A traição é um tema que temos estudado já faz algum tempo, utilizando como fontes as Canções de Gesta, um gênero literário poético corrente nas regiões que compunham o reino da França, entre o século XI e o século XV. O período áureo dessa poesia coincidiu com o governo da dinastia conhecida como dos Capetos diretos, cujo reinado e sucessão de pai para filho persistiu sem interrupção de 987 até 1328. Criadas e difundidas nos diversos senhorios territoriais da França, em especial no norte do reino, as Canções de Gesta tratavam em seus enredos de vários problemas de ordem moral e política vigentes na época. Em uma sociedade cuja coesão, ao menos na sua camada governante, era baseada na fidelidade e na criação de laços vassálicos, a traição constituía uma grave ameaça à estabilidade e à paz. Tanto a moral cristã quanto a moral cavaleiresca condenavam quem a praticasse, mas isso não evitou a sua constante ocorrência. Estudamos cinco poemas épicos: a Chanson de Roland (c. 1100), o Girart de Vienne (1180-1185), o Renaut de Montauban (início do século XIII), o Gaydon (1230- 1240) e o Jehan de Lançon (metade do século XIII). O Roland, sendo o mais antigo desses poemas, apresenta um monarca respeitado e difere dos poemas posteriores, cujos enredos valorizam os personagens conhecidos desde o século XIX como Vassalos Rebeldes. Da análise da traição nessa poesia e da relação entre vassalos e o rei pudemos extrair alguns pontos importantes. De início o ligado à questão vocabular, pois traïson / traïtre / traïr designam um dos mais graves crimes ali descritos, graças a sua ligação com a tradição neotestamentária da entrega de Jesus por Judas Iscariotis, suplantando outros termos de origem latina ou não (proditio, felonie). Nas Canções, a traição é dirigida primeiramente contra os barões e cavaleiros sendo os seus executores da mesma condição social de suas vítimas. Só tardiamente ela denomina um atentado contra o monarca. Outro ponto é a defesa, nos poemas, do direito à guerra ao senhor caso este não cumprisse suas obrigações de justiça para com seu vassalo. Assim, os heróis em luta contra Carlos Magno não eram mostrados pelo poeta como traidores e sim como vítimas de uma perseguição. Esses cavaleiros conservavam o respeito pelo seu senhor e aspiravam ser perdoados e reintegrados à corte régia. A responsabilidade pelas traições era direcionada para uma linhagem específica, a de Ganelon, responsável pelo desastre de Roncesvales na Chanson de Roland. Mas se aqui a traição fora um crime individual, desde fim do século XII há um trabalho de readaptação no qual o fato de se pertencer a essa família já tornava o personagem passível de ser um traidor. As suas traições podiam ir da falsa acusação até ao envenenamento de outros personagens. A prova da traição se dava frequentemente através do duelo judicial e os culpados, além de condenados à morte, podiam ter os corpos destruídos para evitar a ressurreição no final dos tempos. / Treason is a theme that we have been studying for some time, using as sources the Songs of Geste, a poetic genre current in the regions that made up the Frances kingdom, between the eleventh and the fifteenth centuries. That poetrys golden period coincided as the dynasty of government known as the \"direct Capetian\" which reign and father to son succession persisted without interruption from 987 to 1328. Created and disseminated in the various Frances territorial manorials, especially in the northern kingdom, the Songs of Geste treated in their plots of various problems of moral and political force at that time. In a society whose cohesion, at least in its ruling layer, was based on loyalty and creating vassalian ties, treason constituted a serious threat to stability and peace. Both Christian morality as the moral chivalry condemned those who practiced it, but that did not stop their constant occurrence. We studied five epic poems: the Chanson de Roland (C1100), the Girart de Vienne (1180-1185), the Renaut de Montauban (early thirteenth century), the Gaydon (1230-1240) and Jehan de Lançon (half of the century XIII). Roland, is the oldest of those poems, has a respected monarch, and differs from the later poems whose plots value the characters known since the nineteenth century as \"Vassals Rebels\". From the analysis of treason in this poetry and the relationship between vassals and the king, we could draw some important points. Initially the connected to the vocabulary question because traïson / traître / traïr designate one of the most serious crimes described there, thanks to its connection with the neo testamentary tradition of Jesus delivery by Judas Iscariot, supplanting other terms Latin or not (proditio, felonie). In Chansons, the treason is primarily directed against the barons and knights and the executors are of the same social condition of their victims. Only belatedly it calls an attack against the monarch. Another point is the defense, in the poems, from the right to the war to the lord if he does not achieve his justices obligations to his vassal. Thus, the heroes in the fight against Charlemagne were not shown by the poet as traitors but as victims of persecution. Those knights keep respect for their master and aspire to be forgiven and reintegrated to the royal court. Responsibility for treason is directed to a specific lineage, that of Ganelon, responsible for Roncesvales disaster in the Chanson de Roland. But if here the treason was an individual crime, since the end of the twelfth century there is a readjustment work in which the fact of belonging to that family already makes the character capable of being a traitor. Their treasons can go from false accusation to the poisoning of other characters. The proof of treason is often done through the judicial duel and the guilty, beyond sentenced to death, they might have their bodies destroyed to prevent the resurrection at the end of time.

