<p>Syftet med arbetet är att undersöka hur Scientologikyrkan uttrycker sin egen tro och utövning samt vad som kan attrahera människor till samfundet och jämföra detta med vad religionspsykologer och religionssociologer anser. Min informationshämtande metod har enbart varit litteraturstudier och undersökningen är av hermeneutisk art och huvudmaterialet är från scientologernas egna böcker och skrifter. Huvudmaterialet består också av forskare inom religionssociologi och religionspsykologi. Resultatet visar att det finns ganska stor variation mellan hur forskare ser på scientologin och hur scientologerna själva ser på den och då speciellt <em>hur</em> religiös de anser rörelsen vara.</p>

Syftet med arbetet är att undersöka hur Scientologikyrkan uttrycker sin egen tro och utövning samt vad som kan attrahera människor till samfundet och jämföra detta med vad religionspsykologer och religionssociologer anser. Min informationshämtande metod har enbart varit litteraturstudier och undersökningen är av hermeneutisk art och huvudmaterialet är från scientologernas egna böcker och skrifter. Huvudmaterialet består också av forskare inom religionssociologi och religionspsykologi. Resultatet visar att det finns ganska stor variation mellan hur forskare ser på scientologin och hur scientologerna själva ser på den och då speciellt hur religiös de anser rörelsen vara.

Reklam kan ibland anses framställa kvinnor och män på ett nedvärderande sätt. I Sverige har alla rätt att anmäla den reklam som anses vara könsdiskriminerande. Anmälan görs till Reklamombudsmannen (RO), bestående av näringslivets självreglerande system, som bedömer reklamen utifrån Internationella Handelskammarens regler för reklam och marknadskommunikation. Detta görs utifrån tre kriterier, vilka säger att reklam inte får: framställa kvinnor eller män som rena sexobjekt som kan anses kränkande (sexistisk reklam); ge en nedvärderande stereotyp bild på könsrollerna (schabloniserande reklam); eller på något annat sätt vara uppenbart könsdiskriminerande. Denna undersökning syftar till att jämföra RO:s syn på sexobjekt, nedvärderande stereotypa könsroller och sexism, med genusteorins syn på samma begrepp, för att därigenom kartlägga och analysera en eventuell skillnad mellan dem. Utgångspunkten i genusteorierna är genusordningen. Undersökningen är kvalitativ och utförs med en semiotisk analys av 16 reklamer, som blivit anmälda hos RO. Resultatet av den semiotiska analysen jämförs sedan med RO:s bedömning av samma reklam. Resultatet av undersökningen visar en skillnad mellan RO och genusteorins syn på könsdiskriminerande reklam. Denna skillnad grundar sig till viss del i hur de olika begreppen tolkas, men framförallt i vad som anses vara nedvärderande och acceptabelt. / The usage of images of women and men in advertisements is subject to regulations regarding their discriminating presentation as sex objects and arrangement as stereotypical gender roles. In Sweden, every person is given the right to file complaints about individual advertisements to Reklamombudsmannen (RO), a self-regulation agency, which analyzes the complaints in accordance to the Consolidated ICC Code and decides whether the reported advertisements infringe the rules laid out by it. These regulations define three categories: 1. advertisements presenting women or men simply as sex objects; 2. advertisements using stereotypical gender roles; and 3. advertisements using obvious gender discriminating imagery. Companies are required to withdraw advertisements that fall under at least one of these three categories as decided by the RO. This thesis aims at comparing the view on the term sex objects, on devaluing stereotypical gender roles and on sexism as exhibited by the RO with the definitions of the same concepts originating from gender theory in order to identify and analyze a possible disparity between them. Starting from the theory of gender systems, this qualitative investigation, in its first step, semiotically analyzes 16 advertisements that have been reported to the RO. The results of these analyses are then compared to the individual verdicts and their reasons as given by the RO. As a result, this comparison shows a discrepancy between the view of the RO and gender theory on discriminating advertisements and imagery. This is due to differing views and definitions of the individual terms discussed in this thesis as well as conflicting opinions as to when this form of presentation of women and men is acceptable, specifically in the area of advertising.

