Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-03-16T12:13:18Z No. of bitstreams: 1 Ana Maria da Silva Gomes de Oliveira Lucio de Sousa.pdf: 6698738 bytes, checksum: f2df6c7f902a953a277d0ff45dac6e5a (MD5) / Made available in DSpace on 2018-03-16T12:13:18Z (GMT). No. of bitstreams: 1 Ana Maria da Silva Gomes de Oliveira Lucio de Sousa.pdf: 6698738 bytes, checksum: f2df6c7f902a953a277d0ff45dac6e5a (MD5) Previous issue date: 2018-02-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work has two main aims. The first consists in the intention of contributing to the studies concerning the relationship between mankind and sound production, in order to favour the theoretical and methodologic process of construction in the field of Archaeology. The second aim is to use that to answer certain questions related to the desacralization process of the modern world in Western societies.During the postgraduate course in Archaeology, in the module on the ancient Roman world, the initial idea appeared as the theoretical and methodologic difficulties to study sound productions and their relation with men and society, in that period and in ancient contexts, was dealt with.Nowadays, new possibilities to make analyses on such questions are approached in the area of recent organological studies, in the field that belongs to Archaeomusicology and to the area of Experimental Archaeology, for studies related to the production of musical instruments based on archaeological and textual sources. Recently, the field of Ethnoarchaeomusicology has flourished as an important tool under development. I search, in this sense, to develop a study to analyse the relationship between men and sound production in the field of study of Brazilian Historical Archaeology; to that aim, sound artefacts related to the cultural tradition of communities were chosen. With that intent, three artefacts were selected: the Ika flute, used by the Bororo ethnic group; the Adjá, employed in rituals belonging to religions of African roots; and the Shepherd Rattle, used by the herdsman in the Northeast of Brazil.The three artefacts are related to contexts that carry the dimensions of the social and cosmological role of the sound they produce, and this fact qualifies them to the second purpose of this study, which is investigate the desacralization order that manifests itself in the contemporary world.I decided for the shepherd rattle, firstly by observing the peculiarities about such artefact, and secondly because of my previous contact with individuals from communities linked to cattle raising during a period of approximately ten years, between 1985 and 1995, when I settled down and worked as a teacher in the municipality of Patos, in the agreste region of the State of Paraíba.The established theoretical and methodological route was intended to meet four questionswhich were held as the main lines: the social reproduction behaviour related to the sound production of the artefact; the production processes subjected to interference; the relation between this sound production and the dimensions of the sacred and the artefact itself. In this trajectory, a interdisciplinary dialogue was developed, situating research fields from the disciplines of History, Anthropology, Ethnology, Brazilian Historic Archaeology, Organology and Acoustics in order to obtain substantial information and answer to the initially proposed questions / Este trabalho possui dois objetivos principais. O primeiro consiste na intenção de contribuir para os estudos que abordam a relação entre o homem e a produção de sons, para favorecer o processo de construção teórico e metodológico, no campo da Arqueologia. O segundo propósito é utilizar esta proposta para responder determinadas questões que estão relacionadas ao processo de dessacralização do mundo moderno, nas sociedades ocidentais.Durante o curso de Pós-Graduação em Arqueologia, na disciplina que trata do mundo romano antigo, surgiu aideia inicial, ao ter contato com as dificuldades teóricas e metodológicas para o estudo sobre as produções sonoras e a sua relação com o homem e a sociedade, naquele período e em contextos remotos. Atualmente, novas possibilidades de análise sobre estas questões são abordadas no campo de estudos organológicos recentes, no campo que pertence à Arqueomusicologia e ao campo da Arqueologia Experimental, para estudos relacionados à produção de instrumentos musicais com base em fontes arqueológicas e escritas. Recentemente, o campo da Etnoarqueomusicologia vem despontando como uma importante ferramenta em desenvolvimento.Busco, neste sentido, desenvolver um estudo para analisar a relação do homem com a produção de sons, no campo de estudo da Arqueologia Histórica Brasileira, tomando para tanto, um artefato sonoro relacionado à tradição cultural de uma comunidade. Para tanto, três artefatos foram selecionados: a flauta Ika utilizada pela etnia Bororo, o adjá utilizado nos rituais de religiões de matriz africana e o chocalho pastoril utilizado pelo vaqueiro no nordeste brasileiro.Os três artefatos estão relacionados a contextos que portam dimensões do papel social e cosmológico do som que produzem e este fato os qualificava para o segundo propósito deste estudo, qual seja, investigar a ordem de dessacralização que se manifesta no mundo contemporâneo. Decidi pelo chocalho pastoril, primeiro por observar as peculiaridades que envolvem este artefato e em segundo pelo meu contado anterior com representantes das comunidades ligadas à pecuária, no período de aproximadamente dez anos, entre 1985 e 1995, quando me estabeleci e atuei no trabalho docente, no município de Patos, no agreste do estado da Paraíba.O caminho teórico e metodológico estabelecido procurou se alinhar a quatro questões que foram mantidas como principais vetores: o comportamento de reprodução social relacionado à produção sonora do artefato, os processos produtivos nos quais interferiram, a relação entre esta produção sonora e as dimensões do sagrado e o artefato em si. Neste percurso,o diálogo interdisciplinar foi desenvolvido, situando campos investigativos originários da História, Antropologia, Etnologia, Arqueologia Histórica Brasileira, Organologia, e Acústica, para obter informações substanciais e responder os questionamentos propostos inicialmente

