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La culture du vin dans la littérature italienne du Moyen Âge tardif au début des Temps Modernes: critères de qualité, systèmes de représentation et identitésGrappe, Yann D. 19 October 2009 (has links)
Cette étude entend rechercher les traces d'une culture gastronomique du vin dans la littérature italienne sur la période à cheval entre l'époque médiévale et les Temps modernes. La littérature, lorsqu'on lui applique une critique appropriée, est en mesure de fournir à l'historien des informations ponctuelles sur la culture du vin. Elle permet également de mettre en lumière le regard porté par les hommes sur cet objet chargé de significations. Dans le cadre de cette étude, la gastronomie ne sera pas considérée comme une notion vague, voire anecdotique mais comme un phénomène culturel qui place l'homme en relation avec les différentes réalités alimentaires, sensorielles et hédoniques. <p>À quoi tient la qualité d'un vin ?Cette question simple présente l'avantage d'ouvrir une large perspective de recherche historique et anthropologique. Pister les critères de qualité d'un vin pour les hommes d'une autre culture et d'un autre temps c'est aussi comprendre la manière dont ils ont cherché à représenter cet objet. Ce système de représentation révèle la pensée et l'imaginaire des hommes, en même temps qu'il dévoile les valeurs, les identités et les structures socio-économiques d'une société. <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished
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Wounded warriors: representations of disabled soldiers in Canadian fiction of the First World War / Images des traumatismes de la guerre dans le roman canadien du début du 20ème siècleTector, Amy 14 May 2009 (has links)
\ / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished
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Jonathan Edwards: sein Verständnis von Sündenerkenntnis, eine theologiegeschichtliche Einordnung / Jonathan Edwards: his understanding of conviction of sin, a historical theological classificationSchmidtke, Karsten 01 1900 (has links)
Text in German with summaries in German and English / Includes bibliographical references (leaves 350-377) / Die Doktorarbeit hat die Absicht herauszufinden, was Jonathan Edwards unter dem Begriff „Sündenerkenntnis“
verstanden hat und dabei die Frage nach der Bedeutung dieses Verständnisses für die
Erweckungsbewegung zu beantworten. Während Jonathan Edwardsʼ Theologie und Philosophie im
Allgemeinen gut erforscht ist, wurde dieser Aspekt noch nicht genauer untersucht.
Zunächst wird auf der Grundlage einer chronologischen Einordnung seiner Werke Jonathan
Edwardsʼ Verständnis von Sündenerkenntnis aus seinen wichtigsten Schriften erarbeitet, wobei eine
Entwicklung in seinem Gedankengut deutlich wird (Qualitative Inhaltsanalyse).
In einem zweiten Teil wird Jonathan Edwardsʼ Verständnis von Sündenerkenntnis mit der Theologie
seiner Vorläufer, Zeitgenossen sowie Nachfolger und Gegner verglichen, wobei sich die Untersuchung
auf die Bewegung des Puritanismus, die Epochen des „Great Awakening“ und des „Second
Great Awakening“ beschränkt (Diachronischer Vergleich).
In einem dritten Teil wird Jonathan Edwardsʼ Verständnis von Sündenerkenntnis systematischtheologisch
und theologiegeschichtlich eingeordnet. Mit dieser Studie soll ein weiterer deutscher Beitrag
zur internationalen Jonathan Edwards-Forschung geleistet werden.
Der Ansatz dieser Forschung ist dabei historisch ausgerichtet, da er den systematisch-theologischen
Begriff „Sündenerkenntnis“ auf der Grundlage der Biografie Edwardsʼ und einer chronologischen
Einordnung seiner Werke zu ermitteln sucht, um ihn dann in einem diachronischen Vergleich
mit Verständnissen aus verschiedenen zeitlichen Epochen zu vergleichen und so den Begriff „Sündenerkenntnis“
in einem theologiegeschichtlichen Kontext einordnet und versteht. / The thesis tries to answer the question, how Jonathan Edwards understood the term “conviction of
sin”. The intention is to find out the significance of his understanding of this term for the revivalmovement
of his time. While numerous studies have been done on his theology and philosophy, this
aspect has not been thoroughly examined yet.