El objetivo de la presente investigación es determinar la relación entre las variables producto y promoción de ventas en relación con la intención de compra en la categoría de ron y whisky en jóvenes de 20 a 26 años. De esta manera, poder identificar cuáles de ambas variables tiene mayor correlación con la intención de compra. Así también para las dimensiones de estas variables. De esta forma, se pueda comprender las razones por las que el volumen de ventas de ron es superior a la del whisky. Para el siguiente estudio, se decidió investigar antecedentes y entrevistar a dos expertos en el rubro de destilados y realizar dos focus group; Por ello, la investigación es de alcance correlacional, puesto que se busca describir y relacionar los motivos de la intención de compra en base a las variables y respectivas dimensiones puestas en estudio. A raíz de lo mencionado, se halló que las variables y dimensiones de mayor relación con la intención de compra para el público objetivo son: La promoción de ventas, el producto, descuento, precio de paquete, envase y etiqueta, seleccionado de manera respectivamente jerárquica. Por último, a partir de la investigación expuesta, se ha decidido recomendar en trabajar estrategias de marketing y comunicación en base a las dimensiones y variables anteriormente mencionadas, dado que se puede argumentar su afinidad entre la intención de compra con los jóvenes en estudio y su eficacia del caso. / The objective of the following investigation is to determine the relation between the variables product and promotion, and the motivation to purchase, in the rum and whiskey category, with young 20 and 26 year olds. The investigation will attempt to identify which of either variables mentioned has a higher correlation in regards to the motivation to purchase for the target audience. The correlation mentioned will clarify the reasons for the higher sales in rum in comparison to whiskey. For the following study, there is a detailed analysis in regards to the context and background, two expert interviews in relation to the category and two focus groups. Therefore, the investigation attempts to find correlations to understand the motives and dimensions of the variables product and promotion sales. The variables and their dimensions that have a higher relation to the motivational purchase for the primary public are mentioned in their respective hierarchy: sales promotion, the product, discounts, packet price, package and label. Lastly, after completing the research, it is recommended to investigate further in marketing strategies in relation to the dimensions and variables previously mentioned, due to the affinity between the motivation to purchase and the young people studied. / Trabajo de investigación

Increasing the efficiency of the spark-ignition engine can help to reduce the environmental impact of the transportation sector. Engine knock obstructs the increased efficiency that could be gained by increasing the compression ratio in a spark-ignition (SI) engine. A fuel’s propensity to knock is measured by the research octane number (RON) and the motor octane number (MON) in a co-operative fuel research (CFR) engine. A fuel’s octane sensitivity (OS) is the difference between the RON and MON. Modern downsized and turbocharged engines operate at what is considered to be beyond-RON conditions. Studies have shown that having a fuel with higher OS improves knock resistance at beyond-RON conditions. This study aims to gain a better understanding of the role of intermediate-temperature heat release (ITHR) in defining OS and its subsequent impact on SI operation through the experimental framework. The ITHR of toluene primary reference fuels (TPRFs) fuels with matching RON and varying OS was studied at RON-like and MON-like homogeneous charge compression ignition (HCCI) conditions for two different matching criteria. The first criterion was to control the combustion phasing by matching half of the heat release (CA50) to 3 crank angle degrees after top dead center. The second criterion was to match the compression ratios. Results showed that at RON-like HCCI conditions, TPRF fuels display decreasing ITHR with increasing OS. Furthermore, it was shown that TPRF fuels with low sensitivity displayed a greater increase in ITHR from MON-like conditions to RON-like conditions. Thus, the sensitivity of ITHR to changes in operating conditions was found to be a contributing factor to OS. In the beyond-RON conditions (relevant to current modern engines), there is a potential for improved engine efficiency by using fuels with high OS to allow for higher compression ratios. The experimental results of this work show that OS is negatively correlated with ITHR. Thus, high-sensitivity fuels can be designed by choosing components and additives that reduce the amount of ITHR.