The thesis focuses on the Maria Montessori's method of religious education, how it has taken root in christian catechesis. The purpose of the Petra Bandhauer thesis is to analyse its principles, to describe its development and the way of reception by the educationalists. To provide a deeper glimpse into the field of the theological anthropology the author compares some of Montessori's opinions, most criticised, with the views of Wolfhart Pannenberg and Karl Rahner. The last aim is to introduce the way of reflection of Montessori religious education in the Catechesis of the Good Shepherd and in Godly Play, to examine their practice both in Germany and in the Czech Republic and to highlight the potential they have for the spiritual formation of children in the ecumenical christian society.

The Author and the Shepherd: The Paratextual Self-Representations of James Hogg (1807-1835) This project establishes a literary-cultural trajectory in the career of Scottish poet and author James Hogg (1770-1835) through the close reading of his self-representational paratextual material. It argues that these paratexts played an integral part in Hogg’s writing career and, as such, should be considered among his most important works. Previous critics have drawn attention to Hogg’s paratextual self-representations; this project, however, singles them out for comprehensive analysis as literary texts in their own right, comparing and contrasting how Hogg’s use of such material differed from other writers of his period, as well as how his use of it changed and developed as his career progressed. Their wider cultural significance is also considered. Hogg not only used paratextual material to position himself strategically in his literary world but also to question, challenge and undermine some of the dominant socio-cultural paradigms and hierarchies of the early-nineteenth century, not least the role and position of ‘peasant poets’ (such as himself) in society. Hogg utilised self-representational paratextual material throughout his literary career. Unlike other major writers of the period Hogg, a self-taught shepherd, had to justify and explain his position in society as ‘an author’ through these pseudo-autobiographical paratexts, which he attached to most of his works (in such forms as memoirs, introductions, dedications, notes and footnotes, and introductory paragraphs to stories). Via these liminal devices he created and propagated his authorial persona of ‘The Ettrick Shepherd’, whose main function was to draw attention to Hogg’s preeminent place in the traditional world, and to his status as a ‘peasant poet’. It was on the basis of this position that he argued for his place in the Scottish literary world of the early-nineteenth century and, ultimately, in literary history. His paratextual self-representations are thus a crucial element in his literary career. Drawing on Gerard Genette’s description of ‘the paratext’, the authorial theories of Roland Barthes and Michel Foucault (along with more recent authorial criticism), as well as autobiographical theory, this project traces Hogg’s changing use of self-representational paratexts throughout his career, from his first major work The Mountain Bard (1807) to his final book of stories Tales of the Wars of Montrose (1835). By reading Hogg’s paratexts closely, this project presents a unique view – from the inside out – of the specific literary world into which Hogg attempted to position himself as an author.

Thesis (Ph. D.)--University of Adelaide, Dept. of History, 1991. / Includes bibliographical references (leaves [20-31]).

Thesis (M.S.)--Brigham Young University. Dept. of Communications, 2008. / Includes bibliographical references (p. 173-180).

