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On the southwestern coast of India, Kerala, with its fortuitous position in the Indian ocean trade network, has served as a beacon for merchant ships since antiquity. As early as the ninth-century, Kerala’s rulers – the Cēras (ca. 800 – 1124) and merchant polities developed a symbiotic relationship that allowed a wealth of diplomatic privileges for traders. Religious leaders who travelled with merchants are named as the benefactors of agreements between the Cēras and the guilds. This dissertation will show that a corollary of this unique trade policy was the canonization of a shared architectural and artistic vocabulary in the region’s religious monuments. Individual chapters dedicated to the architectural style of temples, churches, synagogues, and mosques will examine this syncretism and the idiomatic mode of sacred art and architecture that came to define the Kerala style.

Thesis (Ph.D.)--University of Iowa, 2006. / Supervisor: T. Dwight Bozeman. Includes bibliographical references (leaves 296-300).

L’oeuvre de Eugene O’Neill est souvent considérée de manière parcellaire : si la critique s’accorde sur la place canonique d’O’Neill dans le théâtre américain, c’est qu’elle choisit généralement d’occulter l’oeuvre de jeunesse. Cette thèse vise à reconstruire le lien entre les pièces et les différents contextes qui se succèdent au cours de sa carrière pour mettre en évidence une esthétique du paradoxe, nourrie par des aspirations communautaires insatisfaites. Il s’agit non pas de conclure à la supériorité de l’oeuvre tardive, mais de redonner sa place à l’oeuvre de jeunesse, comme la matrice de l’écriture. La quête d’un sentiment d’appartenance parcourt l’oeuvre dans laquelle s’exerce la tension entre scène d’avant-garde et scène commerciale, démarche individuelle et démarche collective. Le théâtre d’O’Neill est difficile à appréhender dans sa globalité tant les pièces sont irrégulières et hétérogènes. L’oeuvre est cependant tendue vers une même quête : la quête d’appartenance qui transparaît aussi bien dans le contexte de production que dans l’écriture des pièces. C’est en envisageant les pièces comme un ensemble unifié autour de la recherche impossible d’une communauté que se dessine une nouvelle lecture de l’oeuvre théâtrale : les paradoxes de l’écriture donnent à voir les capacités de l’oeuvre à produire sa propre ambiguïté et sa propre richesse / Eugene O’Neill’s drama is generally approached from heterogeneous perspectives: if there is a critical consensus concerning O’Neill’s canonical position in American theater, it is probably due to the critics’ tendency to neglect the early plays. This dissertation aims to reconstruct the link between the plays and the shifting contexts in which they were elaborated in order to highlight O’Neill’s aesthetics of contradiction fueled by an unsatisfied quest for belonging. Instead of positing that O’Neill’s achievement lies in the late plays, this study aims at evaluating the early plays, as they constitute the matrix of his writing. The quest for belonging runs through O’Neill’s plays, which also show a constant tension between avant-garde and commercial stage, individual and collective behavior. O’Neill’s plays are difficult to apprehend, as they are extremely heterogeneous. But as a whole, they appear directed, however, toward one single pursuit: the quest for belonging which characterizes the context of production as much as the writing. By considering the plays as a whole, unified by the impossible quest for a community, one may attempt a new approach to O’Neill’s works, as the contradictions inherent in the writing show how O’Neill’s body of work produces its own ambiguity and interest