Starting in November of 2016, a documentary series aired on the original network A&E where it continues to capture the attention of thousands of viewers in America. Scientology: The Aftermath, starring the well-known King of Queens and Dancing with the Stars actress Leah Remini and former senior executive of the church of Scientology International and Sea Organization Mike Rinder, aim to reveal the "truth" that hides behind the church of Scientology. The show interviews ex-practitioners who claim their lives have been deeply impacted by the church and who want to assist in revealing the shocking stories of abuse and harassment the church tries to keep secret. The goal of the show, in short, is to not only share the "real" face of Scientology to the public, but to also reach out and assist people who have been affected personally by the church; some have lost their family and friends while others have been followed or monitored by church members. A simple Google search on Scientology brings up multiple news headlines on the church being labeled as a "cult" and "criminal" while magazines in the lines of grocery stores display the downfall on the marriage of Tom Cruise and Katie Holmes due to the intensity of the Church of Scientology. Yet Scientology isn’t alone in receiving negative attention from the media. Christian Science has been accused of depriving the ill of needed medical attention which has led to some members becoming severely ill and dying in some cases. Most of these cases are children that were deprived of needed medical assistance due to their parents' religious views. Religious Studies scholar, Mary Bednarowski, adds that due to these circumstances, Christian Science has long experienced harsh criticism. With families and anti-cult movements protesting in the streets, ads, books, and magazines displaying their opposition, and the media labeling these movements as "dangerous", why would people join and remain in these New Religious Movements? What is it that makes these religious movements alluring and what are their adherents benefiting from them?

No description available.

La figure du couple machiavélique, présente chez Shakespeare, Laclos, Barbey d'Aurevilly, Henry James, James M. Cain, entre autres, est étudiée selon une triple approche. La première approche, d'inspiration structurale, vise à dégager les éléments constitutifs de la figure et son scénario permanent. L’analyse conduite sur la base de cette approche confirme l'existence de deux matrices, l'une fondée sur le couple Macbeth, l'autre sur le couple de libertins des Liaisons dangereuses. La seconde approche, qui relève d'une démarche herméneutique, met en évidence le substrat biblique de la figure du couple machiavélique dans sa version shakespearienne, qui serait une réécriture du récit de la Chute de la Genèse. La version laclosienne du couple machiavélique serait pour sa part le marqueur de la dégradation des relations amoureuses dans leur conception post-courtoise. Enfin, la troisième approche est esthétique: elle vise à étudier la construction de la figure, son effet sur le lecteur, et sa valeur ajoutée par rapport à la figure canonique du Méchant. Elle s'attache aussi à définir l'esthétique du mal associée à la figure du couple machiavélique. / The figure of the Machiavellian couple, which appears in Shakespeare, Laclos, Barbey d’Aurevilly, Henry James, James M. Cain, among others, is studied through a three-fold approach. The first one is a structural one and aims at identifying the basic elements of the figure and its scenario. This approach confirms the existence of two matrix, one based on the couple of Macbeth and the other on the pair of libertines of Laclos’ novel Les Liaisons dangereuses. The second approach is interpretative and underlines the biblical basis of the figure of the Machiavellian couple in its Shakespearean version, which is a rewriting of the Fall of Adam and Eve while the couple of Laclos signals the deterioration of romantic relationships in a courtly meaning. The third approach deals with aesthetics and aims at studying the forms and poetics of the figure and its effect on the reader as well as its added value in relation to the “Canon figure” of the Villain. This third approach deals also with the aesthetics of Evil linked to the figure of the Machiavellian couple.