Based on a chronological assessment of his works Jonathan Edwardsʼ understanding of conviction
of sin is established from his major works (qualitative content analysis). This reveals a development
in his thought-system.
In a second part Jonathan Edwardsʼ understanding of conviction of sin is compared with the
theology of his predecessors, contemporaries and opponents. This examination is limited to the time
of the Puritans, the “Great Awakening” and the “Second Great Awakening” (diachronic comparative
analysis).
In a third part Jonathan Edwardsʼ understanding of conviction of sin is assessed in a systematictheological
way and classified historically. The author intends to make another German contribution
to international Jonathan Edwards Studies.
This research is historically focused, because of the fact, that the term “conviction of sin” is
analysed by means of the biography of Edwards and a chronological classification of his works to
compare it with meanings of different historical epoches and classify it in its theological historical
context by that approach. / Christian Spirituality, Church History and Missiology / D. Th. (Church history)
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Representative form and the visual ideograph : the Obama "Hope" posterTerrell-Curtis, Kara Beth 29 January 2014 (has links)
Indiana University-Purdue University Indianapolis (IUPUI) / In this study, Janis Edwards and Carol Winkler’s method, based on Michael McGee’s ideograph, is applied to non-discursive forms in order to understand the extent to which these images can be understood as a representative form functioning ideographically. Artifacts for analysis include the 2008 Shepard Fairey Obama “PROGRESS” and “HOPE” images, related campaign graphics, and parodies, political and non-political, humorous and serious. Literature on visual rhetoric, the ideograph, and extensions of McGee’s ideograph to visual forms was reviewed. When the method was applied to the artifacts, the Obama “HOPE” image was found to be an example of a representative form. Additionally, the representative form was demonstrated to function ideographically in the parodied examples analyzed in this thesis. Opportunities for further study on the visual ideograph and additional artifacts were proposed.
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Konsep volksmoeder soos dit in die Afrikaanse drama neerslag vindJacobs, Martha Christina 07 September 2009 (has links)
The central problem in this dissertation entails how the concept volksmoeder (mother of the nation) gradually developed to secure a place in the Afrikaans drama. Chapter 1 determines the hypothesis of this dissertation. Chapter 2 focusses on the volksmoeder characteristics. The conclusion reached in Chapter 2 is that Maria in Langenhoven’s Die vrou van Suid-Afrika (1918) reveals similarities and contrasts with female characters in Dutch plays. Chapter 3 ascertains that characteristics of female personages as mothers of the nation determine their positions in patriarch/volksmoeder relationships in W.A. de Klerk’s Die jaar van die vuur-os (1952). Different types of volksmoeder appear in the above-mentioned farm play and in H.A. Fagan’s Ousus (1934). Chapters 4 and 5 identify how the present day volksmoeder in recent plaasdramas such as Deon Opperman’s Donkerland (1996), André P. Brink’s Die jogger (1997), Ek, Anna van Wyk (1986) and Die koggelaar (1988) by Pieter Fourie, indicate a further development in the concepts patriarch and volksmoeder. In the latter’s Koggelmanderman (2003) the man and woman are removed from the idea of gender. / Die sentrale probleem in die verhandeling behels hoe die konsep
volksmoeder met verloop van tyd in die Afrikaanse drama neerslag gevind
het. Hoofstuk 1 bepaal die hipoteses van die verhandeling. Hoofstuk 2 fokus
op die kenmerke van die volksmoeder. Die gevolgtrekking in hoofstuk 2 is dat
Maria in Langenhoven se Die vrou van Suid-Afrika (1918) ooreenstem en
kontrasteer met Nederlandse vrouefigure. Hoofstuk 3 stel vas dat vrouefigure
se kenmerke as volksmoeders hul posisie binne die