As relações entre melodia e letra são tomadas como ponto de partida para a interpretação das canções de Paulinho da Viola, um dos maiores sambistas de todos os tempos. Sua obra é analisada nos aspectos estético e sociológico, sendo vista como parte da presença histórica da arte negra na canção popular brasileira. / The relationships between melody and lyric are interpreted in Paulinho da Viola`s songs, one of the best composers of samba music. His musical work is studied on aesthetic and social aspects as part of black presence in the Brazilian popular song.

何繼文. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 129-145) / 附中英文摘要. / He Jiwen. / Lun wen (zhe xue shuo shi) -- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 129-145) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 導論 --- p.1 / Chapter 第一節 --- 、硏究範圍 --- p.1 / Chapter 1. --- 西崑體的定名´ؤ´ؤ《西崑酬唱集》 --- p.1 / Chapter 2. --- 西崑體一詞內容的演變 --- p.3 / Chapter 2.1 --- 專指李商隱 --- p.6 / Chapter 2.2 --- 晚唐穠艷詩體 --- p.8 / Chapter 3. --- 西崑體與駢文 --- p.12 / Chapter 第二節、 --- 硏究方法及目的 --- p.14 / Chapter 1. --- 西崑體的硏究槪況 --- p.14 / Chapter 1.1 --- 西崑體的基礎硏究 --- p.14 / Chapter 1.2 --- 西崑體的評價 --- p.16 / Chapter 2. --- 本文的硏究目的及方法 --- p.21 / Chapter 第二章 --- 西崑體的背景 --- p.23 / Chapter 第一節、 --- 文學背景 --- p.23 / Chapter 1. --- 宋初詩風的發展 --- p.23 / Chapter 1.1 --- 宋初詩分三體說 --- p.23 / Chapter 1.2 --- 白體詩與晚唐體詩 --- p.27 / Chapter 1.2.1 --- 詩歌語言 --- p.27 / Chapter 1.2.2 --- 詩歌內容 --- p.34 / Chapter 2. --- 宋初其他文體的發展 --- p.37 / Chapter 2.1 --- 古文運動 --- p.38 / Chapter 2.2 --- 詞的發展 --- p.42 / Chapter 第二節、 --- 政治社會背景 --- p.46 / Chapter 1. --- 右文政策 --- p.46 / Chapter 1.1 --- 書籍的刊行搜求 --- p.47 / Chapter 1.2 --- 獎勵讀書 --- p.49 / Chapter 2. --- 科舉制度 --- p.50 / Chapter 3. --- 唱和風氣 --- p.52 / Chapter 第三章 --- 西崑體的特色 --- p.55 / Chapter 第一節、 --- 歷代有關西崑體的評論 --- p.55 / Chapter 1. --- 楊億的文學觀 --- p.55 / Chapter 2. --- 其他論者對西崑體的批評 --- p.59 / Chapter 第二節、 --- 《西崑酬唱集》與李商隱詩 --- p.62 / Chapter 1. --- 語句方面 --- p.62 / Chapter 2. --- 題材方面 --- p.65 / Chapter 3. --- 結構方面 --- p.70 / Chapter 第三節、 --- 西崑體的特色與其盛衰之關係 --- p.75 / Chapter 1. --- 一洗五代蕪鄙之氣 --- p.75 / Chapter 1.1 --- 西崑體出，詩風一變 --- p.75 / Chapter 1.2 --- 宋初三體詩比較 --- p.78 / Chapter 2. --- 梅堯臣、歐陽修與西崑體 --- p.80 / Chapter 2.1 --- 歐陽修與西崑體 --- p.80 / Chapter 2.2 --- 梅堯臣與西崑體 --- p.81 / Chapter 第四章 --- 西崑體對「宋詩」發展的影響 --- p.84 / Chapter 第一節、 --- 以議論爲詩 --- p.85 / Chapter 1. --- 以議論運古事 --- p.86 / Chapter 1.1 --- 李商隱的詠史詩 --- p.86 / Chapter 1.2 --- 《西崑酬唱集》的詠史詩 --- p.88 / Chapter 1.3 --- 西崑體對宋詩議論的影響 --- p.92 / Chapter 2. --- 以唱和議論 --- p.94 / Chapter 2.1 --- 《西崑酬唱集》的唱和形式與議論 --- p.95 / Chapter 2.2 --- 明妃曲及其和詩 --- p.99 / Chapter 第二節、 --- 西崑體與宋詩用事 --- p.102 / Chapter 1. --- 西崑體與「宋詩主意」 --- p.103 / Chapter 2. --- 崑體工夫與黃庭堅 --- p.105 / Chapter 第五章、 --- 結語 --- p.112 / 附錄一：《西崑酬唱集》體裁統計表 --- p.115 / 附錄二 ：《西崑酬唱集》與李商隱詩之詩句比對表 --- p.117 / 參考書目