La thématique de l’esclavage aux États-Unis nous a toujours interpellés, interrogés et nous a toujours donné envie d’en savoir plus et de comprendre comment un tel système a pu perdurer pendant plus de deux cents ans, provoquer la division profonde d’une nation et une guerre civile pour finalement laisser des traces et des marques indélébiles sur les États-Unis. Cet intérêt nous a poussés à nous intéresser tout d’abord à la notion du traumatisme culturel de l’esclavage, puis, à sa représentation cinématographique dans le cinéma américain par trois cinéastes américains (D. W. Griffith, né en 1875 dans le Kentucky, Steven Spielberg, né en 1946 dans l’Ohio et Tate Taylor né en 1969 dans le Mississippi), qui traitent de trois périodes historiques différentes à des époques distinctes. Nous nous sommes alors posé la question du lien qu’il existe entre la réalité physique, vécue, d’un événement et sa représentation cinématographique qui est forcément distanciée, temporellement et/ou spatialement. Comment les réalisateurs peuvent-ils représenter fidèlement la réalité historique ? Comment évitent-ils (ou non) d’insérer des « filtres », qu’ils soient personnels ou sociologiques, et, comment ne pas transformer l’histoire, la modeler, en occultant par exemple les éléments qui n’abondent pas dans le sens du message que l’on souhaite véhiculer ? Dans l’hypothèse où le réalisateur est de parti-pris, comment le spectateur peut-il en avoir conscience au moment où il regarde le film ? Ce travail est donc né d’une réflexion sur l’importance culturelle et civilisationnelle de la notion de traumatisme culturel dans la représentation cinématographique de l’esclavage aux États-Unis. Les trois films que nous avons choisis pour notre corpus sont The Birth of a Nation de D.W. Griffith (1915), Amistad de Steven Spielberg (1997) et The Help, de Tate Taylor (2011). Ces films représentent trois époques distinctes de la vie et de la société américaine puisque The Birth of a Nation raconte le déroulement de la Guerre de Sécession en se plaçant dans la vie d’une famille sudiste. Amistad prend pour contexte les années 1839 à 1841 et The Help se déroule à Jackson, dans le Mississippi des années 60.En choisissant des films qui représentent des époques historiques distinctes mais qui ont également été réalisés à des périodes différentes les unes des autres, nous avons souhaité prendre en compte cette question de la réadaptation et de la réinterprétation de l’événement traumatique.Nous avons souhaité montrer, à travers notre travail, comment les cinéastes adaptent un fait réel ou un ouvrage littéraire, en supprimant certains éléments ou en rajoutant, en adaptant la réalité historique pour en faire une fiction qui cherche à montrer une représentation du réel. Nous avons aussi et surtout démontré comment la notion de « traumatisme culturel » influence le travail des cinéastes qui se sont penchés sur l'héritage culturel qu'est l'esclavage. Nous avons souhaité voir dans quelle mesure cette notion de traumatisme culturel influe sur la création artistique filmique, et dans quelle mesure ses caractéristiques pouvaient s’appliquer à notre corpus. Quels en sont les aspects les plus représentés et prégnants ? Nous avons fait l’analyse de notre corpus dans un ordre chronologique de création, en premier lieu nous nous sommes penchés sur The Birth of a Nation de D.W. Griffith, sorti en 1915, puis nous avons analysé Amistad de Spielberg, sorti en 1997, pour finir avec l’étude de The Help, réalisé par Tate Taylor et sorti en salle en 2011.Pour chacun de ces films, nous avons étudié le contexte historique et géopolitique inhérent à l’époque représentée, puis, le passage de la réalité historique à l’œuvre de fiction, le processus d’adaptation cinématographique, (éléments fidèles, ajouts, simplifications et suppressions) pour analyser la globalité de chacun en regard de cette notion de traumatisme culturel. / Slavery in the USA has always been an interesting thematic to us. We have always wanted to learn more about it thus understanding how such a system could have been implemented for more than 200 years, have caused the division and a fracture in a nation, have led to the Civil War and have left permanent scars ont the United States of America. This particular interest led us to look into the concept of cultural trauma, and into its representation by three American film directors (D. W. Griffith, born in Kentucky in 1915, Steven Spielberg, born in Ohio in 1946 and Tate Taylor born in Mississippi in 1969), who picture at various distinct periods three different historical eras. We have considered the link existing between the physical reality of an event and its cinematographic representation, which is spatially or temporally distanced from the event. How can film directors faithfully represent historical reality ? How do (or don’t) they avoid to insert in their work personal or sociological filters ? How don’t they transform history, or shape it by not mentionning the elements that do not concur to the message one wants to deliver ? What if the director’s views are biased? How can the viewer be conscious of it and keep it in mind as he or she watches the film?Our work initiated from a reflexion upon the cultural and socialogical importance of the notion of cultural trauma in the cinematographic representation of slavery in the United States. The three movies we have chosen to work on are : The Birth of a Nation, (D.W. Griffith, 1915), Amistad (Steven Spielberg, 1997) and The Help (Tate Taylor, 2011). These films represent three distinct periods in the life of the American society since The Birth of a Nation pictures the progress of the American Civil War inside a Confederate family, Amistad is set between the years 1839 and 1841, and The Help takes place in the sixties, in Jackson, Mississippi.In choosing films that represent various historical periods and that have been directed at different periods of time, we wanted to take into account both the notions of re-adapting and re-interpreting the traumatic event. We have wished to demonstrate, through our work, how film directors adapt a real fact or a book by deleting some elements or adding some others, by adapting historical reality to turn it into a fiction showing a representation of reality. We have also tried to show how « cultural trauma » acts upon the audiovisual work of film directors who choose to picture the cultural heritage of slavery. We have analyzed to what extent cultural trauma has an influence on filmic creation and how its characteristics can be applied to our corpus. What aspects of it are most represented ?We have decided to analyze our corpus in a chronological order. We have started with D. W. Griffith’s The Birth of a Nation (1915), we have then analyzed S. Spielberg’s Amistad, (1997), and ended with T. Taylor’s (2011). For each of these films, we have first studied the historic and geopolitic contexts of the historical periods represented, we’ve then dealt with the transition from historical reality to fiction and we’ve analyzed the entirety of each movie compared to to the notion of cultural trauma. How and to what extent can it be found into these artitic works ? As a mass media, cinema has an educational role and we have demonstrated its link with cultural trauma.