patriarg/volksmoederverhouding in W.A. de Klerk se Die jaar van die vuur-os
(1952) bepaal. Verskillende soorte volksmoeder -verskyn in bogenoemde
plaasdrama en in H.A. Fagan se Ousus (1934). Hoofstukke 4 en 5
identifiseer hoe hedendaagse volksmoeders in nuwe plaasdramas, soos
Deon Opperman se Donkerland (1996), Andre P. Brink se Die jogger (1997),
Ek, Anna van Wyk (1986) en Die koggelaar (1988) van Pieter Fourie, verder
binne die patriarg/volksmoederverhouding ontwikkel. In laasgenoemde se
Koggelmanderman (2003) beweeg die man en vrou weg van die konsepte
patriarg en volksmoeder. / Afrikaans & Theory of Literature / M.A. (Afrikaans)
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Temporality and the past: recollections of apartheid in selected South African novels in EnglishXaba, Andile 11 1900 (has links)
The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative past as the histoire, and the narrative present as the récit. Retrospective events are constructed as memories, thereby are complemented by Bergson’s psychological and philosophical theory in the analysis and interpretation of the dualistic interaction between the apartheid and post-apartheid temporal centres adopted within the novels. The representation of apartheid may be seen as sub-themes and time as configurations of temporal zones. / Afrikaans & Theory of Literature / M.A. (Theory of Literature)
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Dimensionen der Moderne im Faust II : Goethes kritische darstellung Gesellschaftlicher Entwicklungen des frühen 19. Jahrhunderts im Fünften Akt / Dimensions of modernity in Faust II : Goethe's critical presentation of socio-political developments of the early 19th century in Act V / Goethes kritische darstellung Gesellschaftlicher Entwicklungen des frühen 19. Jahrhunderts im Fünften Akt / Goethe's critical presentation of socio-political developments of the early 19th century in Act VRehbinder, Nina Maroussia Graefin 2012 November 1900 (has links)
Die vorliegende Untersuchung arbeitet die wesentlichen gesellschaftspolitischen und ökonomischen Entwicklungslinien heraus, die sich während der geschichtlichen Umbruchphase um 1830 im deutschen Raum aus dem letzten Akt von Goethes Faust II ableiten lassen.
Tiefgreifende politische, wirtschaftlich-technische und kulturelle Umwälzungen zu Beginn des 19. Jahrhunderts wirkten auf Goethe als Zeitgenossen ein und wurden von ihm in seinem literarischen Spätwerk verarbeitet. Aus Goethes Alterswerk Faust II heraus lassen sich Konstanten und Entwicklungen seiner Zeit sichtbar machen und, immer eingebettet in den zeitgeschichtlichen Kontext, konkret nachweisen. Diese Ausarbeitung will aufzeigen, dass Goethe im letzten Akt von Faust II einen sich zu Beginn des 19. Jahrhunderts vollziehenden – und teils bereits vollzogenen - Wandel der menschlichen Geisteshaltung attestiert. Säkularisierung und zweckorientierte Rationalität, Beschleunigung, Enthumanisierung und Unterwerfung von Mensch und Natur stehen hierbei im Mittelpunkt.
Fausts aus seinem Pakt mit dem Teufel entstandene Welt nimmt die uns heute umgebende vorweg, die geprägt ist von Datenflut, elektronischen Medien, einer von Alltagshektik geprägten Realität und systemimmanenten Expansionsstreben. Allein dies verleiht dem Drama ein unübersehbar hohes Gegenwartspotential. / This thesis explores the trends of socio-political developments during the period of historical changes in Germany around 1830 that can be deduced from Act V of Goethe´s Faust II.
Profound political, technical, economic and cultural changes at the beginning of the nineteenth century had an impact on Goethe as a contemporary and appear in his late literary work. Thus specific constants and developments of his time are also presented in and can be deduced from one of the great literary works of the aged poet, Faust II.
This paper shows that the final act of Faust II Goethe reveals profound changes in human mentality that took place at the beginning of the nineteenth century and partly even before: Secularization and ruthless rationality with a tendency to acceleration, de-humanization and unscrupulous submission of human beings and nature.