梁偉基. / "2000年8月" / 論文 (哲學碩士)--香港中文大學, 2000. / 參考文獻 (leaves 136-155) / 附中英文摘要. / "2000 nian 8 yue" / Liang Weiji. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000. / Can kao wen xian (leaves 136-155) / Fu Zhong Ying wen zhai yao. / Chapter 第一章： --- 緒論 / Chapter 第一節： --- 北宋政權的解體與新政權的建立 / Chapter 第二節： --- 南宋高宗初年政治史的硏究動向 / Chapter 第三節： --- 官僚制理論的介紹及其與中國史硏究的關係 / Chapter 第四節： --- 史料的應用 / Chapter 第五節： --- 問題的提出 / Chapter 第二章： --- 高宗政權成立初年地方財經官僚的動向 / Chapter 第一節： --- 北宋重視財經官僚的國策及其延續 / Chapter 第二節： --- 高宗初年對地方守令的財經治績要求 / Chapter 第三節： --- 高宗初年地方財經官僚與新政權的依存關係 / Chapter 第四節： --- 高宗初年地方財經官僚的權力 / Chapter 第五節： --- 小結 / Chapter 第三章： --- 高宗初年財經官僚與知臨安府的關係 / Chapter 第一節： --- 高宗政權成立以後駐蹕地問題的爭議 / Chapter 第二節： --- 高宗定都臨安府的原因 / Chapter 第三節： --- 建炎元年(1127)至紹興十二年(1142)歷任知臨安府的分析 / Chapter 第四節： --- 小結 / Chapter 第四章： --- 高宗初年戶部侍郎、¯‘ة書的分析 / Chapter 第一節： --- 高宗初年戶部的職能 / Chapter 第二節： --- 高宗初年戶部侍郎的人選分析 / Chapter 第三節： --- 高宗初年戶部¯‘ة書的人選分析 / Chapter 第四節： --- 小結 / Chapter 第五章： --- 高宗初年倚重財經官僚的背景 一個歷史現象的分析 / Chapter 第一節： --- 高宗政權的成立及其措置戰時財政的困難 / Chapter 第二節： --- 高宗政權出現財政危機的原因 / Chapter 第三節： --- 高宗政權解決財政危機的嘗試 / Chapter 第四節： --- 高宗政權任用財經官僚的矛盾 / Chapter 第五節： --- 小結 / Chapter 第六章： --- 結論 / 引用書目 / Chapter 一、 --- 史料 / Chapter 二、 --- 中日文論文 / Chapter 三、 --- 中日文論著 / Chapter 四、 --- 西文論文 / Chapter 五、 --- 西文論著 / 附表 / 表一〈高宗年間歷任知臨安府簡表(建炎元年(1127)至紹興十二年(1142))〉 / 表二〈席益家世表〉 / 表三〈宋煇家世表〉 / 表四〈盧知原家世表〉 / 表五〈蔣璨家世表〉 / 表六〈張匯家世表〉 / 表七〈王喚家世表〉 / 表八〈財經官僚標準表：知臨安府〉 / 表九〈高宗年間歷任知臨安府簡表(紹興十三年(1143)至紹興三十二年(1162))〉 / 表十〈高宗年間歷任戶部侍郎簡表（建炎元年(1127)至紹興十二年(1142))〉 / 表十一〈鄭望之家世表〉 / 表十二〈葉夢得家世表〉 / 表十三〈陳邦光家世表〉 / 表十四〈李迨家世表〉 / 表十五〈高衛家世表〉 / 表十六〈黃叔敖家世表〉 / 表十七〈劉岑、劉寧止家世表〉 / 表十八〈向子諲家世表〉 / 表十九〈晁謙之家世表〉 / 表二十〈財經官僚標準表：戶部侍郎〉 / 表二十一〈高宗年間歷任戶部¯‘ة書簡表(建炎元年(1127)至紹興十二年(1142))〉 / 表二十二〈財經官僚標準表：戶部¯‘ة書〉 / 表二十三〈河北兵馬大元帥府僚屬表(建炎元年(1127)春正月至五月）〉