The cult of the saints was a widespread and important element of medieval European society. It is also an area of history where historians’ explanations of events are usually very different from those of the historical actors studied. This thesis is an attempt to find some common ground between them. It examines the interactions between commoners and the non-canonised saint NilsHermansson, bishop of Linköping, in early fifteenth-century Swedish miracle tales. The thesis argues that the cult of the saint functioned as his social network. It further argues that in this network the dead saint functioned as a social actor, that is as someone who acted in society for purposes of his own and who had different relationships to different people. These premises haveproven very fruitful for the understanding of the development, structure and function of the cult, and of what the cult meant to people who took part in it. The bishop’s network included the canons of Linköping, the fellow departed saint Bridget, and many people who were connected to the bishop by patron-client relationships. Viewing the departed saint as a social actor sheds light on the varied and prudent ways in which medieval Swedish commoners interacted with him. The study indicates that the making of vows to the saint may have been regulated by custom in a way thatwas related to the Country Law then in force. There was a remarkable degree of continuity between the social network of the living bishop and his cult after death.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-11-22T12:14:50Z No. of bitstreams: 1 JACINTA ALVES DE LIMA.pdf: 1530083 bytes, checksum: ab368dca741e184cd612dba1858539bf (MD5) / Made available in DSpace on 2017-11-22T12:14:50Z (GMT). No. of bitstreams: 1 JACINTA ALVES DE LIMA.pdf: 1530083 bytes, checksum: ab368dca741e184cd612dba1858539bf (MD5) Previous issue date: 2017-09-19 / In this dissertation, we discuss Cícero Romão Batista: from popular canonization to official canonization, and his main objective is to analyze internal and external conflicts with Catholicism that contextualized both the rupture of the Catholic Church with the priest and the recent reconciliation (2015) Towards him, envisaging a possible canonization. The role of the pilgrimages in Juazeiro do Norte stands out in this context, one of the indicators that converges towards a probable official canonization. This research is based on biographical and documentary sources in archives of the Center for Psychology of Religion in Juazeiro do Norte, and also in several duly cited authors. This work is composed of the identification and history of Padre Cícero Romão Batista, including the main characters without whom his story would not be the same. It then demonstrates the reasons both for the rupture of the Church, through its local representative in the past, and for reconciliation, a current cause made effective in 2015, and the possible canonization in the future. It is understood that reconciliation is the first step towards the canonization, since this is the opportunity to open the process for this purpose, following all the steps required and duly proven to be countersigned and come to fruition. / Nesta dissertação discorre-se sobre Cícero Romão Batista: da canonização popular à canonização oficial, e tem como objetivo principal analisar os conflitos internos e externos ao Catolicismo que contextualizaram tanto a ruptura da Igreja Católica com o Sacerdote à recente reconciliação (2015) para com ele, vislumbrando uma possível canonização. Destaca-se, nesse contexto, o papel das romarias em Juazeiro do Norte, o quanto dos indicadores que convergem para uma provável canonização oficial. Esta pesquisa tem embasamento em fontes biográficas e documentais, em arquivos do Centro de Psicologia da Religião de Juazeiro do Norte, e, também, em diversos autores devidamente citados. Este trabalho é composto pela identificação e histórico do Padre Cícero Romão Batista, incluindo os principais personagens, sem os quais sua história não seria a mesma. Em seguida, demonstra-se as razões tanto da ruptura da Igreja, por meio de seu representante local, no passado, quanto da reconciliação, causa atual efetivada em 2015 e a possível canonização no futuro. Entende-se que a reconciliação é o primeiro passo rumo à canonização, pois assim se tem a oportunidade de abrir o processo para esse fim, seguindo todas as etapas exigidas e devidamente comprovadas para que seja referendado e chegue ao bom termo.

Univ., Habil.-Schr.--München, 2000. / Literatur- und Quellenverz. S. 13 - 49.

<p>The abscence of the brazilian artist Tarsila do Amaral (1886–1973) in the general art history is investigated, using the colonial structure as a starting point. In South America she is regarded as one of the greatest artists in modern time, in the rest of the world she is more or less unknown. The conclusion is that the colonial mechanisms are still in progress in our assumed postcolonial world, and has excluded Tarsila do Amaral, and the anthropophagic movement she was a part of, from the art history. The study points out the importance of looking into this neglected artist and the historic event. Not only to add it to the history of art, but also to show how anthropophagy as an artistic strategy created in the 1920’s Brazil is as relevant today as it was then. Three oil paintings of Tarsila do Amaral is used to describe the artistic strategy that solved the problem of beeing shaped as a mirror image to the western world. The paintings A Negra, Abaporu and Antropofagia tells us the story of how the Brazilian people started to see themselves as culturaly independent from Europe. Neither as something opposite nor similiar, but as something between. Anthropophagy is challenging our notion of ”us” and ”them” as well as centre and periphery – and is therefor useful in the writing of art history. Its not only important to make room for Tarsila do Amaral in the history of art – its also urgent to let her contribution be a part of the present art world.</p>

The abscence of the brazilian artist Tarsila do Amaral (1886–1973) in the general art history is investigated, using the colonial structure as a starting point. In South America she is regarded as one of the greatest artists in modern time, in the rest of the world she is more or less unknown. The conclusion is that the colonial mechanisms are still in progress in our assumed postcolonial world, and has excluded Tarsila do Amaral, and the anthropophagic movement she was a part of, from the art history. The study points out the importance of looking into this neglected artist and the historic event. Not only to add it to the history of art, but also to show how anthropophagy as an artistic strategy created in the 1920’s Brazil is as relevant today as it was then. Three oil paintings of Tarsila do Amaral is used to describe the artistic strategy that solved the problem of beeing shaped as a mirror image to the western world. The paintings A Negra, Abaporu and Antropofagia tells us the story of how the Brazilian people started to see themselves as culturaly independent from Europe. Neither as something opposite nor similiar, but as something between. Anthropophagy is challenging our notion of ”us” and ”them” as well as centre and periphery – and is therefor useful in the writing of art history. Its not only important to make room for Tarsila do Amaral in the history of art – its also urgent to let her contribution be a part of the present art world.

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