The world that originated from Faust´s pact with the devil in Faust II anticipates the reality surrounding us nowadays, a reality characterized by a flood of data, electronic media and the hectic pace of everyday life, - a fact vouching for the play´s striking modernity. / Classics & World Languages / M.A. (German)
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Temporality and the past: recollections of apartheid in selected South African novels in EnglishXaba, Andile 11 1900 (has links)
The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative past as the histoire, and the narrative present as the récit. Retrospective events are constructed as memories, thereby are complemented by Bergson’s psychological and philosophical theory in the analysis and interpretation of the dualistic interaction between the apartheid and post-apartheid temporal centres adopted within the novels. The representation of apartheid may be seen as sub-themes and time as configurations of temporal zones. / Afrikaans and Theory of Literature / M. A. (Theory of Literature)
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Hans Christian Andersen's romantic imagination : exploring eighteenth and nineteenth century romantic conceptualisations of the imagination in selected fairy tales by Hans Christian AndersenGreyvensteyn, Annette 07 1900 (has links)
Includes bibliographical references (leaves 119-131) / Text in English with summaries in English and Afrikaans / There are certain influences from the eighteenth and nineteenth century English and German romantic Zeitgeist that can be discerned in Hans Christian Andersen’s fairy tales. The role of the imagination stands out as a particularly dominant notion of the romantic period as opposed to the emphasis on reason during the Enlightenment. It is this romantic influence that Andersen’s tales especially exemplify. For him the imagination is transcendent – one can overcome the mystery and hardship of an earthly existence by recasting situations imaginatively and one can even be elevated to a higher, spiritual realm by its power. The transcendent power of the imagination is best understood by viewing it through the lens of negative capability, a concept put forward by romantic poet, John Keats. The concept implies an “imaginative openness” to what is, which allows one to tolerate life’s uncertainties and the inexplicable suffering that forms part of one’s earthly existence by using the imagination to open up new potential within trying circumstances. In selected fairy tales, Andersen’s child protagonists transcend their circumstances by the power of their imagination. In other tales, nature is instrumental in this imaginative transcendence. The natural world conveys spiritual truths and has a moralising influence on the characters, bringing them closer to the Ultimate Creator. This follows the philosophy of German Naturphilosophie, as well as that of English romantics like Coleridge and Wordsworth, for whom nature functions as a portal to the spiritual
world. The concept of the “sublime” underpins this philosophy. If nature is viewed through an imaginative, instead of an empirical lens, it becomes the means by which the temporal world can be transcended. It is a message of hope and as such is in keeping with Andersen’s self professed calling as visionary who uses his art to uplift mankind. In this he is the ultimate romantic hero or outsider who, while standing on the periphery of society, observes its shortcomings and feels called upon to show the way to a better world. / Sekere invloede van agtiende- en negentiende eeuse Engelse en Duitse romantisisme kan in Hans Christian Andersen se feëverhale bespeur word. Veral die rol van die verbeelding staan uit as ‘n dominante invloed van romantisisme, in teenstelling met die laat sewentien- en vroeë agtiende eeuse fokus op rasionaliteit. Dit is hierdie romantiese invloed wat Andersen se verhale veral versinnebeeld. Vir hom is die verbeelding transendentaal – ‘n mens kan die misterie en swaarkry van jou aardse bestaan oorkom deur situasies deur die oog van die verbeelding te bejeën en kan selfs deur die mag van die verbeelding opgehef word na ‘n hoër, meer spirituele vlak. Die transendentale mag van die verbeelding kan beter begryp word