This dissertation focuses on the return and revitalization of traditional Christian themes in contemporary postmodern novels. It offers an examination of how these themes materialize in novels written by writers who are not explicitly religious, or in novels which do not have an overtly religious focus. Some contemporary novels generate a privileged space in which the return of the religious can take place. The sacred is back, not just as a re-enchantment, but manifests itself in fundamentally new and productive ways (Ward, 2001:xv). The first matter under consideration is the fact that the co-existence of belief and unbelief is apparent in all the novels under discussion. As such, the reader as active participant in the novel is bound to be affected by these mutually inter-dependent and inextricably inter-connected sides of a coin. The themes of providence, sacrifice and the miraculous become evident in John Irving‟s A prayer for Owen Meany while the themes of sin, guilt and redemption feature in Ian McEwan‟s Atonement. Secondly, the study compares two novels that deal with the same supernatural phenomena, namely visions, faith healing and stigmata. Jodi Picoult is a non-believer and is the author of Keeping Faith, while Ron Hansen is a devout Catholic who wrote Mariëtte in ecstasy. These works, on the one hand, create a space for supernatural phenomena even though fiction cannot prove the reality of their existence. Postmodern people seem to have a definite longing for the miraculous and these novels seem to satisfy that yearning. On the other hand, both novels portray disbelief in the miraculous while subtly allowing room for characters or readers in a liminal space between belief and disbelief. The theories of Jean François Lyotard and specifically his notion of “incredulity towards metanarratives” provide a framework to explore this matter. Lyotard proposes “petit recits” or many small stories instead of the grand narratives. He contends that there is no objective knowledge and that narrative and scientific knowledge are subject to legitimization. The Christian story therefore needs no scientific basis as justification, which means that it is being newly considered after the mistrust created during the Enlightenment period. Gianteresio Vattimo‟s ideas on the role of religion in contemporary life and the possible convergences of postmodernity and the Christian faith also come into play. He advocates weak thought as opposed to strong thought and sees caritas (charity or neighbourly love) as essential. This concept of weak thought allows for plurality and tolerance. Vattimo sees Christ‟s kenosis (self-emptying) as essentially linked to a secularization in which humankind needs to retrace the path to the original Biblical message of love. Emphasis is on a non-doctrinal, anti-dogmatic spirituality and this manifests in the novels discussed. This study employs diverse reader-response theories to gauge the reaction of the reader to texts containing Biblical themes and supernatural phenomena. Stanley Fish‟s interpretive communities and Wolfgang Iser‟s implied reader are helpful and Michael Edwards‟s pattern of sin, the fall and redemption is of particular interest to this dissertation. Edwards believes that most novels, whether written by religious or non-religious writers, follow this pattern. Readers find themselves either on the side of the believing or unbelieving camp in the novels discussed. However, many readers may hover in the liminal space between belief and unbelief. Interpretation depends on many factors that constitute the world view of the reader, hence the plurality of interpretations. / MA (English), North-West University, Potchefstroom Campus, 2014