This thesis explores the question of how the figure of Solomon is characterized in the Hebrew Bible. This question arises from the observation of divergent depictions of Solomon in the different books. In 1 Kings 1–11, Solomon is depicted in an ambivalent manner where his wisdom can be used positively for the benefit of all Israel and negatively through focusing on the royal court to the neglect of Israel at large. In contrast, Solomon is presented as a model king of cultic fidelity in 2 Chronicles 1–9 in spite of his failures in 1 Kings 1–11. In Proverbs, Solomon is remembered as the paragon of wisdom in Israel but is also presented in Ecclesiastes as a pessimistic king describing the limitations of his wisdom. Furthermore, Solomon is used as the picture of an ideal lover in the Song of Songs, but it is his romantic exploits that lead to him becoming an idolater turning away from YHWH. In light of these observations, the purpose of this thesis is to examine the characterization of Solomon in 1 Kings 1–11, 2 Chronicles 1–9, Proverbs, Ecclesiastes, and Song of Songs. In order to examine this, a communicative theory of interpretation that benefits from a theory of characterization from narrative-criticism will be utilized. This hermeneutical tool will help establish the integrity of individual books as acts of communication and demonstrate how characterization is a literary technique utilized by authors to depict a character to be imagined by readers. The finding of this thesis is that Solomon’s characterization is well beyond a single attribute as a wise king or even a two-fold attribute as wise king and temple builder. Instead, he is a paradoxical and ambiguous figure that integrates positive and negative features emerging both from the individual accounts and from the relation of these accounts to one another. The accounts associated with describing Solomon’s reign or those books that have a poetic association share significant themes, but these themes are reframed and re-interpreted as a part of an enduring legacy. By re-evaluating the depiction of Solomon in individual parts or wholes of books, as well as considering the unique contributions of the individual accounts in relation to one another, this thesis demonstrates that the figure of Solomon generates ever fresh elaborations.

Title from accompanying document. / A.M. Forbes, soprano ; J. Anschutz, piano, organ ; K. Irwin, oboe ; D. Bakke, T. McClure, violins ; E. Takehana, viola ; V. Pugh, violoncello ; J. Langenkamp, tenor ; S. Rushing, narrator. / Digitized by Kansas Correctional Industries

Title from accompanying document. / Digitized by Kansas Correctional Industries

Made available in DSpace on 2016-04-25T20:20:28Z (GMT). No. of bitstreams: 1 Rita de Cassia Aguiari Barbosa.pdf: 1847337 bytes, checksum: e491df0fa8043812a2b17bd1a31211de (MD5) Previous issue date: 2011-10-17 / This dissertation aims at evaluating the transformations undergone by the Catholic Church in recent decades, particularly concerning the use of means of mass communication by this institution. For this reason, it discusses the religious field symbolic disputes and the attempt of training and fixing a new habitus of being Catholic. In order to understand this process, the Catholic media production was analyzed, especially the Charismatic Movement and one of its greatest exponents in Brazil: Comunidade Canção Nova (New Song Community). Based on believers life stories; its organization, needs and demands as well as its television production were discussed. Vida (Life) and Aliança (Alliance) Canção Nova (New Song) Communities were also studied to demonstrate the dependence relation between the expansion of community media and the work of their believers who accepted communal lifestyle. In this context, one of the main Catholic leaders of the moment was highlighted, Father Fábio de Melo, whose media, literary and musical production was examined in order to introduce new words and figures of the Catholic Church. Thus, these studies intend to contribute to a broad discussion about the new ways trodden by Brazilian Catholicism and its impact on its believers symbolic experience / Esta dissertação tem como objetivo avaliar as transformações sofridas pela Igreja Católica nas últimas décadas, em especial a partir do emprego dos meios de comunicação de massa nesta instituição. Para tanto, discute as disputas simbólicas do campo religioso e a tentativa de formação e fixação de novos habitus do ser católico. A fim de compreender esse processo, a produção midiática católica foi analisada, destacando-se o movimento carismático e um de seus maiores expoentes no Brasil: a Comunidade Canção Nova. Com base em histórias de vida temáticas de fiéis, discutiram-se sua organização, suas necessidades e demandas, bem como sua produção televisiva. As Comunidades de Vida e Aliança Canção Nova também foram estudadas, para demonstrar a relação de dependência entre a expansão midiática da comunidade e o trabalho dos fiéis que aderem ao estilo de vida comunitário. Nesse contexto, destacou-se uma das principais lideranças católicas do momento, Padre Fábio de Melo, cuja produção midiática, literária e musical foi examinada com o intuito de apresentar novos discursos e figuras da Igreja Católica. Pretendeu-se, assim, contribuir para uma reflexão ampla a respeito dos novos percursos trilhados pelo catolicismo brasileiro e sobre seus impactos nas experiências simbólicas dos fiéis

