalidades que possuía. Uma vez que Paulo estava inserido neste mesmo período histórico, se analisa, num breve esboço, a presença da parresía na vida do Apóstolo. Por conseguinte, apresenta-se uma análise exegética da perícope escolhida (Ef 6,18-20), e a partir desta discorre-se a respeito da presença da parresía em Paulo. Por fim, com base nos resultados dos tópicos anteriores, analisa-se as relações da parresía com o Espírito, com o discipulado cristão e com a Igreja, enquanto Corpo de Cristo

Examining representations of gender from a postcolonial feminist perspective, Patriarchs, Pugilists, and Peacemakers: Masculinity in Irish Film analyzes select works of three popular filmmakers whose careers, taken together, span the period from 1939 to the present.1 I argue that these three artists--John Ford, Jim Sheridan, and Paul Greengrass--explore fundamental questions about patriarchy and violence within Irish and Irish-American contexts, and that, in the process, they upset conventional notions of masculine authority. Investigating alternative conceptions of manhood presented in these films, as well as these filmmakers’ complex engagement with Hollywood film genres, I offer a fuller understanding of their subtle critiques of patriarchy. I contend that their illustrations of socially sanctioned male dominance in the lives of women, as well as their portrayals of male and female resistance to patriarchy, constitute a subversive challenge to traditional order. In the process, I address gendered archetypes that are prevalent in Irish and American cinemas and analyze the ways in which Ford, Sheridan, and Greengrass employ and critique these masculine types through their portrayals of fathers, sons, boxers and pacifists. Ultimately, I argue that the recent Irish films of Sheridan and Greengrass gesture toward future modes of manhood that completely disavow patriarchy and violence. In sum, this project plots a trajectory of Irish cinema during the twentieth and early twenty-first centuries, charting a progression from ambivalent critique of patriarchy (in the films of John Ford) to outright rejection of patriarchal masculinity (in Jim Sheridan’s work) to reconceptualization of manhood and the family (in the Irish films of Sheridan and Paul Greengrass). / text