Ninguém duvida da importância do discurso do Bom Pastor em Jo 10. Todavia, poucos estudos conseguem precisar a dinâmica do relato, sua estrutura interna e, sobretudo, a relação com o conjunto do quarto evangelho. Menos ainda, se conhece a relação do texto com passagens do Antigo Testamento, com a tradição judaica e a literatura intertestamentária. A aproximação com estas diversas fontes permite enquadrar com perspectiva exegética e hermenêutica esta alocução de Jesus, inclusive realizando um balanço das distintas apresentações e interpretações da perícope em autores de reconhecida trajetória mundial no âmbito da exegese. / There is no doubt about the importance one should give to the words of the Good Shepherd in John 10. Nevertheless, very few studies have dealt with the dynamics of the narrative, its inner structure and especialy, with its relationship within the contex of the fourth gospel. We know even less about the links of this text with others in the Old Testament, what is said in the the Jewish Tradition and other writings betwween the two Testaments. Neediess to say that a close study of these sources will give an exegetical and hermeneutical focus and a new perspective to these words of Jesus. This could also be achieved without overlookin different studies and interpretations os these verses given by worlwide known exegetes.

Made available in DSpace on 2014-12-17T15:12:18Z (GMT). No. of bitstreams: 1 VeronicaCN_DISSERT.pdf: 467775 bytes, checksum: e391719d7a608f581226a6b2a51e8129 (MD5) Previous issue date: 2013-12-18 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / O intuito dessa disserta??o consiste em apresentar a quest?o da linguagem e do pensamento a partir da Carta Sobre o Humanismo (1946), em di?logo com Ser e Tempo (1927) e com obras posteriores de Martin Heidegger (1889-1976). Exp?e-se a cr?tica heideggeriana ? abordagem instrumental e antropol?gica dessas quest?es, apresentando-se a interpreta??o da linguagem e do pensamento enquanto destino e gratid?o ao Ser, contextualizadas com a conquista do homem pastor resultante do afastamento do humanismo tradicional, isto ?, da metaf?sica da subjetividade

This thesis examines press coverage in the Deseret News and Salt Lake Tribune of five female politicians in Utah history: Martha Hughes Cannon (1896), Reva Beck Bosone (1948), Karen Shepherd (1992), Enid Greene Waldholtz (1994), and Olene S. Walker (2003). A total of 438 articles were reviewed using qualitative textual analysis. Coverage by candidate varied, though it was not in general overtly biased concerning candidate gender. However, the press did call attention to the gender of candidate and gendered commentary was present. The press also called attention to the rarity of women running for high political office and addressed the ability of candidates to balance the roles of wife/mother/homemaker with a political career. This thesis contributes to the overall understanding of newspaper coverage of female politicians and provides a window into the cultural as well as political history of Utah. Suggestions for further research about media coverage of female politicians are made.

This dissertation examines how early modern English playwrights employ absence to enrich their representations of the unknown, including witchcraft and the supernatural. Throughout the sixteenth and seventeenth centuries magical themes were often dramatized through visual and linguistic excess. Whether this excess was manifested through the use of vibrant costumes, farcical caricatures, or exaggerated dialogue, magic was often synonymous with theatricality. Playwrights such as William Rowley, Ben Jonson, and William Shakespeare, however, challenge stereotypical depictions of magic by contrasting excessive magic with the subtler power of restrained or off-stage magic. Embedded in the fantastical events and elaborate plots of Shakespeare and his contemporaries, absence, whether as an unstaged thing or person or an absent ideology, becomes a crucial element in understanding how playwrights represented and understood occult issues during the early modern period. Further, when gendered feminine, magical absences serve to combat oppressive silences within scripts and provide female subjects with an unimpeded and inherently magical space from which to challenge pre-established patriarchal systems of control. Each chapter in this dissertation, therefore, appraises the magical possibilities that theatrical absences provide to women as a platform from which to develop their narrative voice. Partnered with a complementary discussion of Jonson’s The Masque of Queens and two thematically linked witchcraft cases, my first chapter argues that Mistress Ford uses the complete stage absence of both a witch and a queen in The Merry Wives of Windsor to reform her community and critique her society’s unjust categorization of women. In chapter two, I examine a series of “vanishing acts” in The Birth of Merlin and argue that Rowley’s female characters use their final moments on stage to contextualize their impending absences for audiences as moments of magical defiance rather than defeat in the face of male tyranny. In my final chapter, I look at how magical objects, such as the handkerchief in Shakespeare’s Othello or the belt in Jonson’s The Sad Shepherd resist the absence of their female creators and continue to provide physically absent or dead women with magical agency. By structuring my dissertation on these three specific gradations of absence, I provide a nuanced analysis of the purposes these dramatic omissions serve by focusing on how these shades of absence subtly alter the ways in which we interpret and define early modern magical belief. / Thesis / Doctor of Philosophy (PhD)

No description available.