wanneer dit deur die lens van “negative capability” gesien word. Hierdie konsep is deur die romantiese digter, John Keats, voorgestel. Die konsep impliseer ‘n verbeeldingryke openheid in die aangesig van aardse onsekerheid en swaarkry, wat die mens uiteindelik in staat stel om nuwe potensiaal in moeilike omstandighede raak te sien. In uitgekose feëverhale, oorkom Andersen se kinderprotagoniste hul moeilike omstandighede deur die mag van die verbeelding. In ander verhale is die natuur deurslaggewend in dié transendentale verbeeldingsreis. Nie net dra die natuur geestelike waarhede oor nie, maar dit het ook ‘n moraliserende invloed op die karakters, wat hulle nader aan ‘n Opperwese bring. Dit herinner aan die Duitse Naturphilosophie, asook die sienswyse van Engelse romantikusse soos
Coleridge en Wordsworth, vir wie die natuur ‘n deurgangsroete na die geestelike wêreld is. Die idee van die “sublime” is onderliggend aan hierdie filosofie. As die natuur deur middel van die verbeeldingslens, in plaas van deur ‘n empiriese lens bejeën word, kan dit ‘n manier word om die aardse te oorkom. Dit is dus ‘n boodskap van hoop wat in lyn is met Andersen se selfopgelegde taak as profeet wat sy kuns gebruik om die mensdom op te hef. In hierdie opsig is hy die absolute romantiese held of buitestaander, wat, ofskoon hy aan die buitewyke van die samelewing staan, tóg tekortkominge raaksien en geroepe voel om die weg na ‘n beter wêreld te wys. / English Studies / M.A. (English)
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Konsep volksmoeder soos dit in die Afrikaanse drama neerslag vindJacobs, Martha Christina 07 September 2009 (has links)
The central problem in this dissertation entails how the concept volksmoeder (mother of the nation) gradually developed to secure a place in the Afrikaans drama. Chapter 1 determines the hypothesis of this dissertation. Chapter 2 focusses on the volksmoeder characteristics. The conclusion reached in Chapter 2 is that Maria in Langenhoven’s Die vrou van Suid-Afrika (1918) reveals similarities and contrasts with female characters in Dutch plays. Chapter 3 ascertains that characteristics of female personages as mothers of the nation determine their positions in patriarch/volksmoeder relationships in W.A. de Klerk’s Die jaar van die vuur-os (1952). Different types of volksmoeder appear in the above-mentioned farm play and in H.A. Fagan’s Ousus (1934). Chapters 4 and 5 identify how the present day volksmoeder in recent plaasdramas such as Deon Opperman’s Donkerland (1996), André P. Brink’s Die jogger (1997), Ek, Anna van Wyk (1986) and Die koggelaar (1988) by Pieter Fourie, indicate a further development in the concepts patriarch and volksmoeder. In the latter’s Koggelmanderman (2003) the man and woman are removed from the idea of gender. / Die sentrale probleem in die verhandeling behels hoe die konsep
volksmoeder met verloop van tyd in die Afrikaanse drama neerslag gevind
het. Hoofstuk 1 bepaal die hipoteses van die verhandeling. Hoofstuk 2 fokus
op die kenmerke van die volksmoeder. Die gevolgtrekking in hoofstuk 2 is dat
Maria in Langenhoven se Die vrou van Suid-Afrika (1918) ooreenstem en
kontrasteer met Nederlandse vrouefigure. Hoofstuk 3 stel vas dat vrouefigure
se kenmerke as volksmoeders hul posisie binne die
patriarg/volksmoederverhouding in W.A. de Klerk se Die jaar van die vuur-os
(1952) bepaal. Verskillende soorte volksmoeder -verskyn in bogenoemde
plaasdrama en in H.A. Fagan se Ousus (1934). Hoofstukke 4 en 5
identifiseer hoe hedendaagse volksmoeders in nuwe plaasdramas, soos
Deon Opperman se Donkerland (1996), Andre P. Brink se Die jogger (1997),
Ek, Anna van Wyk (1986) en Die koggelaar (1988) van Pieter Fourie, verder
binne die patriarg/volksmoederverhouding ontwikkel. In laasgenoemde se
Koggelmanderman (2003) beweeg die man en vrou weg van die konsepte
patriarg en volksmoeder. / Afrikaans and Theory of Literature / M.A. (Afrikaans)
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