Made available in DSpace on 2016-04-26T14:53:21Z (GMT). No. of bitstreams: 1 Rita de Cassia Aguiari Barbosa.pdf: 1847337 bytes, checksum: e491df0fa8043812a2b17bd1a31211de (MD5) Previous issue date: 2011-10-17 / This dissertation aims at evaluating the transformations undergone by the Catholic Church in recent decades, particularly concerning the use of means of mass communication by this institution. For this reason, it discusses the religious field symbolic disputes and the attempt of training and fixing a new habitus of being Catholic. In order to understand this process, the Catholic media production was analyzed, especially the Charismatic Movement and one of its greatest exponents in Brazil: Comunidade Canção Nova (New Song Community). Based on believers life stories; its organization, needs and demands as well as its television production were discussed. Vida (Life) and Aliança (Alliance) Canção Nova (New Song) Communities were also studied to demonstrate the dependence relation between the expansion of community media and the work of their believers who accepted communal lifestyle. In this context, one of the main Catholic leaders of the moment was highlighted, Father Fábio de Melo, whose media, literary and musical production was examined in order to introduce new words and figures of the Catholic Church. Thus, these studies intend to contribute to a broad discussion about the new ways trodden by Brazilian Catholicism and its impact on its believers symbolic experience / Esta dissertação tem como objetivo avaliar as transformações sofridas pela Igreja Católica nas últimas décadas, em especial a partir do emprego dos meios de comunicação de massa nesta instituição. Para tanto, discute as disputas simbólicas do campo religioso e a tentativa de formação e fixação de novos habitus do ser católico. A fim de compreender esse processo, a produção midiática católica foi analisada, destacando-se o movimento carismático e um de seus maiores expoentes no Brasil: a Comunidade Canção Nova. Com base em histórias de vida temáticas de fiéis, discutiram-se sua organização, suas necessidades e demandas, bem como sua produção televisiva. As Comunidades de Vida e Aliança Canção Nova também foram estudadas, para demonstrar a relação de dependência entre a expansão midiática da comunidade e o trabalho dos fiéis que aderem ao estilo de vida comunitário. Nesse contexto, destacou-se uma das principais lideranças católicas do momento, Padre Fábio de Melo, cuja produção midiática, literária e musical foi examinada com o intuito de apresentar novos discursos e figuras da Igreja Católica. Pretendeu-se, assim, contribuir para uma reflexão ampla a respeito dos novos percursos trilhados pelo catolicismo brasileiro e sobre seus impactos nas experiências simbólicas dos fiéis

Melodifestivalen är ett underhållningsprogram som ofta associeras med kvinnor trots att kvinnor inte numerärt är mer framgångsrika än män i tävlingen. Kvinnor tillåts inte heller ta lika mycket plats som män i Melodifestivalen. Masteruppsatsarbetets huvudsakliga syfte är att undersöka vilka former av femininitet som ges utrymme i Melodifestivalen mellan åren 2002 till 2016. Detta har gjorts genom en studie av sekvenser från de TV-sända finalerna av Melodifestivalen. Masteruppsatsarbetet beskriver olika femininiteter utifrån teorier om performativitet, femininitet och kulturella representationer. Detta leder fram till en slutsats som visar att kvinnor representeras i relation till sin kropp genom förväntade vackra utseenden medan män representeras i relation till sin hjärna med expertuttalanden. Fokuseringen på kvinnans utseende representeras dock på olika sätt och de olika formerna av femininitet kan kategoriseras in i kategorierna ”modern/frun”, ”väninnan”, ”divan” och det ”kvinnliga subjektet”. De olika kategorierna förhandlar med femininitetsnormer och respektabilitet på olika sätt där både reproducerande och subversiva handlingar ingår.